The majority of the rest of the film unfolds in flashback – and flashbacks within flashbacks. Thomas recruits Rachel in Leipzig. She adopts her schoolteacher identity and flies to Tehran, where she gets involved in a bloody elevator stand-off. Seemingly unperturbed by the grisly event, Rachel then integrates herself in Iran, learning its cultures and traditions, and how to stay undetected. In the meantime, she prepares for the ultimate mission: to infiltrate an influential businessman, Farhad (Cas Anvar), who may be affiliated with the Iranian government’s political machinations.
Instantly smitten by the blue-eyed teacher, the charming Farhad asks her for one-on-one English classes. This rapidly leads to booze-and-ecstasy-filled nights at a local underground club, passionate sex and “unexpected situations” that require violent action. In the meantime, truths begin to (sort of) unravel about Rachel herself (e.g., she’s not actually adopted).
“…displays a knack for getting the minutiae details right, finding tension in seemingly mundane things…”
That’s part of the frustration I had with this film. When asked where she’s from, Rachel replies, “The only place I’ve ever felt at home was Israel.” The extent of what we know about Rachel and what’s driving her is that she’s “eager to belong, eager to do something significant.” Is that enough of a reason to join the Mossad? What’s really driving her, through all the blood and near-rape? Why is she so desperate to join the cause? What cause is she joining? The character is as cloaked in mystery as Tehran’s surrounding vistas are with sand.
Adler has proven himself as a more-than-capable filmmaker with his 2013 war drama Bethlehem, and here again displays a knack for getting the minutiae details right, finding tension in seemingly mundane things like getting a passport stamped at the airport, or not-so-mundane things, like Rachel having no choice but to brutally kill someone with an injection to the neck. Rachel getting accustomed to – and possibly falling in love with – the city of Tehran is beautifully displayed.
"…"...frequent shots of Clair making eye contact with wolves represent their kinship...""
Frustrating. What a loss for the director and for who wrote the script.The film kept the viewers at the edge of their seats. Good story. But unsolved ending, not even an end that would leave to the viewers to come to a conclusion of their own. Disappointing and frustrating. I will never see anymore in the future a movie with this director and writer. Your loss.Am sorry for the great cast.
Nice piece, action, suspense and acting. Don’t leave us hanging and have sequel.
Fabulous movie, loved every minute, great actors…….surely there will be a sequel with an open ending like that!
Different point of view. A woman taking on a job, meant for a male. Knowing she will be treated differently, she goes with the flow, only to be turned on by her own operatives. More realistic, not a Ms James Bond.
Where part two
The film’s ending is so abrupt. The film ends in the middle of an action sequence, literally. With a lot of unresolved matters left to the imagination. The sad thing is that the movie has brilliant parts in it, and such great actors too. I don’t know anything about making movies of course, and I don’t consider myself an expert, but, a sad or an unjust or even a devastating ending is better than no ending at all.
Good movie but…Ugh hated the ending…
[…] Talk about a bummer. Yuval Adler’s latest somber spy thriller The Operative is about as far removed from the likes of The […] Source link […]
Certainly started with lots of potential but unfortunately turned into a dogshit.