Trainspotting: La vida en el abismo

Renton is a heroin addict. He is one of a group of friends who live their lives day to day and hit to hit. When he tries to kick the habit he manages it for a while but eventually falls back into his old way. Meanwhile his friends are as messed up as he is, whether it be Spud's pathetic addiction, Begbie's violent rages or the fact that he is sleeping with a girl who still goes to school.

When it came out this film was very hyped, the poster became a must-have on every student's bedroom wall and the media went nuts over it's supposed glamorisation of drug use. The plot is very difficult to summarise, as it doesn't really have a narrative flow other than the very disjointed experience of Renton. However it manages to be very funny and imaginative all the way, using many different tricks and touches to be funny. The dialogue is very well written and I must admit I found it a lot funnier than the last few comedies I watched.

The media may have condemned this film as promoting drug use, but I can only imagine that they watched a different film from me. Sure, the film shows drugs as being fun and enjoyable but, like Renton says, `why else would we do it?' However the film clearly shows a massive downside where people's lives are destroyed, people OD and lives go day to day just trying to get high. True, it does show this downside in a stylish and funny way but there is no question that the film is promoting drug use in any sense.

Too often I see films that are style over substance; Trainspotting gets it just perfect, stylish but not at the expense of dialogue, character or film. It is helped by a great cast. McGregor jumped to stardom off the back of this role and he deserved it. He keeps his character both likeable but repulsive at the same time and carries the film with surprising ease. The support cast is excellent, even if they lack the same good character of Renton. Whether it is the comic Bremner, the violent Carlyle or the tragic McKidd. While not all their characters are well developed, they do all give good accounts of themselves, whether it is comic or showing the effects of heroin on their lives.

Overall this is a great film that is refreshing to see now without all the `cult student cool' hype or media feeding frenzy over it's supposed pro-drug approach. It is stylish, funny, depressing and downright sobering.

Trainspotting is a magnetic, exhilarating, repulsive film based in a seedy underbelly of Edinburgh. Thieves, drug addicts and a violent type of underclass live in doss houses with babies crawling round innocently unaware of the dangers they face.

Renton (Ewan McGregor) is a heroin addict living day to day, stealing and looking for that hit. It is an empty life and he realises he needs to kick the habit but each time he tries to get off heroin something drags him back.

Renton experiences the high side of heroin but he knows the low side is too high a price to pay. His friends and associates are making it difficult for him to stay clean.

Director Danny Boyle infused the film with a kinetic energy helped by its soundtrack. It is trippy, disjointed, hip even amoral in places. Despite its cool reputation it shows the ugliness of addiction. Especially with the character of Tommy who is a fitness fanatic and clean but turns to drugs when his girlfriend leaves him and he dies a horrible death.

Like the movie A Clockwork Orange the film is driven by the narration of its central character which keeps the story together and brings out the dark humour.

I only saw the film for the first time twenty years after its cinema release and was impressed how well it has stood up to the test of time.

This film became almost a cultural phenomenon as soon as it was released in Britain in February 1996.

Adapted from the first (and best) book by Irvine Welsh, the film shows the lives of a group of Edinburgh heroin addicts.

The film is a black comedy, at times hilarious, tragic, surreal, brutal and uplifting. The film is full of memorable moments such as the chase down Edinburgh's Princes Street which opens the film (I happened to be there when they were filming that scene) and Ewan McGregor diving down the "Worst Toilet in Scotland" headfirst.

The film doesn't condemn drug addicts, but it is probably more effective then any amount of preachy moralising as it depicts the devastating consequences that can happen to drug users.

The film is well acted by a cast who have (mostly) become pretty famous since. Especially memorable is Robert Carlyle as the violent Begbie.

I have seen this film many times. It is an instant classic. Go check it out.

In 1996 John Hodge took Irvine Welsh's novel "Trainspotting" and with the help of Danny Boyle's direction created one of the most influential, modern cult classics Britain has to offer. Commonly ranked among the greatest films of the 90s; "Trainspotting" delivers satisfactory viewing every single time. The essential drug film.

