“One way or another, I’m getting out of here,” she says, sounding as if she might burst into song. Leonard has a young assistant named Mable (Zoey Deutch), for instance, who grew up down the block. Leonard is the hero of Graham Moore’s “The Outfit.” It is a film preoccupied with stations-with the question of how people slot into society and, every so often, feel a compulsion to change slots. “Is this a man comfortable in his station?” he inquires. Leonard can size up a client at a glance. A suit, we are told, consists of thirty-eight separate pieces of material, and it should, in all respects, become its wearer. He is a tailor by trade, though he prefers to be called a cutter, and, as he brews a pot of tea, dons an apron, and oils his trusty shears, he talks us through the mysteries of his art, in a gentle voice-over. Bespoke.” And here comes Leonard Burling (Mark Rylance), making an early start.

Look closely, however, and you see the words stencilled on the window: “L. A storefront so discreet that it could be the entrance to a funeral parlor.

A cold Chicago street, on a dark morning, in 1956.