The Diplomat

The Diplomat is a disturbing film in multiple ways. At its most immediate, it is a story of a woman betrayed by the one she loved and subjected to terrifying abuse - and whose escape from it then hangs by a thread due to the cold logic of nationalism. It is thus a cruel irony that the act of telling such a story, of honoring those labouring to save her, can itself serve as a fuel for the very kind of nationalism which elevates the passions about these stories and turns them into zero-sum contests.

At the same time, it is natural for people to want to honor the achievements of their countries - and in that sense, it is far, far better to honor the quiet and subtle decisions made by the diplomatic staff in the service of a moral cause than the usual path taken in cinema (let alone video games), which is to honor the "warriors", whose righteous gunfire supposedly solves the problems without fail - no matter how mixed the real-world evidence is. Fundamentally, those at the embassy could have had easily looked the other way, claimed it is not their place to intervene in "family disputes" or dismissed the strange veiled woman as getting what she deserved for both following the wrong religion and then compounding the error by leaving India behind. It is to their credit they do not do so - even as Pakistani media takes the opportunity to paint them in the worst possible light anyway, and husband's mountain tribe threatens real violence.

(If you are from the Subcontinent, you can probably skip to the next paragraph, as you likely already know everything I'm about to write for the benefit of whichever "outsiders" happen to see this review). It is also to film's credit that it is explicit the evil of Tahir, the Pashtun who meets Uzma in Malaysia only to lure her to his village, does not represent all of Islam (since obviously, Uzma is Muslim herself, yet could scarcely imagine of a society functioning the way that village did) but all or even most of Pakistan, as the country's civil society at large (including the court system) does not defend the real Tahir but the image of him they see through the media, and side with him only as long as they can believe in the fiction of the Hindu embassy kidnapping Uzma out of pure prejudice and against her will. It may sound like a low bar, but consider how many Western films still fail to make such distinctions - i.e. I challenge you to draw any such nuances from Garland's Warfare.

Thus, it is all the more disturbing to see how Pakistanis who cannot defend the conduct of Tahir and his ilk on the merits can nevertheless view him as a necessary evil for nationalistic reasons. This perspective is exemplified through the film's depiction of the Director of ISI (often described as the world's most effective intelligence agency due to the sheer amount of power it wields across the entire region), who is clean-shaven, urbane, dressed in the finest Westernized clothing and in short couldn't be more different from Tahir and relatives. Yet, he does his best to conceal his undeniable disdain, thinking of them as a tool necessary to safeguard Pakistan's independence - while Uzma's case becomes a piece on the never-ending chessboard, a way to not only mollify their power but to get even with India after an embarrassing counterintelligence failure, knowing his harshest critics would gladly accept him branding Uzma a spy and taking credit for "catching" her if it meant saving face.

This depiction is not a subtle point, but it's a valuable one. Nowadays, it's not hard to find broad proclamations that sacrificing others "for the greater good" is immoral, that the seductive consequentialist calculus can be altered in any number of ways to justify practically anything (i.e. The self-proclaimed "effective altruists" claiming the most effective thing they could do for the world is buy multiple castles to make themselves look more appealing to the donors) and that it is only easy when you don't believe you'll be one of those sacrificed. Actually seeing this process play out in front of us, in a real-world case for real-world reasons, is both eerie and forces one to consider where else we - or those we consider to be representing us - have followed the same kind of logic as the Director of ISI did in this narrative.

I wish I could have rated this film even higher, but it remains a flawed work. Some issues are fairly minor (i.e. The attempt at comic relief with the titular Diplomat's son is rather hit-and-miss, but not a huge distraction) but the misguided attempt at elevating tension in the final act is much harder to overlook. The temptation to "spice up" the final act in even historical dramas where that does not belong is common, but here, it's done in a way which makes Argo's "police cars attempting to chase the passenger plane on a landing strip instead of ordering the traffic controller to ground the flight" look downright restrained. Perhaps the next film of this kind from the region will avoid it, but I'm not holding my breath.

One cannot question anybody's performance in the movie. Everybody does a great job. It's a tailor made role for John Abraham. Man kills it with such ease and style. He is complimented well with the antagonist who's equally talented and his performance successfully depcits the menacing nature of his character. The female lead is a hit and miss though. The supporting cast was well chosen.

Few witty one liners does hit the right spot. They are carefully sprinkled all over the movie. The dialogues are smartly written and well performed. No over dramaric patriotic or one man army, hero saves the day kind of dialogues.

Now the problem arises with the writing. The movie could've easily been a crisp - nail biting thriller but somehow it seems like the writers felt compelled to add unnecessary emotional sub plots that totally hinders the viewing experience. Instead they could have spent more time in some character building to the female lead.

The music is barley noticeble. Overall, it's still a decent try which could have been much better.

The plot feels overly stretched, with noticeable plot holes. Given that the film is partly inspired by actual events, I tried to look up the real story to better understand what truly happened, however, I couldn't find all the details. It's understandable that certain elements were added or modified for dramatic effect-after all, it's a cinematic adaptation-but unfortunately, the dramatization doesn't always succeed in holding the viewer's attention. At several points, it lacks the narrative pull that could have made the story more engaging. Most actors did their job well or at least fine, but the plot failed them.

Got a chance to watch "Diplomat" the movie? Go watch it. The best 2 hours and 10 minutes spent on a movie.

This movie could not have come at a better time. But then, it was released BEFORE the Pahalgam attack. So, no intentional play on emotions here. There would have been an outpouring of raw sentiments if it so happened that the movie was released AFTER 22/05/2025.

First of all, it makes a tremendous impact on you if you are a true Indian. It makes your heart swell with pride, it makes you cry, it makes your blood boil at times, and most of all it gives you hope and trust in the system.

How an entire country stands behind the injustice caused to one woman makes one's patriotism soar. More so, because this is based on a true story!

This is a no nonsense movie, totally of a new genre. So much violence and sexual assault is shown with so little dependence on graphic scenes. The victim speaks eloquently just with her eyes and expressions. Very dignified indeed! The actors and actresses become real. Like someone you know, like someone you want to hug and protect, like someone you want to pat on the back and say how proud you are of them. Like someone you can look up to.

Superb acting by John Abraham as JP Singh, Sadia Khateeb as Uzma Ahmed, and Jagjeet Sandhu as Tahir. Tahir sent shivers down my spine every time he appeared. He fit the role so completely.

Kudos to the team! Well done.

An exceptionally well-crafted political thriller! Knowing it was based on true events made it even more compelling. I watched it with my family after playing Holi, and it was an absolute masterpiece.

John Abraham delivers a power-packed performance, proving he's more than just an action star. This film has no over-the-top action, no formulaic romance, no unnecessary song-and-dance sequences-just a raw, intelligent narrative that keeps you hooked. The subtlety in its storytelling and the symbolic references elevate it to another level, making it perfect for a family audience.

The film was made on a budget of around INR 50 crores, and I sincerely hope audiences help it recover its cost. It's crucial that we, as viewers, support such out-of-the-box movies so that more meaningful cinema gets made. This isn't propaganda; it's a retelling of real events, backed by archival footage. The truth deserves to be seen, and this film ensures it is. Highly recommended!