The Girl On The Train movie review: Parineeti Chopra film has the subtlety of Shatabadi Express


The Girl On The Train solid: Parineeti Chopra, Avinash Tiwary, Aditi Rao Hydari, Kirti Kulhari, Tota Roy Chowdhury
The Girl On The Train director: Ribhu Dasgupta
The Girl On The Train ranking: Two stars.

Mira Kapoor is a lady, on a prepare. She’s a lush. Armed with a hip flask, into which deep inroads are incessantly made. Thick kohl-smudged eyes, slurred tongue, fogged mind. She takes the identical prepare, backwards and forwards from London to the suburbs, on a regular basis. Everyday, she passes her former dwelling, which falls alongside the tracks, during which lives a fairly girl Mira envies. And then in the future, that girl goes lacking. A physique is present in the woods. And questions abound.

This newest version of ‘The Girl On The Train’ comes after Hollywood model of the identical identify during which Emily Blunt performs the alcoholic stalker with a darkish previous, which in flip was based mostly on Paula Hawkins’ bestselling novel. The use of the ‘girl’ in the title might have been used to remind you of ‘Gone Girl’, during which Gillian Flynn gave us a sizzling tackle the sexual, sensual lady who makes use of her wiles to purchase her approach out of hassle. (It additionally launched an limitless array of thrillers with ‘girl’ in the title.) Hawkins’ lady wasn’t as sharp as Flynn’s, however there was one thing beguiling about the approach she allow us to into her head, regardless that the film had an excessive amount of occurring– too many characters, an excessive amount of sloshing of vodka, too many pink herrings. It was Blunt’s efficiency, even when it wasn’t her greatest, which carried the film by way of.

The hassle with Parineeti Chopra’s Mira is that you just by no means utterly purchase her. As the lady with unresolved trauma attempting to place behind her damaged marriage, the actor appears excellent. Lots of thought has gone into the unmade hair, the smeared kajal, the blood-shot eyes. But she isn’t written with sufficient depth. We do not know who Mira is, earlier than and after she meets with the good Shekhar (Avinash Tiwary), who wins her over earlier than the first tune is out. Yes, there are songs in the film. A Bollywood adaptation of a homicide thriller with out ‘naach-gaana’, in 2021? Perish the thought. It’s additionally why the film is 2 hours lengthy.

The overstated writing lets down the plot, which in any case is full of apparently unrelated characters popping out and in: a really take-charge kind of police girl (Kriti Kulhari) is assigned to the case, a mysterious photographer creeps about the identical woods the place the physique is discovered; a spot of blackmail is in the air; an over-friendly shrink (Roy Chowdhury) reveals up briefly, as does a desi mobster. The characters come, and earlier than we will clock them, they go. And Nusrat (Aditi Rao Hydari), the lovely-looking girl who units all the pieces into movement, might simply as simply have been a wraith, so insubstantial is she.

It’s solely after a great hour has handed that the overwrought Chopra settles down, to dig a bit deeper into her function, and ship moments when you may see the lady’s ache, even when fleeting. And then the film swings proper again to its uneven contrivances, with a hard-to-swallow climax. Somewhere in the film, Mira is noticed at Paddington station, and also you flash again to the close to excellent Agatha Christie whodunit ‘4.50 From Paddington’, which can also be a couple of crime being witnessed from a prepare compartment. Now that’s writing. Here, you may see the dialogue coming a mile off. At one level, Chopra’s character says ‘mujhe apna past nahin badalna’, and you realize, earlier than she opens her mouth, that she’s going to say, ‘I want to change my present’.

And this one, even higher, once more from Chopra: “main usko kabhi nahin bataa paayi ki woh main nahin, mera wound tha (I could never tell him that it wasn’t me, it was my wound)”. You don’t say.


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