Narendra Bajaj, who has recently produced such films as BLACKMAIL and AKSA, is back with Shyam Bajaj to finance what promises to be a suspenseful romance, filled with love, hate, lust, and passion. So of course we know who are male lead is going to be...
Vishal Dixit (Emraan Hashmi), is a man who finds refuge in reclusion and separation. A lonesome life, he is stuck staring down a dark and dead-end marriage, which is struggling to stay afloat. Married to Anjali (Sayali Bhagat) in Bangkok, Thailand, their five-year-old daughter, Nikki, is all they have that keeps them bound to one another.
And when one can't find happiness at home...one tends to do a little outdoor fishing...
It was a chance meeting that brought Vishal in the midst of an absolute beauty by the name of Roma (Geeta Basra). Suddenly Vishal's dimly-lit existence finds a new shimmer, as he is thrown into the center-stage of temptation, seduction, and lust.
The powering tug of adultery soon had a firm grasp of Vishal as his dates with Roma only heightened. It was after he got to know her a bit more that he realized Roma too was stuck in a gloomy marriage filled with unhappiness and sorrow. This common tie is what led the two soul-mate seekers into the extra-marital realm of life. It was now that Anjali began casting a shadow of a doubt on her seemingly ordinary husband.
But just as Vishal felt he was in it too deep, a new face of evil was about to show itself. He realized that their triangular romance is being watched by a faceless, unknown enemy who's only intention is to destroy all three of their lives.
Vishal knows only one thing...save himself and his family. But how? What will come of this chaotic round of events? Who is this elusive enemy that plagues the lives of Vishal, Anjali, and Roma? What will happen next?
The Train is directed by Raksha Mistry and co-directed by Hasnain S. Hyderabadwala. The music, which is Mithoon's first full-fledged score is an extraordinarily huge asset for this rather low-budget film, and has been doing great business with the classes as well as the masses.