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The Girl On The Train Movie Review: You might wish to have a short-term memory loss after watching the film

Aakash Mishra

Parineeti Chopra’s The Girl on the Train based on Paula Hawkin’s 2015 bestseller has elements to be a good thriller but it doesn’t know how to stay on one stand. The film jumps and cuts into random sequences or situations to create tension rather than using the already present elements to create an atmosphere of tension naturally. Neither the characters nor the performances could save the film as a matter of fact they helped the plot is ruining itself.

So, the story in short goes like Mira Kapoor ( Parineeti Chopra) marries Shekhar ( Avinash Tiwary) and in an accident, she loses her child. After this, Mira starts drinking heavily and suffers from anterograde amnesia. Aamir Khan in Ghajini suffered from a similar thing. Mira loses hold of her life and while she boards the same train every day, she sees a woman named Nusrat ( Aditi Rao Hydari). Now, for Mira, Nusrat is the epitome of a perfect, happy life. She starts dreaming to have a life like Nusrat.

From the windows, Nusrat’s life may seem idyllic but we all know it ain’t. And I didn’t get how someone can feel such a strong affinity toward’s someone’s life just by looking at them for few seconds through a train window. Suddenly, we get to know that Nusrat is dead and Mira because of several circumstances, becomes a prime suspect of Nusrat’s murder. Emily Blunt’s 2016 film is the prime source of the movie but it is twisted to such a bizarre level that anyone who has watched the original definitely would hate it in the first go. Misleading moments are forcefully introduced and Mira’s condition may look like a plausible good reason to take all the blame for that but certainly, it feels like an excuse for the flaws of the screenplay.

The major flaw for me I guess was trying to be Bollywoodish in London. The dialogues, the setup none of it worked. It does look convenient but it certainly doesn’t work. Secondly, characters in the movie come and go like a wind. None of the characters stays to form an origin or dialogue to get connected with the audience. There was a character of Mira’s friend called Piya  ( Nisha Aaliya) which probably has one of the worst character sketches ever. In a scene, Mira acts crazy in a bathroom, she tries to control her, calm her down, and then she says “ don’t do anything stupid. “ I mean a friend is acting crazy in front of you telling something graphic that she wants to do and you say to her “ don’t do anything stupid “. Wow.

None of the performances were good in fact Parineeti seemed pretty off at places. As far as the dialogues go they were quite poorly written. Mira in one of the scene says “ Main usse kabhi nahi bata payi, woh  main nahi thi, woh mera wound tha” and then she dictates an essay on the word ‘wound’.  There was another dialogue that went like “ Divorce makes a woman strong”. Terrible. The ending though was very unpredictable and maybe it was just because the screenplay got so chaotic that you didn’t even get to think amid that forcefully created illusion of chaos.

Cast: Parineeti Chopra, Avinash Tiwary, Aditi Rao Hydari, Kriti Kulhari. 

Director: Ribhu Dasgupta

Streaming: Netflix 

Verdict: Skip it or probably watch the 2016 edition of the story. 

Comments (1)

  1. I wish I’d read the review before I wasted two hours last night!
    If I may add to the plot holes, we still don’t know why Shekhar pushed her to alcoholism and gaslighted her because extramarital affairs don’t cover as an excuse. If he wanted a divorce, he could have cited her amnesia and gotten out of it! It’s the UK, not Mumbai!
    Also, within 2017 to 2019, a seemingly high profile and successful lawyer met and married the man of her life she obsessed over and was ready to give up her career for a child with the dialogue which was eerily similar to Anushka giving her dreams in Sultan. What’s with such a fickle portrayal of women?!! They don’t think women can be both mothers and whatever else they want to be? Her life being at risk due to the case also matters – they don’t have to bring in a child to muddle things up.
    I think I could go on and on but to say the least, if the screenplay was filtered to suit Indian sentimentality then they could have just shot it in South Bombay and half the character arcs would be out of question.

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