The Agent Movie Ending Explained (In Detail)

Spoilers Alert:

Based on a bestseller by the secret service agent Yiftach Reicher Atir THE AGENT, how the Mossad tries to assess the actions of one of its agents in retrospect. We’ll reveal in our review whether the drama with Diane Kruger and Martin Freeman is convincing.

Thomas (Martin Freeman) is alarmed: what happened to Rachel?

The plot summary

It’s been over a year since Mossad contact Thomas Hirsch (Martin Freeman) last heard from the agent assigned to him, Rachel (Diane Kruger). Suddenly he receives a cryptic call from her: her father has died. Yet again. Then she hangs up. Immediately afterwards, Thomas is ordered to a crisis meeting. The secret service is alarmed because the former Mossad spy has explosive knowledge. Now the Mossad has to weigh up whether Rachel poses a danger and would leak her information, or whether she could be reintegrated into the service. So we discuss in detail how Rachel has fared in her years of service. What is clear is that the way she fell in love with a target person was fatal. Despite this transgression, Thomas tries to protect Rachel…

The Agent Movie Meaning & ending

On paper, it seems as if a touch of John le Carré is wafting through the cinemas with “The Agent”: The English writer is a master at telling stories in the espionage environment that have no significant action passages, but do have quiet dialogue shackles know. His novels have already served as a basis for several films about lying, deceit, mistrust and guarding information, including “Queen, King, Ace, Spy” and “A Most Wanted Man” . “The Agent” is also based on a relaxed novel, namely the Israeli bestseller “The English Teacher” by former secret service agent Yiftach Reicher. However, director and screenwriter Yuval Adler (“Bethlehem – When the Enemy is Your Best Friend”) failed to create a consistently gripping film from the material told in flashbacks. The narrative structure alone prevents “The Agent” from developing comprehensive tension: The film begins with Diane Kruger’s character, the (ex-)Mossad agent Rachel, giving her contact a sign of life. He then has to talk to his superiors about whether she is considered a threat. Flashbacks then show how she is introduced to her mission in Tehran to pose as an English teacher in order to get to Farhad (Cas Anvar), the head of an electronics company, whom the Mossad wants to seduce into violating the trade embargo.

Rachel (Diane Kruger) poses as an English teacher to get to Farhad (Cas Anvar).

The flashbacks are often interrupted, sometimes abruptly, by Martin Freeman (“Black Panther”) as Rachel’s contact Thomas, appeasing her actions, even if he occasionally fights with her. As a cool head who carefully introduces Rachel to her tasks in the flashbacks and, in the framework of the story, de-escalates it to his colleagues that Rachel is a capable, harmless woman, Thomas is quickly introduced as the confidant to whom the audience should orientate themselves. Freeman’s dry but jovial acting and the casual, calm direction suggest that we can trust Thomas – so that no tension arises from whether his belief in Rachel might be presumptuous. Because Rachel’s experiences in active service are only interspersed episodically into the framework, Adler simultaneously distances his audience from the actual protagonist: instead of us continuously witnessing how her initial joy in spying and lying gives way to slowly building remorse we only share it in fragments. In short: “The Agent” has no plot-driven dramaturgy, nor is Rachel’s struggles with her job so involving that it can sustain the two hours of film.

That doesn’t mean that there aren’t individual scenes that are convincing: Diane Kruger (“Out of Nowhere”) gives a cool, steely performance. She sets up Rachel’s ‘role’ of teacher as a quiet, but effortlessly conspicuous person – it is this incidental dominance that allows her to attract Farhad’s attention and unnoticed to plant plans in his head. The way Kruger as Rachel flirts with him assertively but without raising his voice, and Cas Anvar’s handling of it, make for some of the more successful passages in the film. A combination of language lessons (in the original she teaches Farhad English, in the dubbed version German) and an introductory date in a café, allows Anvar to vacillate between a convinced businessman and a shock-loving schoolboy who hides this poorly, and the eloquent verbal duel between him and Kruger is cleverly written.

On a completely different level, a segment that shows Rachel spying in Farhad’s company and befriending the security guard stands out from the boring thriller drama “The Agent”, which is filmed in beige-brown-green tones. In this sub-chapter of the film, Kruger puts a lot of effort into her play with her eyes; just by blinking she switches from unscrupulous to shocked. Often enough, however, Rachel’s characterization stumbles over the script, so that Kruger’s acting is not enough to elevate “The Agent” to even mediocre status: far too little is said about her as a person, about her motivations and her desires. The film only allows her to blur the task and real feelings – to fall in love with Farhad. The fact that Rachel is granted so little personality of her own is quite a tragedy for a female agent drama, which in the second half continues to rely on a series of minor-key “drama about a woman” clichés. This cannot be glossed over, given the (self-)critical outline of secret service work in many shades of gray.

Conclusion: A character drama with little personality and a spy thriller drama without a suspense curve: It is mainly Diane Kruger and Cas Anvar who make “The Agent” look at least passable with their game.

“The Agent” can be seen in selected USA cinemas from August 29, 2019.

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