Trainspotting

“I chose not to choose life…I chose something else.” – Mark Renton, “Trainspotting”

The origins of “Trainspotting” (1996) probably started with director Danny Boyle’s debut movie “Shallow Grave” (1994). While the main plot of “Shallow Grave” works as a crime thriller, the film’s founding elements revolved around a supporting character’s drug addiction and his leftover money. Boyle takes the idea of heroin drug addiction from “Shallow Grave” and fully expands it in “Trainspotting.” Looking at Boyle’s filmography, it is apparent that the director doesn’t hesitant about taking risks with his projects. Using the grim theme of drug addiction, Boyle builds a terrific modern piece that is extremely offbeat, structurally pulpy, and emotionally depressing, yet it manages to pack significant implications of substance abuse in a meaningful artistic fashion. A complicated project like this could have fallen apart, but at the hands of Danny Boyle, “Trainspotting” becomes a breezy visual feast. Indeed, over the years, “Trainspotting” has become a cult classic, and for some, the film remains Boyle’s best work.

“Trainspotting” begins with a fast-paced narration from a lead character, Mark Renton, played by Ewan McGregor. We get a rundown on his life, his friends, and his heroin addiction. Boyle wastes no time with irrelevant side plots but instead takes us directly to a dark and dingy apartment in Edinburgh, where Mark is apparently getting high on drugs. He spends his time with four friends: Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), Franco (Robert Carlyle), and Tommy (Kevin McKidd). While there is no plot per se, the film’s narrative structure is a time capsule of the lives of these five men that in itself forms a solid story. Seemingly, Mark is the central character in the film, and everything is driven by how he responds to drugs. In fact, heroin forms an integral part of every character in the movie.

To provide a full view on drugs, the film is structurally built in three phases. In the first act, we see Mark’s life revolving around the drugs, while the second act deals with Mark’s attempt at quitting drugs; and the final act is somewhat of a heist, providing a redemption for Mark.  In each act, we get sequences that leave a lasting impression on the viewer.

First, to highlight the addictive nature of drugs, Boyle builds a visual fantasy scene, taking Mark to the inescapable depths of substance addiction. In a famous, much-talked-about toilet scene, Mark teleports himself through the bowl and into the deep waters. Instead of realistically showing Mark’s attempt at grabbing the drugs from the toilet, Boyle created this segment to show the height of desperation seen in drug addicts. The drug has taken such a tight control on Mark’s life, an act of desperation seems the last resort. In essence, this is the last straw, and truly there is no recourse left for Mark. As one of the characters utters, “This is better than sex,” which only shows how a simulated mind derives sensory pleasures from a drug--something that takes addicts to a different world altogether. Of course, the addiction has its consequences, and when an innocent soul dies, Mark realizes that drugs have made him a nonexistent human being, totally unaware of the surroundings.

Mark tries to begin a new life by finding a new job and trying to come clean of drugs, but somehow drugs again find him. In one of the best withdrawal symptom sequences, Boyle takes us directly inside Mark’s brain. He is lying on a bed in a long, narrow room, with photos of trains imprinted on the walls. He closes his eyes thinking that all will be fine, but he soon finds himself imagining with his friends. This creeps him out, and he gets further anxious for a drug kick. With no stimulant, his head and stomach begin to hurt, and he is back to the real world that scares him the most. And then there is an injection scene that realistically shows how the drug enters the blood stream, and seconds later, the addict is intoxicated in his own visual world.

None of this would be effective without hyperkinetic camera work and sharp editing techniques. A lot has been said about the film’s visual appearance, and these two components further enhance the viewing experience. Brian Tufano’s camera work is simply stunning, taking us to unpleasant places and packing artistically composed images to complement the overall set design. The camera work feels fluid, and Tufano successfully overcomes the challenges associated with nighttime sequences by banking on natural light. The camera moves briskly around Mark to capture Mark’s reactions and to provide a narrative from Mark’s perspective. The editing is slick, too. The sequences are finely tuned, fast paced, and never feel overextended for a minute. Indeed, the camera work and editing inject visceral energy into the film and develop a realistic world of drug addicts.

“Trainspotting” features a breakthrough performance from Ewan McGregor, who is believable as a drug addict, going through ebbs and flows of addiction.  He is a smart young man who is bored with his life and wants to try something new. He is looking to escape the real world, and the concept of a society holds no meaning for him. There is nothing remotely ethical about his character; he sleeps with an underage schoolgirl; robs people to buy drugs; and cannot be trusted with the money. Interestingly, Mark’s character is a live wire, packing an insurmountable energy, even in tough times. The supporting characters, Spud and Franco, deliver interesting humorous moments in the film as well.

In the end, “Trainspotting” succeeds in developing a plausible world of addicts, owing to a multilayered script, dynamic camera work and editing, and fantastic performances. In my view, the film ranks high in the list of films dealing with substance abuse, and it’s Danny Boyle’s best work to date.

Video

Lionsgate releases “Trainspotting” on Blu-ray for the first time in the U.S. in its original theatrical aspect ratio of 1.85:1, encoded using an AVC codec. Considering the film’s age, “Trainspotting” looks damn good in 1080p. The print is free of dirt and other imperfections; occasionally specks do appear, but the specks are minor and never distracting. The film’s palette is packed with deep colors, mainly reds; for the most part, the colors are accurate. In addition, the filmmakers have deliberately made the film look gritty, and retaining the grain further enhances this look. The film is both beautiful and overly dirty, since it realistically conveys the aftereffects of heroin addiction. The detail is remarkable, especially in close-ups. The transfer stays sharp throughout. The flesh tones are realistic, and never appear blown out.

Audio

The film’s lossless audio track forms an important component in representing the side effects associated with a drug addiction. The surround channels are activated in a drug withdrawal sequence and also during the drug intake sessions.  The noises coming from the rear channels realistically convey Mark’s withdrawal symptoms. These are uneasy and unsettling noises that further build the characters. But mostly the film is dialogue driven, and the dialogue is fairly audible and crisp, with no issues at all.

Extras:

First, we get an audio commentary with director Danny Boyle and the cast. It’s an interesting track in which we get a lot of insights about some famous scenes, especially the thought process behind the toilet scene. We hear the participants talk about heroin addiction and alcoholism. Following this, a four-part retrospective documentary digs deeper into origins of the movie, the film’s unique visual texture, the screenwriting process, and the techniques used in sound editing. Surely, this is an informative featurette.  Up next, a regular making-of-featurette takes us behind the scenes at several locations, with the filmmakers discussing author Irvine Welsh’s book and how they brought it to the screen. Next, we get a set of nine deleted scenes, with optional director commentary. Up next, a featurette, “Cannes” shows a number of celebrities discussing their thoughts on the movie. Finally, finishing up the bonus material, we get a theatrical trailer, along with a theatrical teaser segment.

Parting Thoughts

“Trainspotting” is an unsettling piece of filmmaking with enough gross-out moments, yet its energy, pacing, and relatable themes make it fairly accessible. Moreover, the film realistically portrays the habit of drug addiction, as the characters navigate through the ups and downs in their lives. Because of Danny Boyle’s dexterity in presenting a complex topic, coupled with a marvelous performance by Ewan McGregor, “Trainspotting” transcends the ordinary and becomes a memorable experience. This Blu-ray edition offers an upgrade from the previous DVD release in terms of splendid audio and video qualities.