Abraham, potentially a shark at poker, utilizes articulations sparingly, as though reluctant to come up short on a limited collection. We meet him as Romeo, a youthful ish man with Arjun Rampal hair and a pitted face, rougher than we’re accustomed to seeing him, however the levelness of tone and execution stay immovable. Oh, vacancy and vagary are not the equivalent, and, given that the film is set in Pakistan, the firm on-screen character takes steps to mix into the generally wood-framed dividers.
The Indian armed force preparing rebels in East Pakistan, Indian knowledge attempting to outmaneuver the Pakistanis through strategic confusion, and Pakistani insight that, for once, looks sufficiently effective to be a risk. There is even some third-demonstration skulduggery that could have been sharp. Lamentably, the movie delays for a really long time, and — in spite of RAW boss Jackie Shroff demanding “Nothing will be advised to you legitimately” — each and every piece is dully spelt out.
A few subtleties are great. Handbills on the divider publicize the once-well known Turkish TV brand, Arcelik, we know about Prakash Padukone winning badminton competitions in Kuala Lumpur, and a radio merciless insults a Pakistani Colonel with a work of art, glad (but bigot) Hindi film melody. This Colonel is played by an astounding Sikandar Kher, a threatening figure who gets the tongue right, solidly gulping English syllables: “police” progresses toward becoming “pulce,” “lie locator” moves toward becoming “lie tector.” Yet this is an Abraham appear, and as he assumes three personalities with three names, the film clasps under the exertion.
In the James Bond books, there are pages where Bond peruses a dossier. These are profoundly point by point pages, telling us what Bond knows — before we swing to the activity and rushes. Romeo Akbar Walter is all dossier, no rush, and it’s a dossier perused out loud by Jackie Shroff. Pity, truly. No reason for pouring a beverage so dry it overlooks it needed to be a martini.