Patch­work plot de­rails ‘The Girl on the Train’

Jamaica Gleaner - - ENTERTAINMENT - Damian Levy Gleaner Writer

THE GIRL On The Train is a movie based on a book that’s about not judg­ing a book by it’s cover.

It tells the sto­ries of three women, each at dif­fer­ent stages of their lives. Rachael, the girl on the train, pines for the life of the youngest woman, Megan. Megan will do any­thing to es­cape the clutches of do­mes­ti­ca­tion, which is so em­braced by Anna. The mes­sage then at the end of the day is that no mat­ter what you choose to do, you’ll prob­a­bly be mis­er­able.

Now, the way it was go­ing, the movie was set to have a strong mes­sage about de­fy­ing the per­ceived no­tions of what it means to be a woman and break­ing free of the roles as­signed to women by so­ci­ety. Moth­er­hood is no longer the end be all and end all. Some­where along the line, though, the movie’s mes­sage be­comes dras­ti­cally mud­dled as it goes fur­ther down the rab­bit hole of a mys­tery thriller as one of the three women goes miss­ing.

So al­right, it’s not a rev­o­lu­tion­ary film about mod­ern-day fem­i­nism; it’s, in­stead, a noir thriller. But maybe it’s both? Ei­ther way, you look at the case and all of its mys­ter­ies through the eyes of Rachael. She’s the main wit­ness to the crime, but there’s one prob­lem – Rachael is an al­co­holic who fre­quently can’t re­mem­ber what took place the night be­fore.

So to say she’s an un­re­li­able nar­ra­tor is an un­der­state­ment. Through this, the movie gives you a num­ber of red her­rings to keep you guess­ing about the ac­tual cul­prit right along with Rachael. Bless your heart, though, if you can keep up with it. The movie has a ten­dency to jump back and forth through time, re­veal­ing bits and pieces about each of the women’s lives that led them to where they are to­day. This is de­signed so that later when your ex­pec­ta­tions are turned on its head, you’re able to gasp in shock and awe, but it’s so hard to fol­low at times.

At the end of the movie, you and the peo­ple you watch it with are likely to get into what mo­ments shocked you when you fig­ured out the plot. That’s what hap­pened out­side my cinema any­way. So to that end, the movie is suc­cess­ful, I sup­pose.

It’s just not a movie that can’t be en­joyed just as much at home.

Rat­ing: Catch It On Ca­ble

AP

Luke Evans (left) and Emily Blunt in ‘The Girl on the Train’.

Luke Evans (left) and Ha­ley Ben­nett in ‘The Girl on the Train’.

CON­TRIB­UTED

Emily Blunt in The Girl on the Train.

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