The term "trainspotting" in this case, is not the non-drug based hobby, but has two meanings for this film. A) The act of "trainspotting" is UK slang for trying to find a vein to intravenously inject drugs. And B) A joke not featured in the film, but two of the characters go to a disused train station to buy drugs and say they are going "trainspotting".

Ewan McGregor stars as Mark Renton, a performance that put him on the map, a man who spends; or wastes, most of his time taking drugs with his friends in one of their apartments. Until he decides to finally pack it in and go cold turkey. We see the highs and lows of the drugs as Renton attempts to build a new life. He battles the strain and the influences of his mates; including Sick Boy (Johnny Lee Miller) a man who stops at nothing to take all, Spud (Ewen Bremner) a fast-paced anxious performance and Francis Begbie (Robert Carylye) a frighteningly intense character who is possibly my favourite of all-time; and Renton's sex life.

Vibrant colour is used to exaggerate the actions to intensify the imagery on screen. This also makes it stand out from other films creating a massive impact on the viewer. Unforgettable. The soundtrack consists of the pop culture the characters themselves love and some regularly featured in real life at the time. The film captures the era perfectly.

Danny Boyle's stylish direction is what mainly is so appealing about the film. Delivering an expertly structured adrenalin rush. The daring topic of the film was well perceived by critics and audiences to claim universal praise. But, they were still unsure if it was supporting drugs or an anti-drug film. In a way it is both.

We are guided through the film with Renton's narration, making it an extremely watchable viewing, one irresistible to want to experience several times. A hilarious triumph. This is movie-making at its most exhilarating.

9/10

In the aftermath of _Pulp Fiction_, much of the filmmaking of the 1990s thrived upon attempts to appear "edgy" within the constructs of independent films, or merely to provide empty shock value cliches. And no film ever came close to the sheer cleverness of Tarantino's masterpiece.

_Trainspotting_, however, somehow manages to take the excesses of the mid-90s and rise far, far above the cinematic cliches that it easily could have become. A film that tackles any hot-button social issue can, and usually does, simply become a didactic propaganda piece. Thankfully, _Trainspotting_ is vastly more intelligent in its edginess and its shock.

In order to appreciate _Trainspotting_ fully, the viewer must abandon any preconceptions about what defines truly great cinema, because this film defies convention at nearly every turn. And with the rapid pace of its plot, that's quite a bit of ground to cover.

Though a great deal of the picture's brilliance is derived from director Danny Boyle's consistent rejection of typical cinematic techniques, the most satisfying and _best_ aspect of _Trainspotting_ is that Boyle creates a film that is neither pro-drug or anti-drug. Instead, he maintains a rare objectivity throughout the film, depicting this fascinating array of complex, beautifully acted characters with an honesty that it seldom captured on film. And, given the life that each character lives, it's nearly incomprehensible that a director would refrain from influencing the viewer's impressions in any way, yet that's exactly what Boyle does.

The dialogue-- or at least what portions of the brogue-drenched dialogue American viewers will be able to comprehend-- is alternately hilarious, raw, and brutal. And Ewan McGregor, Jonny Lee Miller, and Robert Carlyle bring a remarkable compassion and depth to their portrayals of characters that could have easily lapsed into cliche.

Despite its sheer brilliance, _Trainspotting_ is not a film that's easy to watch. The viewer is bombarded with images that transcend visceral discomfort in their horror-- this movie contains two of the most graphic, horrifying scenes I've ever encountered. But, amazingly, none of these elements is used merely for shock value. Though the viewer will be mortified by some of the things that happen onscreen-- the well-documented dive into Scotland's most vile public toilet, for example-- these scenes all make _perfect sense_ within the context of a masterfully told story.

In order to notice all of the subtlety that also exists in _Trainspotting_, repeat viewings are necessary, primarily to reduce some of the most powerful shocks ever-so-slightly, though their effects are never lost entirely. Some of the images will likely haunt even the most cynical, jaded viewer for weeks.

RATING: 10 out of 10. Never patronizing and completely unpretentious, _Trainspotting_ is one of the most daring, unconventional films ever made. It inspires a level of discomfort rivaled by very few movies, because, even at its most graphic, Boyle never insults the viewer with mere shock tactics. Brilliantly acted, directed, and written, with a truly rare objectivity that allows each viewer to interpret its story on his/her own terms.