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The allure of Paula Hawkins’ hugely popular page-turner “The Girl on the Train” was never based on the mystery surrounding whodunit. In particular, the way Hawkins jumped around in time and narration between a trio of toxic women who were each struggling with the increasing difficulty of maintaining their finely tuned facades in front of the rest of society was noteworthy.
There’s Rachel, who is the inspiration for the book’s title. As she commutes to and from the city twice a day, she looks longingly out the window, fantasizing about the seemingly perfect suburban lives she passes while sneaking sips of vodka to keep the shakes at bay. She was once a happily married publicist, but now she is single and living in her car.
One of those comfortable houses is Megan’s, a pretty blonde who lives in one of those comfortable houses. It is one of the many ways in which this serial liar and runaway has reinvented herself; she has a handsome husband and an idyllic life, but she is restless and longs for another adventure.
Another character is Anna, who is now married to Rachel’s former husband and is the mother of his infant daughter. Rachel and her ex-husband were previously married. She also happens to live in Rachel’s old house, which is a happy coincidence. In spite of the fact that she is blissfully content as a mother, she is also bored and longs for the exhilarating days when she was The Other Woman.
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The novel’s tumultuous events unfolded as Hawkins peeled away the layers of these characters’ personalities, revealing their flaws and fears while providing a variety of (and often unreliable) points of view. While not quite as good as “Gone Girl,” to which it will almost certainly be compared as a juicy exploration of violence and mystery in genteel suburbia, “The Girl on the Train” is still entertaining trash. At the very least, it’s a good novel.
As a film, however, it isn’t even close to being that. It’s just a flat and uninspiring story about attractive women who are in danger. Moreover, not only is the whodunit portion of the film not particularly interesting (or surprising), but neither are the characters who are circling around one another until the big reveal is revealed. Tate Taylor directs Erin Cressida Wilson’s adapted screenplay, which condenses the personalities of these three women into a handful of characteristics rather than allowing them to be complex and interesting characters to root for.
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Taylor, who had previously taken a similarly safe approach with his breakthrough film “The Help,” fails to alternate between these characters with the necessary fluidity and tension in his second feature film. (His underappreciated “Get on Up,” which featured an electrifying performance by Chadwick Boseman in the role of James Brown, had far more verve than his other songs.) The story comes together in bits and pieces rather than as a cohesive, cohesive whole. And because these women have been oversimplified, there is a greater emphasis placed on the fact that they have all been defined by and/or reliant on men in some capacity. Sadly, this wasn’t always true on the page, which seems particularly unfortunate given how much of the novel is ultimately about women standing up for themselves and fighting together while also discovering their own identities.
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There is still Emily Blunt, fighting to make Rachel complicated and compellingly damaged in the best way she knows how to. Even though the setting has been relocated from the outskirts of London to the leafy hamlets along the Hudson River in Westchester County, New York, Blunt retains her British accent throughout the film. Rachel is immediately cast as an outsider, and her near-constant, bleary-eyed inebriation only serves to exacerbate her feelings of loneliness and isolation. Rachel is puffy and frumpy in the book; Blunt, on the other hand, is anything but. The showiness of the role, with its rage-filled nights and remorseful days, doesn’t bother her at all.
Rachel used to have it all. Now, as she observes the lives of others from the train, she becomes obsessed with them. Megan (Haley Bennett) is her primary target, and she is seen kissing and canoodling with her hunky husband, Scott, throughout the film (Luke Evans). Rachel projects all of her fantasies onto them, while Anna (Rebecca Ferguson), who lives a few houses away, appears to be living a dream life with Rachel’s ex-husband, Tom, who Rachel has never met (Justin Theroux).
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Megan had the good fortune to have worked as their nanny, which was convenient. But then she vanishes without a trace, and Rachel is convinced that a glimpse of something she caught on the train might hold the key to discovering what happened to her. Rachel also considers the possibility that she may have played a role in the incident, given that she was blackout drunk the night it occurred. As a result, she becomes involved in their lives as well as the police investigation (Allison Janney is the much-needed voice of reason as the annoyed lead detective). In addition to Megan’s therapist (Edgar Ramirez), who is named as one of many possible suspects in her disappearance, she has stalking tendencies toward other people.
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As described in the novel, Rachel’s clingy desperation was sad to witness in its clingy desperation, and the fact that she was clinging to wisps of her own alcohol-addled memory for clues made her an endearing character. However, because everything happens so quickly in the film, her actions are only perceived as bizarre and unintentionally humorous by the audience. During the screening I attended, a couple of instances of her running through the woods elicited giggles, despite the fact that Taylor was most likely aiming for thrills and suspense.
In a strange twist, the men in the equation are given even less attention, despite the fact that they are the ones who determine how the women feel about themselves and their bodies. Because of this, when “The Girl on the Train” finally answers the question of whodunit—and does so in a trustworthy manner for once—the result is more of a shrug than anything else.
For more personality quizzes check this: Alice Through The Looking Glass Quiz.
