Tag Archives: Danny Boyle

POFCRIT PODCAST 2024: Dylan Day on Trainspotting (Danny Boyle, 1996)

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Adapted from the 1993 novel by Irvine Welsh, Danny Boyle’s Trainspotting is as whimsical as it is putrid. One of the most iconic and provocative films of the 1990s, it serves to examine the life of heroin addict Mark Renton and his addict friends as they endlessly search for the next hit. With an unrivalled energy and an unforgettable soundtrack, we seek to dig deeper into this film’s messages and influences of the film, its context within the “Britpop” movement, its allusions to Thatcher’s Britian, its representations of addiction beyond heroin and so on. We take a look at how effective the audio-visual style of Trainspotting is at conveying the visceral experience of drug addiction and how it is unique in its representation of addiction. Join us as we talk about all this and more here:

 

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Dylan Day

‘Time and Music in T2 Trainspotting’ by Leon Syla

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Video Essay:

Creator’s Statement:

How does cinema capture time? How can time capture cinema? What effect does music have in showing the passage of time and forming a new world and narrative? Five years after the release of T2 Trainspotting I am still pleasantly surprised to discover the new and exciting ways that director Danny Boyle manipulates time and uses music to craft a story set two decades after its original that truly displays the effects of time. My video essay aims to answer these questions in relation to T2 Trainspotting through close textual analysis alongside historically informed analysis.

Before the title appears, the video begins with two versions of Iggy Pop’s ‘Lust for Life’, the original and The Prodigy remix, instantly providing viewers with the insight of how sound has changed over the last twenty years, as well as a chance to familiarise themselves with the film’s main theme. The video essay then dives into the ways in which T2 Trainspotting uses its past to create a refreshing and new world for its audiences, rather than use fan service and obvious call-backs as means of enticing viewers, as seen with films such as Star Wars: The Force Awakens. A close reading is applied to the opening scene, with particular focus placed on how time catches up to the main characters and how one can physically see these defects on the actors. Using a Kevin B. Lee desktop-documentary style of editing, I display Liam Gaughan’s quotation of how Boyle uses nostalgia not as a crutch, but as a tool, turning it into a weapon in the form of urgency that is used against the characters. (Gaughan, 2021: 1) Turning to another scene of close analysis, I observe the ‘1690’ scene and how Boyle uses the figures of Nationalists clinging to forgotten history as a means of forming a sense of identity and how the desperate attempt to cling to the past is futile. Beyond this, the Nationalists represent those who voted to ‘Leave’ during the Brexit referendum and Boyle’s stance on Brexit shines through in the way these characters are presented.

A significant portion of the video essay is dedicated to the discussion of freeze frames, and exploring how they literally capture time, something the characters cannot do. The freeze frames go beyond mere stylistic effect and highlight the desire to cling to moments that remind the characters of their past. Another method of preserving time arrives in the form of Boyle dating his film using contemporary technology and politics. Going beyond the realms of cinema, Boyle uses his film as a way to ‘freeze frame’ 2017 with his film. A direct quote from Boyle himself at the South By Southwest Film Festival in 2017 regarding how time can not only be extended or contracted, but can also be stopped and unlocked in cinema demonstrates the malleability of the form and how it can be used to great effect (Renee, 2017: 1).

Turning to music, one can observe how the film uses old and new sounds to reflect the characters’ positions in their lives, with them feeling comfortable in the music they remember and feeling confused and unfamiliar with the more contemporary music. A close look at High Contrast and The Prodigy’s songs reveal a comparison between their original sounds and the music that was chosen for the film, generating a sense of subversion within the film. The numerous stings heard throughout T2 Trainspotting also creates frustration for both the characters and the audience who can only hear edits of what they remember, and only hearing the full song by the end of the film once their journey is complete.

Matching the fast-paced editing of the film and the soft instrumental of Lou Reed’s ‘Perfect Day’ my video essay attempts to emulate the style of the film, while providing an informative and detailed understanding of how Boyle reshapes time and music, while also exploring how the two concepts operate in a realm beyond the screen.

