I was drawn to this book because of it’s partial World War 2 setting and, in particular, because elements of the story unfold en route to Cornwall. I’m familiar with the line from London Paddington to Penzance on which Eliza and Ellie travel from my own holiday trips, although never on the sleeper service.
The story unfolds in chapters that alternate between Eliza in 1944 and Ellie in the present day. The plot relies on large helpings of coincidence, requiring a belief in fate or destiny, and bringing to mind the oft-quoted line, “Of all the gin joints in all the towns in all the world, she walks into mine” from the film Casablanca. As it happens, the film is referenced several times in the book.
The relationship between Eliza Grey and Alex Levine that begins after a chance encounter on a wartime train journey had a real fizz to it, even if Eliza’s initial reaction is less than promising. ‘She had never, in all of her life, met such an arrogant, self-opinionated, curt and, quite frankly, rude individual.’ As we learned from Pride and Prejudice, first impressions can be deceptive. On the other hand, Joe, whom Ellie meets in similar fashion, although pleasant enough, didn’t feel like a fully fleshed out character and I didn’t find myself as invested in their relationship as I did in that between Eliza and Alex.
I found it easy to imagine the glamour of the 1940s sleeper train to Cornwall; less so its modern day equivalent which, I suspect, would be considerably more utilitarian even when dressed in its costume of 1940s themed party train. And with all due respect to car attendant, Rihanna, she’s no match for her 1940s equivalent, the stately Jeffries.
I thought Eliza’s wartime story was by far the most successful element of the book so much so that, at times, the sections with Ellie felt like mere interludes. In fact, the main purpose of the modern storyline seemed to be to act as a framing device for telling Eliza’s story. Even though the author injected some jeopardy into Ellie’s personal story, I felt the modern day timeline could have been shunted off to the sidings. Having said that, there were some neat parallels between the two timelines, such as the eavesdropping couple across the aisle of the railway carriage and Joe’s choice of costume. And was his fluffy canine companion a nod to WW2 RAF hero Wing Commander Guy Gibson, portrayed in the film The Dambusters by Richard Todd?
The wartime sections of the book include some memorable scenes such as when Eliza, deployed as a nursing auxiliary to a hospital ship on the South coast, records in her sketchbook the preparations for D-Day. Or when she experiences the heady days following the Allied liberation of Paris.
The author sheds a fascinating light on the role played by war artists and war correspondents in documenting conflict, and the risks they took in doing so. The hardships too, living alongside the troops in often spartan conditions. Eliza has conflicted feelings about her role as a war artist. Is she right to depict the truth of the atrocities she sees, or should she be mindful of their potential impact on morale back home and present a more ‘sanitized’ picture?
Although compelling in parts, I felt The Night Train to Berlin spent a little too much time travelling along branch lines rather than speeding to its destination.