The Girl on the Train Review

The recent release of this novel adaptation has been highly anticipated following the soaring success of the book. Directed by Tate Taylor, who previously worked on The Help, the film has drawn in a massive amount of interest. With its focus on a female narrator, the interesting play on the relationships between characters and the clever use of perspective it was a film that really interested me as I have myself produced pieces exploring these aspects. The casting and location have been subject to a lot of discussion and something I wish to explore further.

One of the main points made in a number of reviews about the film is how well Emily Blunt plays the main character, and at points carries the entire film. She has taken on the role of the derailed alcoholic incredibly well, from her hollow eyes to her slurred words and wobbling steps. Her fixation on Megan, the woman who later goes missing, appears to come from a place of genuine jealousy and is believable from the outset. It is this fixation which leads to the rest of the story unravelling, Rachel sees Megan kissing a man on the balcony of her home just hours before she goes missing. Blunt’s believability as the drunken wreck comes into play as she is unable to remember her own movements on the night of Megan’s disappearance placing her as a potential suspect. The location of the film has come under a great deal of scrutiny as the plot has been moved to America despite the novel being set on a train line heading into central London. There is no doubt that the large houses with their even larger gardens don’t quite seem to fit the descriptions of the characters and certainly the British commuter lifestyle seems to be a more apt setting for Blunt’s travels to and from a job she lost several months ago. Nevertheless, the location doesn’t entirely distract viewers from the plot and certainly the peaceful, expensive neighbourhood works to further separate Blunt’s character from a life she is no longer a part of as she drunkenly stumbles through it. The use of perspective throughout the film has been something which has been praised by many. The unreliability of all the characters mean that those who have not read the book will be kept guessing until the very end. By switching narrators and points in time the audience is made to feel as unsure as Blunt about what has actually happened on the fateful night. The clever use of angles and the inclusion of shots from the moving train meaning that nothing is entirely clear until the climax of the film. The film explores gender in a really interesting way, particularly in the final scene where the power shifts between male and female characters dramatically and it is this interplay which really captured my interest. It is an aspect of the film that Tate has worked with very well and something I hope to explore in some of my future projects.

A look at some of the creative quirks of Fritz Lang’s Metropolis

One of my main sources of inspiration is the highly stylised work of German expressionist artists. The geometric shapes and hallucinatory set designs are fascinating since I believe that this is the moment when filmmaking finally became a legitimate art form instead of being relegated to the ranks of lowbrow entertainment. While there are plenty of hidden gems to be found from this insanely creative period in the history of film, the heavy hitters have been praised for some very good reasons and I would like to use the space of this article to pay tribute to one of the best productions ever put to screen, Fritz Lang’s Metropolis. The story is ostensibly a science fiction tale that touches on ideas of class and uses Biblical allusions to make its points. However, like all iconic movies, it embraces a kind transcendental mishmash of styles that surpasses its genre bounds. Its rooting in the wider expressionist movement, which emerged as a collective pushback against the scars of World War I, is clear. The oppressive skylines and mechanical implements that litter the sets, as well as the strong themes of division between the working class, intellectuals and business owners, are all directly influenced by the social landscape of Germany during the Weimar Republic. One of the most impressive techniques used in the production is the Schufftan process, which was a very crude form of inserting actors into artificial sets. Essentially, miniature replicas of buildings would be constructed and the actors made to appear as if actually occupying the space through a complicated mirror set up. It is essentially the pioneer of the green screen effect. However, I find that a more apt comparison can be found in some of the tricks used by the crew working on The Lord of the Rings, where interior sets that would feature the hobbits alongside their normal sized companions would often use a distorted scale in order to trick the eye into seeing a size discrepancy. The musical score used during key scenes of the movie is also one of the reasons why its atmosphere is so widely praised. There are several recognisable compositions mixed in with original work and, once again, one of the way they used music anticipates work carried out for a more modern work. The 2012 adaptation of Les Miserables, directed by Tom Hooper, was notable because it broke traditional musical filming conventions and had the actors sing live on set, while also playing the backing track at the same time in order to help them get in the proper headspace. Lang, who was noted for his perfectionism, did a similar thing during his work on Metropolis. Other concessions to realism were made during the pyre scene, where real (but controlled) fire was used for fake Maria’s death scene.

Movie Review: The Fifth Element

It is no secret that Luc Besson is one of Hassan Mohammed Khalil Enany’s favourite directors. The whole ‘cinema du look’ movement itself is definitely where I derive a lot of personal inspiration from, and have definitely tried to recreate – even when on a shoestring.

So, The Fifth Element is not a new film, but is actually a classic among many people. It follows the story of Leeloo, a scientifically created “perfect being” and taxi driver and elite commando Major Korben Dallas, in their quest to save the world. It is also a love story, with the ending culminating in the pair of heroes falling for each other. It also features Gary Oldman in the role of evil villain Zorg and Chris Tucker as wacky TV presenter Ruby Rhod.

The first thing to mention is how visually stunning the movie is. In the Hassan Mohammed Khalil Enany version of the future, I too would have bright colours and larger-than-life everything. The world almost seems like it comes from a comic book, with fast-moving vehicles, robotic service staff and smart houses that monitor your health. The costumes, too, were designed by Jean Paul Gaultier, famed for his use of exaggerated shapes and textures. Leeloo’s look is definitely one which has been copied time and time again at Halloween.

The humour in the film is also something which can’t be denied. Chris Rock as the effeminate and cool Rhod is the epitome of physical comedy, contorting his body and working the camera in the most exaggerated and hilarious way. The ad libs from Bruce Willis (Dallas) are also brash perfection.

Mila Jovovich is the lead female and she actually married Besson after it was released. His affection for her is evident in the way the movie is shot, and it definitely helps the audience believe that she is this true perfect being – not that we needed much convincing after seeing supermodel Jovovich in action.

Overall, this is a perfect piece of sci-fi cinema. The story certainly isn’t hard to follow, but it definitely hits the spot in terms of action, visuals and sheer entertainment. This has a firm place in my DVD shelf, and I can rewatch time and time again.