Reflections
on “Trainspotting”
Directed
by Danny Boyle
Screenplay
by John Hodge (from the novel by Irvine Welsh)
Starring
Ewan McGregor, Robert Carlyle, Jonny Lee Miller
and
Ewen Bremner
On a personal note, this article marks 25 years of posting
material online.
It is very difficult to
accurately characterise or adequately describe “Trainspotting”. It is a gritty,
dynamic, entertaining, insightful and thought-provoking mix that is part social
commentary and part fantasy with, quite unbelievably, given the setting and
subject matter of the film, an enormous dose of humour and fun woven into its
various elements. As well as touching on perceived negative aspects of society,
why people turn to drugs and the potential consequences of addiction, the film
explores the nature of relationships and the impact relationships can have on
one’s life.
That said, it does not
present its characters’ stories as relentlessly miserable or tragic – lighter moments
are emphasised as characters make their choices and we explore reasons for and
consequences of their actions, making the characters all the more engaging,
relatable and human. It is perhaps because of this quality that many dismissed
the film at the time of its release as glorifying drug use but I would suggest
these people may not have actually seen the film or confused sympathy and
accessibility with approval.
The way scenes are filmed
undoubtedly creates a sense of collusion or complicity with audiences. We
virtually share the sensations of the characters as they fall 90 degrees to the
floor, crawl into a toilet, sink uncontrollably into a bed or pass through a
tunnel at speed while under the influence of drugs, but we also share the
impact and emotion of other very touching scenes. These highly sensorial, personal
and intimate scenes, combined with unpredictable sharp dialogue and excellent
performances, serve to engage the senses and the minds of the audience,
provoking a range of reactions from profound sympathy to repulsion.
So, why do Renton, Sick
Boy and Spud turn to drugs?
They appear to be either
unable or unwilling to comply with or conform to social conventions and
expectations. In good part, it seems they are driven by a desire to avoid or
seek an alternative to what they perceive as a banal social contrivance that
involves making a dull, repetitive and soulless contribution to their
community. They do not experience fulfilment in social reality so they seek it,
in terms of sheer pleasure and indulgence, within their own minds.
Of course, we are invited
to judge whether or not this dream world or escape from perceived drudgery is
worth the shabby, grim reality and its consequences, and we are left in no
doubt as to the horrific results of addiction as Renton’s life literally goes
down the worst toilet in Scotland, a metaphor that is brilliantly conceived and
realised through a mixture of horror and humour, making the whole all the more
arresting, engaging and provocative.
The film explores a
number of relationships and friendships.
Renton’s parents treat
him with love, affection and sympathy despite his failure to resolve his
problems and Renton clearly depends on them for support. Ultimately, their son
must follow his own nature, make his own choices and make his own way but as
his parents, they wish to be there for him, no matter what.
The friendship shared by
the main characters appears to be based largely on common experience and
sharing childhood development, casting doubt on the importance of values in
their relationships and emphasising the influence friends have on one another,
especially the loyalty expected of a friend. These pals bolster and validate
one another to the point of impeding personal and social growth and as such
they fail to grow out of self-indulgence or accept the challenges of adulthood,
maturity and responsibility.
Begbie, Sick Boy and Spud
are well drawn and are of interest in themselves as they develop to some extent
and contribute to the storyline and Renton’s evolution, but they remain largely
as they are when we first meet them;
Begbie remains a
narcissistic psychopath throughout, though his mental state seems to
deteriorate and his actions are ever more unhinged (though highly entertaining
at the same time!), while Sick Boy is self-indulgent but seems to lose his
moral compass after the death of his baby in a drug den. Spud is a harmless
loon lacking in self-esteem and purpose who follows his pals and seeks merely
to please and accommodate his friends.
Renton, however, evolves.
He is intelligent and articulate but he does not see fulfilment in society as
he perceives it though he makes some effort to conform as he gets clean and
finds work in London. However, he is drawn back to the shadowy world of drugs
and minor crime through attachment and loyalty to his friends but also, more
importantly, because that is the life he chose and he is attracted to it.
Indeed, it might even be suggested that the film is the story of Renton’s
coming to terms with and accepting his own nature.
He is no master criminal
or drug lord but, having been part of a minor drug deal, he yields to
temptation and steals the £16,000 proceeds from his friends who have used and
abused him but who were willing to exploit their bond of friendship. A pang of
conscience ensures he leaves Spud his share as Spud never did anyone any harm
but otherwise Renton seems genuinely happy as he leaves London. Having recognised
the insubstantial nature of his friendship with the others, he turns his back
on his childhood friends and perhaps any remaining delusions he had of loyalty
and conformity. He has, perhaps, finally given in to his nature and seems
relieved as he saunters off with his ill-gotten gains. He has grown up, become
independent, and has turned his friends’ standard of morality on them, leaving them
to face the consequences of their actions. It would be nice to think that
Renton learned a life lesson and started afresh but his history and implied
nature suggest otherwise…
It seems to me that “Trainspotting”
is that rare thing in cinema – an at times entertaining and amusing film noir
or existential drama. The film casts doubt on the existence of morality or
providence as, in bleak circumstances, the characters do what they must do to
survive while following their natures and display few signs of control over
their destinies. Of course, our film represents a major variation on film noir
in its enormous energy and the sheer fun to be had while viewing it.
Danny Boyle’s focused direction
offers eye-catching and stunning moments that serve the storyline and ensure audience
engagement without slipping into self-indulgent or vainglorious strategies and
techniques, while John Hodge’s screenplay (from Irvine Welsh’s original novel)
captures the humanity, vulnerability and above all the relative innocence
(despite the circumstances) of the characters.
As for the performances,
I thought all were quite stunning. Ewan McGregor was, of course, quite superb
as the tortured Renton and special mention needs to be made of Robert Carlyle’s
sheer heartfelt energy, Ewen Bremner’s comic but poignant performance and Jonny
Lee Miller’s almost perfect Scottish accent...
My thanks for taking the
time to read this article. I hope you found it of some value.
Stuart Fernie (stuartfernie@yahoo.co.uk)
