Girl on Train Review 2.5 / 5 | Girl on Train Movie Review | Girl on the train 2021 public review

Parineeti Chopra debuted with flirtatious and lighthearted roles and became her trademark. After a hiatus, she is back and her 2.0 cinematic avatar promises to be unlike anything she has done in the past. The Trin on the GIRL is the first film of his new phase. The film was scheduled to be released in theaters on Mother’s Day 2020. But due to the epidemic, it has made its way to Netflix. So does GIRL on TRAIN manage to impress viewers and deliver thrilling times? Or does it fail in its attempt? Let us analyze.

On The Trin is the story of a troubled drunkard who gets involved in the murder of a girl he hardly knows. Meera Kapoor (Parineeti Chopra), who is in London, happily marries Shekhar (Avinash Tiwari). Meera takes up the case of an African man who is killed in a shootout. He then receives threats from the family of accused Jimmy Baiga. Nevertheless, she proves in court that Jimmy is the killer. Jimmy Baga is sent to prison. On the same day, Meera finds out that she is pregnant. After 6 months, Meera is in a happy place as motherhood is something she deeply desires. Unfortunately, Meera and Shekhar become involved in a car accident. Meera is suffering from an abortion. Her doctor states that she is not fit to conceive again. Meera is shattered and to cope with the loss, she resorts to drinking. She drinks so much that he becomes violent and suffers from blackouts. And then the next day, he didn’t remember a thing. During her drunken stupidity, Meera kills Shekhar and insults her boss which also leads to Shekhar being expelled. Shekhar finally divorces Meera. Meera also loses her job. With nothing else to do in life, she is starting to travel on a train from London, it is to go to the suburbs and back. On the way, she crosses the place where her house with Shekhar is located. However, next to Shekhar’s house, Meera spots Nusrat John (Aditi Rao Hydari). Meera starts watching him whenever his train passes near his house. Meera sees that Nusrat is spending a lovely married life with Anand Joshi (Simon Ahmed). She also sees Nusrat dancing in the world regardless. Meera wishes she had a life like Nusrat. However, one day, Meera sees that Nusrat is hugging someone who is not her husband. Nusrat realizes that his affair is going on. Meera is shattered. The entire image of Nusrat that she had coined in her mind is shattered and she resents him. She feels that she should not cheat her husband because she knows the pain. This is because Shekhar also started an affair with Anjali (Natasha Benton), with whom she now happily married. So Meera decides to teach Nusrat a lesson. She goes to the latter’s house but remains locked in the house. He then takes her to a nearby forest. Meera accuses him and then blacks him out. Meera wakes up at her house with a wound on her forehead and a memory of the previous night. The next day Nusrat goes missing. Officer Kaur (Kirti Kulhari) comes on board to investigate. During her investigation, she comes to know that Meera was angry to meet Nusrat and hence, Meera becomes the prime suspect. A few days later Nusrat’s body was found in the same forest. What happens next is the rest of the story.

The Truth on the Trin is based on the 2016 Hollywood film of the same name, which was in turn adapted from Paula Hawkins’ best novel. The Hindi remake is not a scene-by-scene remake of Emily Blunt-Starr and the makers have added new characters and plot points that will surprise the original watchers. Ribhu Dasgupta’s screenplay (Videsh Malandkar’s additional screenplay) is average. While it is fast and fast, there is no character development of the supporting characters. The dialogues of Gaurav Shukla and Abhijeet Khuman are decent.

The direction of Ribhu Dasgupta is not up to the mark. Talking about the plot, he manages to captivate the audience. There is a lot happening in the film and it does not let the attention of the audience wander for a second. The original flicker had a non-linear narrative. Ribhu simplifies this to a great extent. Some of the scenes are exceptional and moreover, he manages to perform well with his actors. On the flipside, she mainly focuses all on Parineeti Chopra’s character. The original film also focuses on supporting characters and their backstories, and the dynamics between the various characters. Here, this does not occur adequately. Even those who have not seen the original will feel this flaw and will not be able to associate with some of the characters. In addition, the ending has been replaced with the original flick and novel. Ribhu has added a double twist. The effort doesn’t really work because the original, second turn is flawed and full of cinematic freedom.

Parineeti on the girl in the train: “I’m just sitting on the floor and I’m studying at TARTS, I started …”

GIRL starts a tricky note on the train. In the first 20 minutes, the makers trajectory Mira’s rollercoaster life. The parallel track of Nusrat’s disappearance is also interesting. As the film progresses, more and more characters are added to the narrative. But one realizes that they don’t have much to do. This constrains the effect to an extent. Nevertheless, various developments in the last 45 minutes place one on the edge of the seats. The end should have been the best part of the enterprise but instead, it is devoid of logic.

Parineeti Chopra gave a terrific performance and this film is sure to benefit from it. She surprises the audience as she has never entered the venue before and she manages to put on a solid performance. As an old alcoholic, she is quite good. Keerthi Kulhari shines with her screen presence and dialogue delivery. Aditi Rao Hydari is lovely and wishes she had a bigger role, especially since her character is important to the plot. Avinash Tiwari is as reliable as ever. Natasha Benton and Shamun Ahmed have no scope in this. The same parrot goes for Roy Chowdhury (Dr. Hamid). Visakha Vadgama (Kunal; Junior Police Officer), Diljon Singh (Rajeev), Monisha Hasin (Zahra; Shekhar’s boss) and Suresh Sippy (Meera’s doctor) are fine.

The music is surprisingly good but does not have a shelf life. ‘Chhal Gaya Chhalla’ Is quite attractive. ‘Mean ladies’ Well woven with the narrative. ‘Tu Meri Rani’ It is forgetful. Guild Annamram’s background score adds to the thrill.

The cinematography of Tribhuvan Babu Sadineni is simple but effective. Sunil Nigwekar’s production design is rich. The costumes of Subodh Srivastava and Sanam Ratanasi are very attractive and yet realistic and match with the respective personalities of the character. Pratap Borhade’s makeup is commendable, especially Parineeti’s wound on her forehead. Sangeeth Prakash Varghese’s editing is slow.

Overall, the GIRL on the train is an average fare. This particularly affects Parineeti Chopra’s fast-paced narrative and performance. But the lack of character development and faulty climax proves to be harmful.

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