The Girl on the Train, 2016.
Directed by Tate Taylor
Starring Emily Blunt, Rebecca Ferguson, Haley Bennett, Luke Evans, Justin Theroux, Edgar Ramirez, Allison Janney and Laura Prepon
SYNOPSIS:
A divorcee becomes entangled in a missing persons investigation that promises to send shockwaves throughout her life.
Upon its release, someone claimed that The Girl on the Train was the “thriller that shook the world” and it’s been put on every poster and trailer leading up to the release of this film. In reality the book is an enjoyable but predictable holiday beach read with averagely written characters and an obvious twist. Still I had high hopes for the film adaptation, David Fincher’s Gone Girl came from similar material and proved to be a brilliant satirical film. This is not the case with The Girl on the Train – it is a plodding and completely tense free movie experience.
The story follows three women whose lives are intertwined. Rachel (Blunt) is an alcoholic still struggling to deal with infertility, her husband’s affair and subsequent divorce. Sitting on the commuter train into central Manhattan, Rachel watches her ex’s house and also fantasises about the perfect couple next door. One day Rachel sees the perfect wife kissing another man and then suddenly the perfect wife is missing and Rachel wakes up covered in blood. The other two perspectives are Megan (Bennett) the perfect wife who isn’t so perfect and Anna (Ferguson) the new wife of Rachel’s ex-husband. The book is split into three perspectives and whilst the film tries to use this narrative device, Anna’s development is side-lined and a majority of the narrative falls on Blunt’s shoulders. The back and forth with the time line just doesn’t translate well to the screen in the hands of Tate Taylor. It comes off disjointed and without any rhythm or flow.
Much has been said about the casting of Blunt as the lead Rachel. Based on the description of Rachel in the novel she is far too attractive. But Blunt delivers a strong performance, despite the fact that she’s working with a mediocre script. She depicts the desperation and fear of an out of control alcoholic well and she manages to make an unsympathetic character likeable. Other than that there isn’t a lot to say on the acting front. Justin Theroux is well cast as ex-husband Tom, but everyone else is simply average. It’s a shame to see Rebecca Ferguson in such a thankless and under developed role, following on from her breakout role in Mission: Impossible – Rogue Nation last year. Luke Evans as Megan’s husband Scott also doesn’t get much to do. A key part of character development in the book seemingly ended up on the cutting room floor, leaving Evans with a few sex scenes and some moody staring to do.
Moving the story from London is only problematic when you think of the practicalities of the story. Instead of endless delays on UK rail and breakdowns where you can stare at cramped London houses and see right in, the wide open space of upstate New York makes it implausible for Rachel’s character to see any of the activities in the houses. Other than the practicalities, the location move works.
A highlight of the film was Danny Elfman’s score which is something that’s not said too often anymore; it’s reserved, haunting and pitch perfect. Whilst there were a few Trent Reznor style moments, the music was the only part of the production that was able to create any tension. And this is the biggest failing of The Girl on the Train. For a murder mystery thriller there is not a single moment in this film where you feel tense or on edge. It stays at a monotone level and only peaks slightly in the finale. Perhaps my negativity is because I knew the ending; but I’ve watched plenty of films based on books and still felt intrigued, tense or completely consumed by the story. Here I felt bored.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Helen Murdoch
Originally published October 10, 2016. Updated April 14, 2018.
