The Girl on the Train (2009)

Best movie ever!

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

The acting in this movie is really good.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

There have been three films and two novels with the title THE GIRL ON THE TRAIN. (There is also a novel called GIRL ON A TRAIN.) The earlier novel was written by my friend Peter Whitehead, but it has never been filmed. The second novel was made into the third film. Of the three films, this was the first, though its title in French was very different, namely LA FILLE DU RER (THE GIRL OF THE R.E.R.). For those unfamiliar with the underground systems of Paris, there are two. The first is the well-known Metro, which goes short hops a few minutes apart. The second is called the R.E.R. It goes for long distances between a few main stops and extends way out to the far suburbs, being a genuine rapid transit system for commuters. So the girl of this story is not really on a train per se, she is merely on a commuter service which starts overground and goes underground when it reaches the centre of Paris. Four years later, a less well known film of the title was made in America, with its action commencing at New York's Grand Central Station. And in 2016, a British film of this title was made with Emily Blunt, which has had a considerable commercial success and is the best known of the three. This one is a brilliantly made film by that old pro, André Téchiné. He directs films as effortlessly as water flows under a bridge. But that is not to say that the film is wholly satisfying. The script is very good, but the story conception is somewhat perplexing, with insufficient background information. Hence it lacks focus, unlike the cameras.The director presumably must have wanted to make a film which remained enigmatic and suggestive, leaving us guessing about the layers beneath. That must have been his intention, and in that he succeeded. But is that really effective? The central character in the film is a very young woman, really still a girl, who is 'all mixed up', to say the least of it. No effort is made to get us to sympathise with her, nor is any made to get us to dislike her. We are meant to be puzzled observers. It is clear from the very beginning that she is wilful, foolish, pig-headed, and astonishingly stupid. She has a vague childlike charm, but she also can snarl and pout at the drop of a hat. Her father was an Army officer who was killed in battle in Afghanistan when she was 5, and she has been raised by a rather aloof mother, played by France's leading ice queen, Catherine Deneuve. Deneuve shows a surprising amount of diffused and unfocused sympathy, clearly trying hard to love her child but finding it difficult. The daughter tells her very sinister drug-dealer boyfriend that she and her mother are so close that they are 'inseparable', but that is merely one of the girl's many disembodied fantasies. She wants to be loved but is not at all discriminating about who might do so. In other words, she is a lost young soul wandering the world, dressed only in a smile. The girl is played to perfection by an extremely talented young Belgian actress, Émilie Dequenne, who at 28 looked and behaved younger. She played Valentine in the 2006 film of LE GRAND MEAULNES. The girl inexplicably goes to pieces and fabricates a sensational tale of having been assaulted by anti-Semites while travelling on the RER. Before boarding it, she had cut herself with a knife to make a gash on her face, cut off part of her hair, and drawn swastikas (as it happens, the wrong way round) on her stomach. She then goes to the police and claims this was all done to her by neo-fascist yobs. This causes a scandal in the press and even the President of the Republic issues a statement of sympathy for her. But then her story unravels when it is realized that she made it all up. She does not appear to realize why she did this, nor can anyone else figure it out. She is not even Jewish. The story is far more complicated than this, and involves penetrating studies of several characters, resulting in a tapestry portrait of some intersecting lives and groups of people constituting a haphazard milieu, all of whom are in their own ways deeply perplexing. So I suppose the director wanted us to know just how strange everyone really is. I believe him.

