Published last year, the "best-seller" the massive English Paula Hawkins, The Girl on the Train, which also sold like hot cakes in Portugal, is one of those books that only you lack to shout: "Adapt me to the cinema! To adapt me to the cinema!". the faster and more received than the rest, Hollywood has arrived-if logo to the front and DreamWorks snatched the rights to the film. As a result, the action that goes on between London and its surroundings, was transplanted to New York city and its surrounding tributaries, and there is only one interpreter for the british in the cast, Emily Blunt, that makes Rachel Watson, the wavering and uncertain heroine of "The Girl on the Train". The realization was undertaken by Tate Taylor, author of the politically correctíssimo "The Stewards", and well better "Get On Up" about James Brown.
[See the "trailer" of "The Girl on the Train"]
Rachel is a shard. Was without your beautiful house in the suburbs when the ex-husband changed for the lover, lost his job and started to get heavily into the cups, to the point of already having "white" memory. He lives with a friend who welcomed him and those who mind saying that it still works. the In fact, she spends the day walking from the train to the front and back while drunk and daydreaming about the lives of people with lives a seemingly — normal living in the houses located on the edge of the line, one of which was already his. And is the port of this once in a while if you are going to post, alcoolizada, the pasmar for the new wife of the ex-husband and for the baby it lot of noise scaring the-a.
[See the interview with Emily Blunt]
on The verge of turning a farrapo and see the world through an increasingly thick veil of alcohol, the Rachel fixed-very little are a young couple of former neighbors, Megan and Scott, who seem to be the picture of perfection in the marriage, fantasizing about her in a mixed self-pity and masochism. One morning, after passing the train by their house to see a scene unexpected, which is distinct from your fantasy. Shortly after, Megan disappears without a trace, is suspected of murder and, without quite knowing how, nor having the slightest idea of what could have happened, Rachel sees desastradamente involved in the case.
[See the interview with the director Tate Taylor]
With the constant plain-play of points of view – especially that of the copofónica and flashes of reality Rachel – and "flashbacks", the use of the narrators of little or no confidence, the technique to be always the switch the turns the narrative to the viewer, and you go throwing crumbs of what seems to be information but after all is not, and playing the "looks can be deceiving", "The Girl on the Train" turns out to not be what it seems. That is, is the film intriguing, intelligent, and skillful, when in fact it is predictable, smart and industrious. the Any reader or spectator of the police minimally beaten notice after a while the edge of the penalty area that Paula Hawkins, and Tate Taylor you are wanting to spend, and what is the crux of the plot. And when this gives the pirouette climate, since the topámos a good half an hour before.
[See the interview with the writer Paula Hawkins]
Taylor uses still to the corn for the sparrows of the discourse of the "spectator-voyeur-through-the-character-main" and the cliché of the facade hypocrite of the lives of middle class suburban, and even gives a few elbows in the direction of Hitchcock, but it’s all useless. the "The Girl on the Train" is one of those cases of less art than gimmicks, a lot of parra of restlessness and little grape "suspense", "thriller" psychological with a few "thrills" and even less psychology. And what a shame to see an actress with all the qualities of Emily Blunt not being able to show that the valley (as he did in "Sicario-Infiltrate", for example), limited as it is by the character are so exasperating and depressing in his helplessness as Rachel. Even so, she is the one that most takes advantage of of this film that sells us a ticket to first class for what after all is a journey in the second.
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