Best Movies about Train compartment

Movies about Train compartment

Trains and Bollywood movies go quite well together. As we have seen, in most Bollywood movies, trains play a significant role in either the introduction, climax, or the end of the movie. In some movies, the train sequence becomes the major highlight of the entire movie. So, if you’re someone who enjoys Bollywood movies, the below article gives to a list of the top 6 Bollywood movies that have a strong association with trains.

Jab We Met

Kareena Kapoor and Shahid Kapoor’s hit movie Jab We Met is majorly based on the train. Kareena Kapoor who plays the role Geet and Shahid Kapoor who plays the role of Aditya — both of them with their IRCTC Train Ticket meet in the railway berth and their journey continues. The entire story which happens after that wouldn’t have been possible without their meeting on the train.

Dilwale Dulhania Le Jayenge

This iconic movie was released in the year 1995. Ever since the release of this movie even to this date, the movie is known for its epic movie scenes. From the beginning to the end, the train plays an important role in delivering the story.

Chennai Express

Shahrukh Khan and Deepika Padukone’s hit comedy movie also has a very strong train reference. Right from the start of the movie you can see both the leads meeting in a train compartment and continuing their journey. Since the movie is shot in the south of India, you can see captivating views on the train passing through various bridges.

Řekni to

Every Bollywood fan has danced to the iconic Chaiyya Chaiyya song from the movie Dil Se. Starring Malaika Arora and Shahrukh Khan, the famous song is captured on a moving train. The song takes you on a beautiful journey through the trains.

Kuli

Amitabh Bachchan’s famous movie Coolie is also based on the railways. This iconic old classic movie is a gem. The movie also stars the late Rishi Kapoor and Waheeda Rehman. In the film, you can see Amitabh Bachchan learning to make an omelette through the radio while trains are passing by.

Yeh Jawaani Hai Dewaani

Another classic movie is Yeh Jawaani Hain Dewaani staring Deepika Padukone and Ranbir Kapoor as the main leads. School friends who meet on the train and then end up falling in love. This modern lover story movie also has their journey starting on the train.

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Compartment No 6 review – bittersweet brief encounter on an Arctic-bound train

B ack in the early 1990s, while covering the filming of the bizarre Russian-backed, Ukraine-set horror movie Dark Waters, I spent 17 hours on a midnight train from Moscow to Odesa. To this day I can still vividly recall the noise, smell and claustrophobia of that journey, crammed into a damp, four-bunk berth with tiny corridors whose windows were sealed shut, leading to toilets that were best avoided. All those memories came rushing back as I watched Compartment No 6, a 1990s-set drama in which a young woman boards a Moscow train heading the other way – up towards the port city of Murmansk. The film’s trajectory may be north rather than south, and the timescale far longer than my trip, but the expression on Finnish actor Seidi Haarla’s face as she enters the titular compartment had that same mix of horror and resignation that I remember so well.

Haarla plays Laura, a Finnish student who has been living in Moscow with Irina (Dinara Drukarova), an academic with whom she has fallen in love. Together, they booked a trip to see the Kanozero petroglyphs, ancient rock drawings that date back to the third millennium BC. But Irina’s schedule changed and she encouraged Laura to go alone, leaving her to share a sleeper cabin not with her lover but a stranger, Russian miner Ljoha (Yuriy Borisov).

Laura and Ljoha are chalk and cheese, almost caricatured representatives of their respective nations. He is gruff, often drunk and aggressively impolite, asking if she is going to Murmansk to work as a prostitute. She is aloof, looking down disapprovingly from the top bunk as he fills the cabin with his booze and cigarette smoke. At first it seems that their confinement may lead to some form of violence – that one of them might not make it to their destination. But as the journey progresses, a form of social perestroika starts to occur. Gradually they find common ground beneath the alien surfaces as the cold war between them begins to thaw.

Finnish director Juho Kuosmanen, who made the melancholy boxing romance Nejšťastnější den v životě Olli Mäki, popsal přihrádka No 6 (which is loosely adapted from a novel by Rosa Liksom) as “an Arctic road movie that takes place in a train”. Shot largely within the confines of a real Russian train, the film brilliantly captures the authentic air of its setting, placing the audience right there in that strange liminal space between stasis and motion, an environment that strikes a chord with both its central characters.

Despite her declaration that she longs to be back in Irina’s bohemian apartment in Moscow, flashbacks to Laura’s life there show her as a fish out of water. Increasingly, it becomes clear that she only embarked on this gruelling cross-country trip in an attempt to fit in with her lover’s life. As for Ljoha, beneath his brash exterior lurks a painful recognition that Laura can only be his companion – for better or worse – for the duration of this journey.

Alongside David Lean’s British classic Brief Encounter and Wolfgang Petersen’s German masterpiece Das Boot, Kuosmanen cites Karim Aïnouz’s 2019 sisterly love story The Invisible Life of Eurídice Guasmão a Sofie Coppolové Ztraceno v překladu as key influences. I also saw deadpan echoes of Jim Jarmusch’s US indie road movie Stranger Than Paradise, in which Richard Edson’s Eddie famously remarked: “It’s funny – you come to someplace new and everything looks just the same.” While přihrádka No 6 may take place on the other side of the world, its bittersweet conclusion is similar; wherever you go, it’s not the arrival but the journey that matters.