André Téchiné's 'The Girl on the Train' (La fille du RER) focuses on a naive girl Jeanne (Émilie Dequenne) who fabricates a story about being attacked on a suburban Paris train by black and Arab youths who supposedly mistook her for a Jew. The story is based on a real event that took place in France in 2004, adapted for the stage by Jean-Marie Besset as 'RER', and written for the screen by Besset, Odile Barski, and director Téchiné. Téchiné, stating that 'the story became the mirror of all French fears, a revelation of what we call the 'collective unconscious.' How an individual's lie is transformed into truth with respect to the community at large and its fears', 'The Girl on the Train' dissects the psychological circumstances and consequences surrounding a bold lie in a rich drama, concentrating on the permutations such an act has one all concerned. Jeanne lives with her single mother Louise (Catherine Deneuve) who manages the family finances as a childcare provider. Jeanne spends the greater part of her time roller skating and it is on one of her excursions that she meets the rather mysterious Franck (Nicolas Duvauchelle), a young wrestler who immediately attempts to win Jeanne's attention and affection despite Jeanne's insecurities. They eventually respond to the mutual chemistry and Franck searches for a way to help Jeanne out of financial difficulties: they become caretakers in a warehouse home, which is unbeknownst to Jeanne, a drug trafficking site. An incident occurs when a 'buyer' shows up and Franck is stabbed in defending his caretaker job and Jeanne's future. Jeanne is distraught but when she visits Franck in the hospital, Franck blames Jeanne for his bad luck and rebuffs her - he must now serve prison time for his involvement in the drug game. Now, torn between her loss of money, her new 'home', and the love of Franck, Jeanne plans a manner of striking back: she slices her skin, clips her hair, and paints swastikas on her abdomen and reports that she has been attacked by anti-Semites. Louise seeks the assistance of an old flame who is now the important Jewish lawyer Samuel Bleistein (Michel Blanc) - man with whom Jeanne had unsuccessfully interviewed for a job - and what Louise thought would be a protection for both Franck and Jeanne results in Jeanne's confession that she fabricated the entire incident, a factor that disrupts the lives of all those affected by the lie, especially the family of Bleistein already teetering on disintegration due to the rocky marriage of his son and daughter-in-law and the preparation for the grandson's contested Bar Mitzvah. Téchiné knows how to take seemingly ordinary people and circumstances and show the profound effect of evil wherever it raises its head. The film is enhanced by the verismo photography by Julien Hirsch and the apropos musical score by Philippe Sarde. While this film is not quite up to the standards of Téchiné's films such as 'Wild reeds', 'My Favorite Season', 'Changing Times' or 'Strayed', it still maintains that realistic surface beneath which lies the real grit of life. In French with English subtitles. Grady Harp

This movie consists of scenes of a girl Rollerblading, occasionally interrupted by a failed attempt at storyline and character study. Before, or better if, you read any further: Don't Waste Your Time.This movie was 102 Minutes, but honestly felt double that length. The whole thing stunk, but here come the specific aspects of reek. We are never given any motivation for the "true event" culmination this movie is based around. There are peripheral stories and characters that are useless to plot development and uninteresting. It's slow, it goes nowhere and if I hadn't been watching it with other people I would have shut it off about 3/4s of the way through. I think there is still a contingent of American people out there that believe foreign equals complex and innovative. Watch this Rollerblading commercial called a movie and you'll realize that merde is merde in any language. (Look it up).

The Girl on the Train (2009)The hook that made this movie successful is not enough to make the movie good. The added plot in the first half fizzles and seems ultimately irrelevant. Yes, the main actress plays the part of an "airhead," as the subtitle translates her stupidity. But the movie itself has some of the same disease. It lacks formal intelligence, and it stretches out a few basic ideas over 105 minutes, posing as a serious movie with serious implications.Not that it's misery to watch. In a way, the fact that you get sucked in waiting and waiting for some basic conflict to formulate says something about the acting and editing. This is contemporary Paris, or a cozy, idealized side to it. And you can't dismiss the theme of anti-Semitism, which gets some elaboration and complexity as you go, including some great, if simplified, conversations between Jews at their country house about what it means to be a contemporary Jew. It's conveniently packaged, but adds some needed interest to the events.This leads eventually to a rather long and oddly placed bar mitzvah celebration, and some more roller blading filler. It's a frustrating thing to see all this content watered down by a single turn of events, the faked hate crime attack, which happens well past the halfway point of the movie. And around which the suspense of being fooled is left out of the movie, because we are told everything as it happens.