The Train

Director: Shyam Bajaji
Producer: Narendra Bajaj, Shyam Bajaj
Starring: Emran Hashmi, Geeta Basra, Sayali Bhagat, Anant Mahadevan, Suresh Menon, Rajat Bedi
Music Dir: Mithoon

Some films should never be made…" Indeed, when it comes to story or subject selection films like 'The Train' should have never been made. Extramarital affair, treachery, deception, illusion, betrayal, remorse…. Haven't we had enough of all these during these years? There have been countless films on adultery, treason, blackmailing, and 'The Train' is "run of the mill" stuff with no big exception. Karan Johar's impressive but notorious 'Kabhi Alvida Na Kehna' glorified the extramarital affair and lately there was 'Metro' showing the intensity of extramarital relationships. They were aesthetically conceived flicks but still faced the wrath and ire of media and "aam junta", but 'The Train' comes out as a messy amateurish attempt of erotic thriller unveiled in the contours of the extramarital affair.
The director duo Raksha Mistry and Hasnain N Hyderabadwala who made their first offering 'The Killer' with Emraan Hashmi disappoints viewers completely with their second presentation - 'The Train'. Their infatuation and attraction towards Hollywood erotic thrillers continues as 'The Train' seems more like a "desi" version of Hollywood's 'Fatal Attraction' and 'Derailed'. Earlier, their 'The Killer' was somewhat inspired from Hollywood's 'Collateral' and this time they have chaotic family drama, uninspiring relationships and amateurishly scripted potboiler packed in their much hyped 'The Train'.
Why the film was titled 'The Train'? This question may be haunting viewers and critics after viewing the unsatisfactory and substandard two and hour entertainment (14 reels) package. Was it a cinematic gesture to provide endorsement for Bangkok Mass Transit System or Bangkok "darshan"? It seems that they have hired it from Hollywood's 'Derailed' as it could match well with 'The Train'. If the film was based on treacherous erotic romantic relationship then there have to be more authentic title that could justify its subject. In last few years such concepts have been outrightly rejected and films based on such concepts have fallen like nine pins.
Secondly, why the subject of the film was planted in Bangkok when it could have been easily made in cities like Mumbai or Delhi? Besides, the film loses on other grounds too like on its sick and haggard screenplay that proves to be the biggest culprit. The characterizations were amateurishly conceived and actors like Rajat Bedi, Suresh Menon and Anant Mahadevan have been forced rather than accommodated into the film. In terms of execution and treatment the film falls in the cadre of films like 'Red', where the predictability factor and poor writing work kill the show.
Sadly, the basic plot is so coarsely implied that only a novice won't understand where the film is going to end. Like typical erotic thrillers, the main protagonist (Emraan Hashmi) has been tamed as scapegoat for all misdoings but ends up being the winner over the wrong doer. How different! The positive elements (yes, there are few) of 'The Train' lies in the melodious musical score of new composer Mithoon with some honest performances by the leading star cast and technicians. These attributes are not worthy to cast any spell on box office and it ends up like a loser from the first show.
The common factor between producer Narendra Bajaj and director duo Raksha Mistry and Hasnain N Hyderabadwala is stubble and dreary looking Emraan Hashmi. Ironically, both the producer and the director had bitter experiences in films like 'Aksar' and 'The Killer' as these Emraan Hashmi starrers proved waterloo for them. Their communion in 'The Train' can't be astronomically correct (like Emraan Hashmi changing his phone numbers for astrological reasons in the film!) but commercially a miscalculated warfare.
What happens when you give in to temptation and neglect your responsibilities? Simple! It ends up in landing in some other's arms or fall into a treacherous trap. The film signifies both aspects in two different tracks and finally collage them in the climax. What happens when you "cross the lines"? (Read the film's tagline) It initiates the melodramatic twists and turns of an unwanted erotic thriller that questions the competence of filmmakers. It all starts in Bangkok's sky train (so we have title 'The Train') and ends up in a dingy motel room in typical Hollywood style of an action thriller. In between there are bedroom and bathroom erotic scenes that alleviate the crowning title of "smooching sensation" to kisser boy Emraan Hashmi.
The film is the story of Vishal Dixit (Emraan Hashmi), a white collared marketing executive living a tedious and unexciting life in a plush Bangkok city. His life turns upside down when he meets a gorgeous woman (Geeta Basra) in the "train". The seductive gal catapults him into a world of romance, lust and temptation and finally endanger him with her wicked plans.
Vishal, an ordinary middle class man, is settled with his wife, Anjali (Sayali Bhagat) and their five-year old diabetic daughter, Nikki. Anjali and Vishal are struggling to hold on to their worsening martial relationship which is deteriorating with every day conflicts. One fine day, on his way to work, Vishal meets Roma (Geeta Basra), a beautiful high profile socialite woman who pays his train's bill. (We wish the directors could have lost their script too in the same train !) Vishal realizes that she is a loner too and discloses the atrocities of her ruthless husband (Rajesh Khattar). The friendship culminates into a "fatal" attraction! (How quick, monotonous and boring!). The "fatal" attraction lands them in an adulterous affair.
Vishal and Anjali elope in a posh hotel room for sexual satisfaction but soon they are overpowered by muscular and sturdy goon Tony (Aseem Marchant). Tony robs and beats Vishal, molests Roma and ransacks the hotel room. Dejected and disappointed Vishal is blackmailed by Tony for his illicit sexual relationship with Roma. Anjali starts getting suspicious of Vishal's indifferent behavior while his romance with Roma deepens with his worsening mental condition. Vishal tries to salvage himself by seeking help from his colleagues (Anant Mahadevan and Suresh Menon). In a hot pursuit to avert Tony, his colleague (Suresh Menon) gets killed. Inspector Khan (Rajat Bedi) investigates the case while Vishal avoids his questionnaires. The film falters miserably in the climax when Vishal surfaces the reality of Roma and her link-up with blackmailer Tony. The film ends amateurishly as the climax is poorly handled with major flaws.
Emraan Hashmi might have resurrected his image of "serial kisser" after abstaining from kissing in last few films but he disappoints with his stubble and weary looks. It can be counted as his one of the most ordinary performance as he was supplied with poorly scripted character. Poor debutante Sayali Bhagat! She has to go the Tanushree Dutta way for making her presence felt in Bollywood. Unfortunately, her first screen presence is similar to Tanushree's debut film 'Aashiq Banaya Apne' where Ex-Miss India turned actress has to go in a marathon smooching session with Emraan Hashmi.
Like her predecessor she too falls short of deserving acting talents despite her ravishing screen presence. Bad and inconsequential phase continues for Geeta Basra as she is duped to be in Mallika Sherawat's shoes. After the forgettable debut in 'Dil Diya Hai', she strikes another flammable chemistry with serial kisser Emraan Hashmi. The over-exposure and mindlessly conceived kissing scenes added with skimpy outfits don't justify any merit. Suresh Menon's "mimicry" comical acts deliver moments of laughter while Anant Mahadevan and Rajat Bedi are wasted.
Mithoon's melodious music has once again decimated in this shoddy display but still all his soundtracks ("Who Ajnabee", "Beete Lamhein" and "Zindagi Ne Zindagi Bhar") are the brightest aspect of the film. The young composer has had colossal success in films like 'Anwar' and 'Bas Ek Pal', but the films faltered and his bad luck continues with 'The Train'.
Overall, the film will be faring average to poor in the multiplexes but later it will add itself to the series of over-hyped misadventures.