Taglines: What you see can hurt you.
The Girl on the Train, based on Paula Hawkins’ best-selling novel of the same name, is finally released this week. Emily Blunt, Halet Bennett, Rebecca Ferguson, Justin Theroux and Luke Evans are all on the cast, which we remember from 2011’s The Help. The film, which is one of the highly anticipated adaptations of the year and which will inevitably be greeted at the box office due to the book’s interest, offers the audience a Hitchcockish tension close to the classical narrative.
It places the audience in the watchful position, just like the Hitchcock masterpiece Rear Window; In doing so, he chooses a train carriage and his quiet, sterile, alluring suburban life as a backdrop. He tries to provide the audience with the mystery and suspicion of the characters with the changing and unreliable characters.
In the film, which has more than one voice, the narrator, the other women we see as victims, while Rachel is unstable and suspicious of her position, come to the forefront of the audience with the change in the course of the story. Rachel, Megan and Anna, the grift and the roots of the old relationship, just as in the novel we learn with feedback. As we come across reasonable (at least reasonable for our heroes) explanations of everything we follow, düğüm Is that enough of coincidence!
The knot we expect to be solved becomes more complex. In fact, this is not a big surprise for the audience accustomed to the genre, because every move we expect the audience to make the opposite corner shouts “I want to make the audience the opposite corner. Ters Although the story, which is constructed with different ways from the eyes of each character, is a good choice for this kind of “thriller / dark film”, the fiction in the film’s fiction causes disruption to the narrative and confuses the audience in an undesirable way.
It is a fact that we know that oman adaptations force the directors in many ways. The necessity of not extending the film to the audience while passing the depth of the text to the audience is often one of the most important factors that decrease the depth of the script.
The Girl on the Train seems to be a true adaptation in many ways, but she has trouble revealing the underlying motivation for the characters’ behavior. In particular, we cannot fully control the weight of the male characters of the film and the wounds they will cause in the lives of these three women. Megan’s being an object of desire as well as the disappearance of everyone’s life change in spite of all the flashback scenes to create the desired effect is incomplete.
On the differences between what we see and what really happens; especially the girl on the train has something to say about how life that looks perfect from the outside is based on lies. Rachel realizes on her journey that her own break and her life is upside-down like a train that derails and depends on these lies and fragility.
Even though he’s always been traveling to and from the same place and his course never changed. Because the truth is already in front of your eyes and it is hidden only because he chooses not to see. The image of the train journey, which is often the metaphor of our inner journeys, tells us about passing through ourselves and seeing others in The Girl on the Train.
Emily Blunt’s incredible Rachel performance is a big plus in the film. The director, who cannot master the dark story he tells, has tried to provide the atmosphere he wanted to create by almost never shooting his camera from Blunt’s face. Blunt’s flawless acting also helped a lot. Readers of the novel can see what an adaptation is, and if not, you can watch it to get an idea of the best-selling best seller of recent years. Even Emily Blunt’s performance will be enough to go to the movies. Have a good time.
All about The Girl on the Train movie.
The Girl on the Train (2016)
Directed by: Tate Taylor
Starring: Emily Blunt, Luke Evans, Rebecca Ferguson, Haley Bennett, Laura Prepon, Justin Theroux, Allison Janney, Lisa Kudrow, Hannah Kurczeski, Lana Young, Jalina Mercado
Screenplay by: Erin Cressida Wilson
Production Design by: Kevin Thompson
Cinematography by: Charlotte Bruus Christensen
Film Editing by: Michael McCusker
Costume Design by: Michelle Matland, Ann Roth
Set Decoration by: Susan Bode, Judy Gurr
Art Direction by: Deborah Jensen
Studio: Universal Pictures
Release Date: October 7, 2016
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