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

The Woman On The Practice forged: Parineeti Chopra, Avinash Tiwary, Aditi Rao Hydari, Kirti Kulhari, Tota Roy Chowdhury
The Woman On The Practice director: Ribhu Dasgupta
The Woman On The Practice score: Two stars.

Mira Kapoor is a woman, on a practice. She’s a lush. Armed with a hip flask, into which deep inroads are regularly made. Thick kohl-smudged eyes, slurred tongue, fogged mind. She takes the identical practice, forwards and backwards from London to the suburbs, on a regular basis. On a regular basis, she passes her former residence, which falls alongside the tracks, by which lives a fairly lady Mira envies. After which at some point, that lady goes lacking. A physique is discovered within the woods. And questions abound.

This newest version of ‘The Woman On The Practice’ comes after Hollywood model of the identical identify by which Emily Blunt performs the alcoholic stalker with a darkish previous, which in flip was primarily based on Paula Hawkins’ bestselling novel. Using the ‘lady’ within the title could have been used to remind you of ‘Gone Woman’, by which Gillian Flynn gave us a scorching tackle the sexual, sensual lady who makes use of her wiles to purchase her method out of hassle. (It additionally launched an countless array of thrillers with ‘lady’ within the title.) Hawkins’ lady wasn’t as sharp as Flynn’s, however there was one thing beguiling about the way in which she allow us to into her head, despite the fact that the movie had an excessive amount of occurring– too many characters, an excessive amount of sloshing of vodka, too many crimson herrings. It was Blunt’s efficiency, even when it wasn’t her finest, which carried the movie via.

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

The overstated writing lets down the plot, which in any case is crammed with apparently unrelated characters popping out and in: a really take-charge kind of police lady (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 within the air; an over-friendly shrink (Roy Chowdhury) exhibits up briefly, as does a desi mobster. The characters come, and earlier than we are able to clock them, they go. And Nusrat (Aditi Rao Hydari), the lovely-looking lady who units all the things into movement, might simply as simply have been a wraith, so insubstantial is she.

It’s solely after hour has handed that the overwrought Chopra settles down, to dig a bit of deeper into her position, and ship moments when you possibly can see the lady’s ache, even when fleeting. After which the movie swings proper again to its uneven contrivances, with a hard-to-swallow climax. Someplace within the movie, 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 be a few crime being witnessed from a practice compartment. Now that’s writing. Right here, you possibly can see the dialogue coming a mile off. At one level, Chopra’s character says ‘mujhe apna previous nahin badalna’, and you realize, earlier than she opens her mouth, that she is going to say, ‘I need to change my current’.

And this one, even higher, once more from Chopra: “primary usko kabhi nahin bataa paayi ki woh primary nahin, mera wound tha (I might by no means inform him that it wasn’t me, it was my wound)”. You don’t say.

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