by Murtada
The Girl on the Train presents actressexuals with a major dilemma. On one hand you have an actress you like front and center in a movie, being framed by an adoring director and cinematographer, giving her showcase scene after showcase scene. And the actress is giving it her all, rocking our world with deeply felt emotions. On the other hand the movie around her is artless, even silly at times. What would an actressexual do in this situation? Be happy the actress is Emily Blunt, lean back and enjoy.
Blunt is Rachel an alcoholic who in an effort to forget her ex husband (Justin Theroux), his new wife (Rebecca Ferguson) and a life she still pines for, creates an imaginary loving story for the couple (Haley Bennett and Luke Evans) she watches from the train on her daily commute. When Bennett’s character disappears, and she can’t remember where she was because of a drunken blackout, Rachel fears the worst. There’s a mystery, a few suspects and each of the three women of course has a secret. It’s not groundbreaking material, but there’s enough for an enjoyable thrill ride.
Girl is enjoyable for one reason only and that is Emily Blunt. She’s at the center and gets to play a woman who’s knocked down by life, who is lost but still has a glimmer of her former self. Aided by fantastic makeup, Blunt is able to chart her character’s inebriated, confused self and it’s always clear whether she’s drunk, hungover or just plain exhausted. As Rachel starts to piece together what has happened, we get to hesitatingly see her former self, giving Bunt even more notes to play.
The supporting cast is not on the same level as Blunt. Evans and Bennett are great to look at and have some steamy scenes but seem amateurish, particularly in comparison to Blunt. Ferguson and Theroux don’t register until the very end, more the result of the screenplay focusing squarely on Rachel. One can’t help the feeling that with the exception of Blunt we are watching the second tier of actors because the first group passed.
Taylor is comfortable framing his actors in tight closeups, helping Blunt telegraph her emotional acuity. The scene where Rachel is revealed to be an alcoholic is the film's high point and a great moment for both director and actor. Taylor is less successful with building credible tension or suspense about the mystery at the heart of the story. Rachel is supposed to be an unreliable narrator, yet the way she’s filmed there was never any doubt about the outcome. The big revelation scene was greeted with applause by the crowd at my screening, but I doubt it was for the scene being genuinely thrilling. It was more of a release because something finally happened. However everytime Blunt was on screen the film sprang to life and became riveting. Blunt rocked it and this actresexual was satisfied.
Grade: Blunt B+, movie C.
Oscar Chances: None.