Tehran

It’s raining spies everywhere you turn, but it’s in ‘Tehran’ that you actually get a sense of what the work entails– it could mean putting in long, hard hours in nondescript offices, and the field operations that are shown as fast-paced car-and-copter-chases in the movies is, in this John Abraham-starrer, mostly about learning how to hide in plain sight, even as the danger of betrayal looms at every step. Abraham plays Rajeev Kumar, an intelligence officer who gets embroiled in the dirty business involving two foreign nations, Israel and Iran, on Indian soil. A blast in New Delhi results in the death of a little girl, a bystander with zero stakes in the long-standing conflict in the Middle East, and RK finds himself moving from the periphery to the centre. It’s no longer about the job; it is now personal.

After holding back his heroic sentiments to a staggeringly subdued degree by his standards in The Diplomat, John Abraham flexes his patriotic chops in Tehran. This Arun Gopalan-directed geopolitical thriller, penned by Bindni Karia, Ritesh Shah and Ashish Prakash Verma plots a clash between personal revenge and political strategies using a true event – the 2012 Israel embassy car blast in New Delhi, Thailand and Georgia – as a trigger. Having turned the daredevil, deadpan government agent into his calling card, John comfortably takes on the role of an Indian special cells officer Rajeev Kumar determined to nab the perpetrators when an attack, prompted by Israel-Iran’s hostilities, results in the death of a street kid his daughter’s age on his own soil. As infuriating as this ‘collateral damage’ is, Tehran is never able to convincingly portray it as reason enough for his insubordination after his bosses withdraw their orders to nail the Iranian hand and pro-Palestine groups behind it.