Train To Hell aka Night Train to Venice The Orient Express, on it’s night trip from Munich to Venice, is full because of the beginning of the carnival in Venice. Between the passengers are a journalist, an actress and her daughter, an elder dancer, five neo-nazi punks and a strange man that seems to have some kind of influence over them through their dreams.
Excellent film, well done that man.
Train To Hell aka Night Train to Venice I first saw ‘train to hell’ in France in 2004. It was in one of those 3-in-1 compilations – a sure sign of its poor quality. Its excellence, however, is belied by surely the most unrepresentatively titled film ever. Train to hell. No. train to Venice. Yes.
I expected it to be a dark nightmarish train journey, culminating in some sort of death. However, the train appeared quite pleasant, apart from the odd camp German skinhead neo-Nazi stereotypes and Malcolm Macdowell, whose silence is enough to turn any milk sour with fear. Truly a spectacular start. It gets better.Martin Gemmel gets Amnesia, but his constant questions ‘who am I? Who is Martin Gemmel?’ should surely be replaced with ‘What is this film? Is there a plot?’ If he had asked these, I’m sure he would have never recovered. Just as you think, 55 minutes in, that the film is about to go somewhere, it ends. Malcom Macdowell, looking ominous, stares for five minutes, then Hugh Grant runs over to save a child from a high fall. Cut to some Venice Tourist Board shots of Venice by Helicopter, and Bam! the film ends. Just over an hour, containing at least 20 minutes of needless footage of Venice and trains, this film has everything a film should: gratuitous sex, violence, explosions, a high profile actor (Macdowell), a rising star (Grant), Nazis, Slow motion, psychoanalytical ‘barn’ shots.
Everyone should watch this film. It is amazing.
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