There are a lot of scars visually defined as debt, action-heavy drama, which takes place mainly in East Berlin in 1966, and Tel Aviv in 1997. The story of three Mossad agents, whose job is to bring an ex-Nazi right, the film is bathed with the scars of the Holocaust, which divided East and West Germany and the emerging and already taken to the State of Israel, and indirectly, the victims of an imaginary ex-Nazi doctor known as "the surgeon Birkenau." There is also a very literal scars in front of Rachel, played by Jessica Chastain Century 60 scenes and Helen Mirren in the 90s, the first 10 minutes of debt we see how Rachel has a bad scar, then spend the rest of the film unfold what we saw and how it affects the lives of everyone.
Twisty, perhaps a little too complicated, but undeniably compelling, the debt is to its essence, a spy story, but ready at a unique moment in history that gives the right to poignant. Our three Mossad agents - Rachel is joined on the mission in East Berlin by the ambitious Stephan (Marton Csokas) and the determined silence David (Sam Worthington) - experience the same romantic entanglements and moments of doubt that three in one mission, but it is the unspoken, the invisible scars that drive them. Each of them survived the Holocaust as children, and the whole family has lost and assist in a mission for the Mossad to hunt down and Dr. Dieter Vogel (Jesper Christensen), demanding they are sanctioned by the State revenge, it is also deeply personal.
We learn in a flashback at the beginning of the mission ended in Berlin to escape Vogel, wounding Rachel (and the scars of the face), only to be shot in the back of Rachel in the last minute. In 1997, the daughter of Rachel and Stephan (played as an older man by Tom Wilkinson) and had written a book about his experience, and it is clear that both have become national heroes because of their history. And then there is David (played by Ciaran Hinds), who is on his way to the book when, in front of Stephan, which started in the front of truck speed. It will be almost the end of the film before we know why.
The script, adapted by Matthew Vaughn and Jane Goldman (the team behind Kick-Ass), Peter Straughn, from a 2007 film from Israel, skitters between 60 and 90 years to work for a sense of mystery. Then, immerses us in the mission claustrophobically East Berlin, where Rachel and David - strangers to each other - which seek to marry, and gynecological visits Rachel Vogel, under the guise of being a patient. We have many spies to see women use their wiles to get close to the enemy, but with feet in stirrups and hand in the neck Vogel, Rachel is going to extraordinary lengths, and director John Madden brings to both the discomfort and unwavering determination to do the job.
When the plan goes wrong and ends up a prisoner Vogel home players, who uses this intimate access to her skin, the more figuratively, and the debt to the exploration of femininity and Rachel Frank as a weapon and the debt will be one of the most interesting the basic issues.
Eventually what happens at the surface becomes a little less interesting - a love triangle formed secret alliances are revealed, and in 1997, Rachel has Mirren goes on one last mission, digging holes and burying the biggest secret of all. In a sense, everything is standard spy movie, but it is moving under the surface that keeps the debt so fascinating - tightly wound David insistence on doing the work, the weight of secrets about Rachel's face in both periods, the crackling, tension implied in the tense conversation with their individual agent Nazi career. Worthington, an actor consistently underestimated, is excited and a little intimidating, even if David is consumed by love, and becomes arrogant Csokas is fascinating edition of Stephan Wilkinson, a politician who has automatically space, but confined to a wheelchair.
With its complex, time-jumping intrigue and moments of great tension of the debt made a film that is worth sinking in, with Madden and his extraordinary actors draws the audience into the 'fun film is cut with paranoia. This is the kind of thriller that is often even more interesting under the surface of high-stakes conspiracy behind it.
Hinds is not even close to match Worthington physically - he seems really more like Csokas, who is confused - but he is responsible for the intensity of Worthington, the performance of some of his scenes.
