Implement panel’s anti-pollution measures, SC tells Centre, Delhi Govt.Wednesday, April 19th 7:00 PM AMC River East 21 (322 E. Two travellers from Singapore, UK, test COVID-19 positive in TN, samples sent for genomic sequencing India’s services sector activity in November registers second-fastest pace of growth since July 2011: SurveyĪnalysis | Shiv Sena may take a hit as Uddhav Thackeray recovers from illness steps up disclosure pressure on Chinese companiesĪir India employees move Madras HC against disinvestment without protecting their service conditionsġ1 wild elephants rescued from Assam mud trap in 24 hours Jet Airways in 'advanced discussions' with Boeing, Airbus for buying aircraft United Nations says Islamic State committed war crimes at Iraqi prison Save crops, cattle in the wake of cyclone Jawad: CollectorĬonvicted ex-head of world athletics Lamine Diack dies at 88 So are zombies.īottomline: Engaging thriller even if it doesn’t redefine the zombie genre Storyline: A group of people are travelling to Busan in a train. Why take the trouble of dubbing a film, when a large part of the dialogue is primal screams and guttural roars?Ĭast: Gong Yoo, Ma Dong-seok, Jung Yu-mi, Kim Su-an, Kim Eui-sung But I’d rather that they have just played the Korean film with subtitles.
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The Korean film is dubbed in English, a bothersome quality that seems less distracting as the movie goes on. A strong woman would’ve completed Train to Busan’s world quite satisfactorily. Even when a girl’s singing eventually saves the situation, it’s utterly accidental. It’s the men who land the punches, and swing the baseball bats. I wish the women in Train to Busan had had more to do instead of being deadweight in need of rescue.
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It’s rather revealing that the biggest villain, and in a film that is full of blood-thirsty zombies no less, is a rich man who leads this group against the other. So deep runs this mistrust that even zombies seem like the lesser evil. So strong is their distaste for this other that they take great pains to lock the door blocking them first before turning their attention to the zombies. Towards the end, it even blows over into a full-scale struggle in which the people holed up in a compartment-the comfortable people-refuse to grant entry to another group, suspecting them to be potentially dangerous. If it was their own, another person of their ilk, they probably wouldn’t have been. In another scene, a father and daughter try to use connections to save themselves, but are ill at ease to learn that the homeless man joins them. It seeks to thrill the laughs are very few, like the scene in which a man frustrated at the zombie’s rabid need to bite, shouts, “Are you crazy?!” I wish there had been more such moments, but what it lacks for in amusement, it makes up for in depth - a selfish man, for instance, is forced to destroy himself for a greater good - and some generic albeit sapid commentary on class struggle.įrom very early on, when the security try to force out a homeless man frm the train, there’s a strong thread of ‘us versus them’ that permeates the film’s universe. The film is more World War Z than Zombieland. Such symmetry in writing doesn’t happen accidentally. A girl whose singing falters on account of her father’s lack of support, sings her best when he’s gone forever.
A woman who’s expecting a child is forced by circumstances to accept another.
A homeless man, viewed throughout with suspicion by the other characters, is the reason two upper-class women survive. A man who isn’t allowed entry into a train compartment by another finds the tables turned later in the film. The film is full of such delicious ironies. A crucial shot of a self-sacrificing man is shown as a shadow… a dark figure of a man who, during the course of the film, manages to turn to light. It has everything you’d expect in a zombie film: The close calls, the mass slaughters, the long chases. Train to Busan brings absolutely nothing new to the zombie genre, but it shows that lack of novelty needn’t be a handicap at all. This is how I remember some of them: gusty, funny guy with pregnant wife (Ma Dong-seok), selfish father (Gong Yoo), little girl with parental issues (Kim Su-an), homeless man (Choi Gwi-hwa), flirtatious students (Choi Woo-shik and Ahn So-hee)… But these general labels are what we’d have likely slapped on them if we’d travelled along in that cursed train to Busan even as South Korea slowly turns into zombieland for no apparent reason. They are all archetypes, and none of their names register. It is incredible how quickly Train to Busan gets you to care about its characters.