Beautifully believable performances from Haarla and Borisov add emotional weight, rivalling the nuanced naturalistic charm of Ethan Hawke and Julie Delpy in Richard Linklater’s Před trilogy. As for any wider message, the film’s central theme of overcoming otherness and finding common ground across personal, cultural and geographical borders seems like a balm for the soul in these tumultuous times.

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• Dramatické filmy
• Mark Kermode’s film of the week
• Světová kinematografie
• recenze

Time travels in a train: How a trope from Satyajit Ray’s fiction and cinema inspired Wes Anderson

Trains featured in several of Ray’s films and writings as an in-limbo space, between the past and the present or the living and dead.

Sep 08, 2017 · 11:30 am

Examples of English novels set on the Indian Railways are few and far in between. Rather than Indian authors, one usually recounts the railway stories of Arthur Conan Doyle (the numerous railway journeys on which Dr Watson accompanied Sherlock Holmes or his trail), Agatha Christie’s railway novels (4.50 od Paddingtonu, Záhada modrého vlakunebo Vražda v Orient Express), Patricia Highsmith’s Cizinci ve vlaku, Graham Greene’s Vlak Stamboul, or more recently, the enchanting Hogwarts Express, from the Harry Potter series, by JK Rowling.

Although RK Narayan and Ruskin Bond have given us several marvels of train journeys or railway platform chronicles, for a sustained railway experience – characterised by the thrill of nocturnal adventures – one must turn to Indian films, or the Indian filmmaker Satyajit Ray. His affinity with trains, especially first-class compartments, has yet to be explored.

Trains through the Haunting Nights

Ray inspired Wes Anderson’s The Darjeeling Limited (2007), in which three American brothers who have reached a haunting twilight in their lives decide to take a spiritual journey across India, in what appears to parody a possible Orientalist take on India. A lot of the film’s soundtrack was originally composed by Ray, and all the sequences on an Indian train which masqueraded as a microcosm of India, were part of a trope borrowed from Ray – one that he used many years ago in his film Nayak (1966).

Ray’s own train compartments operated as realms haunted by history.

Ve filmu Sonar Kella, three time zones come together on the trains. Mukul Dhar, a five-year-old boy and a jatishwar or reincarnate, remembers his previous life and claims to have seen precious jewels since his father was a gem-cutter. A parapsychologist, Dr Hemango Hajra, takes Dhar to Rajasthan. Two conmen, Mandhar Bose and AM Barman, pursue the doctor and the child under the belief that Dhar knows the site of some hidden treasure.

The conmen intercept the two on the train, befriending them and travelling with them to Jaipur, where Bose pushes Hajra off from the Nahargarh fort. Like Dhar the revenant, Hajra too revives, and boards the train in which the private detective, Pradosh C Mitter (or Feluda), his nephew Topshe and literary comrade Lalmohan Gangouli (Jatayu) are travelling to Jodhpur. Hajra becomes a “highly suspicious” presence – a spirit to be kept at safe distance by the conmen, or the benevolent apparition Feluda must trust.

The first-class compartments of Sonar Kella assume surreal identities – dwellings-in-transit outside the railways and the time in which they travel. In the film’s most iconic sequence, Feluda and his compatriots, mounted on camels, chase a train to Pokhran. Three modes of transport – banjara caravans, railways and a motor car (primitive, modern and postmodern, respectively) – and their historical milieus coalesce. Later at night, Bose’s plan to attack Feluda and his sleeping companions is foiled – Bose hides in a neighbouring compartment, where he sees what he believes to be the ghost of Hajra. A strong nocturnal draught fells the petrified thug from the speeding train – a train known as the Fort of Jaisalmer.

Bhowmick’s theft of the Swiss Clock – commemorating Hans Hilfiker’s design of the Swiss Railway Clock from 1944 – recapitulates the colonial ideology of wanton loot. Bhowmick, despite having won a lottery of Rs 7,000 (a hefty sum in 1973), remains a thief – a kleptomaniac. Nine years later, however, the hunter is hunted, in a similar, if not the same, first-class compartment.

Bhowmick intends to hide the stolen clock back in Chakravarty’s suitcase. Unable to do so, he hands the belonging back. Later, when Bhowmick reaches Delhi, and opens his suitcase, he finds that Chakravarty has nicked his packet of Three Castles cigarettes, Japanese binoculars and money. Chakravarty too has been a kleptomaniac all his life, notwithstanding his lavish upbringing.

Ray’s film Nayak, the most philosophical of his railway sequences, also travels back and forth in time during its narration about the life of a celebrity actor, Arindam Mukherjee. While travelling from Calcutta to Delhi, Mukherjee actually travels back in time, yielding to the request of Aditi Sengupta, a journalist who wishes to take his interview. In the first-class restaurant car, he feels secure with her, whereas the other passengers give fodder to his cynicism.

Nayak transcribes the passage of an age of deification of artists and celebrities. As the train arrives in Delhi, the passengers return to the normalcy of their ordinary lives. Sengupta does not turn back, but Mukherjee looks on intently as he is garlanded by a crowd at the station. Instantly, he hides his eyes behind dark sunglasses, like the coated window-glass of the first-class compartment that the gaze of bystanders cannot penetrate. Like a luxury train, he too is expected to resume his celebrity career, time after time, acting merely as the carriage for the aspirations of his audience.

• Satyajit Ray
• Wes Anderson
• Indické železnice

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