A botched card game in London triggers four friends, thugs, weed-growers, hard gangsters, loan sharks and debt collectors to collide with each other in a series of unexpected events, all for the sake of weed, cash and two antique shotguns.
A wild, freeform, Rabelaisian trip through the darkest recesses of Edinburgh low-life, focusing on Mark Renton and his attempt to give up his heroin habit, and how the latter affects his relationship with family and friends: Sean Connery wannabe Sick Boy, dimbulb Spud, psycho Begbie, 14-year-old girlfriend Diane, and clean-cut athlete Tommy, who's never touched drugs but can't help being curious about them...Written by
Michael Brooke <firstname.lastname@example.org>
Danny Boyle was excited by the story's potential to be the "most energetic film you've ever seen - about something that ultimately ends up in purgatory or worse." See more »
When Begbie throws the beer glass behind him over the the balcony, it has less than a quarter of beer still left in the glass. Then after the cut-scene with Tommy telling the truth about the Pool Table incident, the scene continues & is then immediately followed by another shot with an empty, & dry looking beer glass. It isn't even wet looking, let alone spilling the small amount of beer that was previously left in the glass when Begbie chucked it over. See more »
Mark "Rent-boy" Renton:
Choose Life. Choose a job. Choose a career. Choose a family. Choose a fucking big television, choose washing machines, cars, compact disc players and electrical tin openers. Choose good health, low cholesterol, and dental insurance. Choose fixed interest mortgage repayments. Choose a starter home. Choose your friends. Choose leisurewear and matching luggage. Choose a three-piece suit on hire purchase in a range of fucking fabrics. Choose DIY and wondering who the fuck ...
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The voice-over during the end of the end credits cites the seven movies in which Sean Connery played "James Bond". See more »
Differences between the original cut of the film and its North American release include:
Many scenes and voice-overs re-dubbed throughout the entire film, sometimes with altered words: bird/girl, ken/know, skag/smack, post/mail
Added titles: "The worst toilet in Scotland", "The first day of the Edinburgh Festival", subtitles during Spud and Tommy's bar conversation
Removed: a shot at the end of Renton and Diane's sex scene (blacked out) and a shot of the needle entering Mark's arm before he overdoses (replaced with a repeated facial close-up)
Danny Boyle's "Trainspotting" is a film in which everything goes the right way. Few films are fortunate to 'be' at the right time and right place and take the world by storm as "Trainspotting" did, but the ultimate proof of this film's greatness is that if you watched it alone or with a large group of people, in 2008 or in 1996, it has the same effect- absolute power. This film is nothing more- or less- than one of the most effective and perfect artistic works ever committed to celluloid.
The film follows the lives of a group of drug attics in Scotland in the late 1980's but is constructed less as a conventional narrative and more as a series of vignettes connected by characters and set to the film's dazzling soundtrack (the fact that I mention the scenes being 'set' to the soundtrack is proof of its importance in this particular film). Almost every scene is as powerful as the next, with three montages in particular being possibly the definitive examples of how to do a memorable cinematic montage.
Pop culture has been kind to "Trainspotting", remembering it as a unique and great film, especially in Britain. I certainly do not disagree with this consensus, but I feel the film has been hurt by familiarity, with even television series like "Family Guy" parodying the film's well-known scenes (and badly). This doesn't mean that the film's popularity is being hurt, but that it doesn't feel as fresh and original to people now as it did back in 1996. This is hardly the thing the film's reputation suffers most from however, with the significantly large number of people who claim the film supports and promotes drug use. I have to ask, and forgive my rudeness, how stupid can you possibly be? No, drug addicts in this film are not vilified, but they are consistently shown in a brutally realistic and horrifically tragic context, and just because the film doesn't go out of its way to emotionally manipulate you into completely hating its characters doesn't mean that it promotes drug use, it means that it's a knowing film careful enough not to become a sappy, melodramatic Hollywood product.
The acting is phenomenal, the music is terrific, the film is a pitch-perfect example of energizing editing and brilliant use of montage, and its script is one of the best ever written, alternately hilarious, horrifying, tragic, and benefiting from a rare level of depth and resonance. A British classic is what Trainspotting is recognized as, and a British classic is what it is.
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