John Abraham's Inconvenient Spying Thriller Suffers from Raazi's Big Hangover – Entertainment News, Firstpost

In terms of design and atmosphere, Robbie Grewal's spy thriller Romeo Akbar Walter ( RAW ) is very similar to that of Meghna Gulzar Raazi from last year. John Abraham, like Alia Bhatt in Raazi embodies an Indian spy deployed in Pakistan who deserves the faith of the great Pakistani moves that are preparing a conspiracy against India in anticipation of the Indo-Pakistan war of 1971.

The bad of his protagonist, RAW and Raazi is also different in their situation. While Raazi focused on the cost of war and empathy towards peoples across the line of control, RAW emphasizes that interpersonal skills only weaken the spies and derail them. their way to serve their country. Since John played in recent movies animated by nationalist fervor, namely Parmanu: The Story Of Pokhran and Satyamev Jayate The Point of View of RAW does not come as a surprise. But in his defense, the height of RAW is much lower than that of Satyamev Jayate . The idea, as Parmanu, is to only prepare for the war and not to encourage it. As the character of Jackie Shroff, Srikant Rai, chief of the wing of research and badysis, says, " Koi bhi jung sirf ek cheez jeeti je jati hai" (Any war does not can be earned only with one resource) – information. With this statement, Shroff reminds all spies in the world, dubbed in action stars James Bonde-sque, that the main job of a spy is solely to search for and transmit information.

This n & # 39 does not imply that our spy Romeo Ali urf Akbar Majid urf Walter Khan will not get his fair share of action. Although he pulls one or two shots, the majority of the film sees him fleeing the Pakistani army, led by Colonel Khudabaksh Khan (Sikander Kher), and suffering excruciating third-degree physical torture. He is clearly not described as the archetypal invincible hero. He mainly uses improbable weapons in an arsenal of John Abraham, such as camouflage, conspiracy and diplomacy. These do not come as a surprise since it was formed by Srikant, who does not belong to the nationalist breed beating the chest. Jackie plays Srikant as modestly as the narrow and flattering camera angles (of Tapan Basu) and the dialogue-RAW-chief-says (of Ishraq Shah) allows him to do. Despite lack of support, Jackie badumes the role convincingly throughout the film, with two rather silent scenes, mostly for watering a plant.

Jackie would have played a better spy if he had been that way. good physique and age. John does not do a bad job. He reacts well to thrills but lacks gravity to plunge completely into a layered character, which could have been more so if writer-director Robbie Grewal could have expanded him to the maximum of his abilities. His staging is also convincing in scenes of thrills, especially because his filmography includes only novels and comedies such as MP3: Mera Pehla Pehla Pyaar and Aloo Chaat ]respectively.

The history and scenario of RAW suffer from shortcomings because of the incoherent tone of the film. The first scene presents the film as a dark and sinister version of the prisoner of war who undergoes tortuous interrogations like the Mossad. Then, the film briefly visits the model Airlift before plunging deep into the area Raazi . Then, there are also pieces of New York and Kurbaan added to the mix, before it ends on an Abbas-Mustan note.

But the last twist, as some major plot points, seem unlikely given the heaviness of the film in the precision of a procedural spying thriller rather than a [ Tiger Zinda Hai soaked with suspension of disbelief.

Production designers Swapnil Bhalerao and Madhur Madhavan, and costume designers Ameira Punvani are excellent in their respective fields. As mentioned earlier, since RAW is a rare John Abraham-starrer recent and lacking in action. The stunt director, Vikram Dahiya, does a limited but sensible job. The badembly ensures a fast procedure, but we could have measured the film better so that it seems effortless.

When it comes to women in the film, there are only two key roles, except for the obvious presence of the prime minister of the time, Indira Gandhi. Mouni Roy lets his eyes speak on the subject, because the scenario does not allow him any dialogue. In the meantime, her character transcends the usual role of the main lady, but the resulting expectations of a fleshy role fade as the film advances, as its consequence in a spy thriller loaded with testosterone. There is also Suchitra Krishnamoorthi, who returns to the big screen nine years after his last appearance in Rann . She always controls the presence on the screen, although three short scenes are credited to her in the movie.

Sikandar Kher is the dark horse of the scene since he completely possesses his predatory avatar. He also gets a perfectly straight accent, which makes his character all the more believable. Raghubir Yadav, as a Pakistani spy for the research and badysis division, brings both intrigue and emotional weight to the film. There is also a romantic trail between John and Mouni imposed on the narrative for symbolic emotions, which only distracts from the central narrative. The emotional heart, besides the salutation of the Indian national flag and the sacrifices for the homeland ("He chose the homeland on his own mother", as Shroff says), also comes from the mother of John (Alka Amin), who pbades sleepless nights crying in solitude.

Needless to say, she is aware of the cost of the war. She lost her husband in the war and died while waiting for the return of her son from Pakistan. These stories deserve more than ever the star, given the powdery wood on which India sits after the Pulwama attack. But RAW chooses to tell the other, more populist side of the story. Although this is quite the manufacturers choice, one would wish that they do not give up the nuance when they translate the popular sentiment into half-cooked spy thriller.

Note: 2.75

All the images from YouTube.

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Publication date: Apr 05, 2019 12:01
| Last Updated: 05 Apr 2019 12:01

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Date Updated: April 05, 2019 12:01:52 IST

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