– Leon Syla

Bibliography:

Gaughan, Liam. How ‘T2 Trainspotting’ Weaponizes Nostalgia to Become One of the Best Sequels of the 21st Century. Collider. May 25, 2021

https://collider.com/why-t2-trainspotting-is-a-good-sequel/

 

Renee, V. ‘T2 Trainspotting’ Q&A with Danny Boyle and Ewan McGregor: ‘This Better Not Be Shite’. No Film School. March 16, 2017

https://nofilmschool.com/2017/03/t2-trainspotting-qa-sxsw-danny-boyle

 

 

Leon Syla on T2: Trainspotting (Danny Boyle, 2017)

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Choose reading this review. Following the success of the 1996 Trainspotting, Danny Boyle chose to direct a sequel based on Irvine Welsh’s Porno. After decades of planning and rewrites, T2 Trainspotting was finally released in 2017. Rather than simply recreating the aesthetic and conventions of the first film, the sequel provides a fresh and contemporary take on the beloved characters, without tarnishing the legacy of the original. T2 Trainspotting sees Renton, Spud, Sick Boy, and Begbie return once again to the silver screen after they have created new lives for themselves following the fallout of the first film. Following a heart attack in Amsterdam, a divorce, and imminent redundancy, Renton moves back to his hometown of Edinburgh to visit his old friends. With each character, we see how time and anger have ravaged them, and how they attempt to fit in with the ‘new’ age, a pressing theme of the first film. By contrasting the old with the new, Boyle creates a relatable yet unfamiliar world that the characters inhabit. Boyle expertly explores how time has affected the characters through various narrative and editing techniques. Despite time moving forward and the constant sense of urgency through the film, the four men desperately try to cling to the past by committing crimes and re-enacting situations from the first film, in an attempt to relive their youth. In one scene, Renton and Sick Boy steal bank cards from everyone in a bar, and while this is done through a quick montage to The Prodigy’s remix of ‘Lust for Life’, the two hark back to their memories as children, using the past to slow down time and recapture their childhood. In another attempt to preserve time, Boyle also employs multiple freeze frames to immortalise certain moments, as well as have the audience focus on these parts. Boyle also guides the audience through the ‘new’ world that the men must become familiar with, given their distance from it. As the audience sees the four attempt to re-inhabit their old world, he expertly uses mirroring and clever shadow play to hark back to iconic moments from the original film, signalling that the past will always be there. What made Trainspotting so memorable when it first came out was its amazing soundtrack, and the sequel’s soundtrack holds up just as well. Linking back to the concept of time, T2 Trainspotting features old and new songs, as well as songs that have been remade or remixed to highlight the new era and sound of today. As mentioned earlier, The Prodigy remixed ‘Lust for Life’, providing a fresh take on an old classic and Underworld created ‘Slow Slippy’ specifically for the film, to show the progression of music, while still retaining the elements of the past. T2 Trainspotting manages to uphold the legacy of the original and craft a new legacy for its sequel by not only honouring what came before, but by using the past to create new criticisms and interpretations for the contemporary world.

 

Leon Syla

The Class of ‘92 (Benjamin Turner, Gabe Turner, UK, 2013)

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The Class of 92

For the few who might not know, The Class of ’92 was a group of kids who loved football, were recruited by Manchester United at an early age, rose up the ranks of the youth teams, and finally made the first team. In 1992, David Beckham, Nicky Butt, Ryan Giggs and Gary Neville won the FA Youth Cup. Paul Scholes was an FA Youth Cup finalist in 1993 and Phil Neville, Gary’s brother, captained the team to the FA Youth Cup in 1995. Collectively they’re referred to in this film as the Class of ’92 that went on to win the Double (FA Cup and the League Title) in 1996 and the Treble (the double plus the Champions League ) in 1999. The central narrative is to prove how wrong Alan Hansen was when he asserted that ‘You can’t win anything  with kids’ and to show what good friends these kids were and continue to be.

 

The film is an unabashed exercise in nostalgia and mythmaking. Tony Blair appears to praise the achievements of the players but also to big up the Blair Years in which those achievements took place. Danny Boyle who know a thing or two about legends, iconicity and the mobilizing of imagery into myth-making, speaks here about what Man U meant to his family and what the success of the club meant to the city. Mani of The Stone Roses and Primal Scream waxes nostalgic about Manchester in those times and lyrical about the players’ achievements. It’s like mixing Louis VIX’s search for ‘la gloire’ with some ‘I was born in a schack’ US narrative of success brought about by will and work and discipline.

 

As a movie, it’s not much. As an analysis, it’s pretty basic – we don’t understand anything any better than we did at the beginning of the film. Plus I’m pretty sick of all the bloody nostalgia for the ‘Hacienda’ days which to me is just old men kidding themselves that their youth was better than anybody else’s. However, it’s a very enjoyable watch for football fans. These icons speak to each other like the friends they are and seem human and knowable in their interactions.  Moreover, we get to see some of the great moments in football of the last two decades and get the perspective of those who created them. Cantona, who’s now acting in movies, appears in order to praise. Zinédine Zidane, more glamorous and charismatic than all the rest of them put together, also pops up to eulogize. As a movie, it’s something one might have expected Sky Sports to quickly paste up for endless replay. But it must be said that the reason these types of films re-play is because we simply can’t get enough of them.

 

Zidane on Paul Scholes
Zidane on Paul Scholes

José Arroyo