The cast of The Girl on the Train: Parineeti Chopra, Avinash Tiwary, Aditi Rao Hydari, Kirti Kulhari, Tota Roy Chowdhury
The director of The Girl on the Train: Ribhu dasgupta
Girl on the train rating: Two stars.
Look Kapoor is a girl, on a train. She is exuberant. Armed with a flask, in which deep inroads are frequently made. Thick kohl-stained eyes, trailing tongue, foggy brain She takes the same train, back and forth from London to the suburbs, every day. Every day he passes by his old house, which falls along the tracks, where a pretty woman lives that Mira envies. And then one day that woman disappears. A body is found in the forest. And questions abound.
This latest edition of ‘The Girl on the Train’ follows the Hollywood version of the same name in which Emily Blunt plays the alcoholic stalker with a dark past, which in turn was based on Paula Hawkins’ best-selling novel. The use of the ‘girl’ in the title may have been used to remind you of ‘Gone Girl’, in which Gillian Flynn gave us a hot version of the sexual and sensual girl who uses her wiles to get out of trouble. (He also released a never-ending series of thrillers with ‘girl’ in the title.) Hawkins’s girl wasn’t as smart as Flynn’s, but there was something fascinating about the way she let us into her head, even though the movie had, too. There’s a lot going on – too many characters, too much vodka, too many red herrings. It was Blunt’s performance, even if it wasn’t the best, that brought the movie.
The problem with Mira by Parineeti Chopra is that you never buy it completely. As the girl with an unresolved trauma trying to put her broken marriage behind her, the actor looks perfect. Much thought has gone into the unkempt hair, the stained kajal, the bloodshot eyes. But she is not written in depth enough. We have no idea who Mira is, before and after she meets the clever Shekhar (Avinash Tiwary), who conquers her before the first song comes out. Yes, there are songs in the movie. A Bollywood adaptation of a murder mystery without ‘naach-gaana’, in 2021? God save us. It is also the reason why the movie is two hours long.
The exaggerated writing disappoints the plot, which in any case is full of seemingly unrelated characters popping in and out: a very responsible type of policewoman (Kriti Kulhari) is assigned to the case, a mysterious photographer crawls through the same forest. where the body is; a blackmail stain is in the air; an overly friendly shrink (Roy Chowdhury) appears briefly, as does a desi mobster. The characters come, and before we can time them, they leave. And Nusrat (Aditi Rao Hydari), the charming looking woman who sets everything in motion, could easily have been a ghost, so insubstantial is she.
Only after a good hour has passed does the overexcited Chopra calm down, delve a little deeper into her role, and offer moments when you can see the girl’s pain, even if it’s fleeting. And then the movie goes back to its choppy inventions, with a climax that’s hard to swallow. Somewhere in the film, Mira is seen at Paddington station, and you are reminded of Agatha Christie’s near-perfect detective novel ‘4.50 From Paddington’, which is also about a crime witnessed from a train compartment. That’s write. Here, you can see the dialogue from a mile away. At one point, Chopra’s character says ‘mujhe apna beyond nahin badalna’, and you know, before she opens her mouth, she will say: ‘I want to change my present.’
And this one, even better, again from Chopra: “main usko kabhi nahin bataa paayi ki woh main nahin, mere tha wound (I could never tell him that it wasn’t me, it was my wound)”. Do not say it.
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