Narrative Hodge-Podge

Trainspotting (Danny Boyle, 1996)

Narrative

The narrative structure of Trainspotting (Danny Boyle, 1996) is highly unconventional, reflecting the fragmented lives of the characters and the chaos of their drug-fueled existence.

The viewer is immediately thrown into the chaos of the story, with the film beginning in medias res with a cold open. This nonlinear immersion places the viewer halfway through the story, immediately engaging them within the action. The film opens with an iconic song from the 1970s: “Lust for Life” by Iggy Pop, which captures the frenetic atmosphere of the scene. The song also serves as a defining soundtrack for the cast’s youth, immersing the viewer within the exuberant camaraderie of the characters. The opening scene takes place in a mundane, familiar British high street, providing a sense of instant familiarity for the viewer. The narrative is aided by Renton’s iconic omniscient narration, beginning with his “choose life” monologue. Renton speaks with hindsight from a retrospective viewpoint, assisting the viewer in understanding the story.

The film introduces the five main characters: Renton, Sick Boy, Begbie, Spud, and Tommy, using freeze frames and intertitles to draw the viewer’s attention to each of the main cast. Renton is characterised as a charismatic protagonist by being, thin, attractive, and verbally articulate, making him a highly appealing character to follow. Boyle employs rapid cuts between brief vignettes set in different locations, that serve to heighten the energy and pacing of the opening sequence. Motion match is also implemented, an example being when Renton falls on the football field, which is matched with Renton falling in the apartment after taking heroin, naturally connecting the different scenes together in the viewer’s mind.

In the drug den, the baby is framed within a frame in a low-angle shot, alone. This plants an enigma code in the viewer’s mind, serving to foreshadow the baby’s death later in the film. A technique typical of Danny Boyle’s involves keeping the camera in constant motion, contributing to the frantic pace of the narrative. The squalid atmosphere of the den is juxtaposed with frenetic, playful pacing. The non-diegetic compiled score also reinforces the narrative drive, such as when “Lust for Life” continues to play while Sick Boy discusses the pleasure of taking heroin.

The film’s dialogue is notably comedic in nature, despite the fact that it deals with serious subject matter. The screenplay also has a poetic quality, taking a joy in figurative language, linking back to Irvine Welsh’s source material. The images also serve to support the narration, an example being when the sudden cut to Begbie dismissing drugs, which is playfully ironic due to the fact that he is seen to drink and smoke. As the soundtrack dissipates, the diegetic ambience of the dialogue rises. At this point, the narrative is conveyed in a much more traditional manner during the scene when Mark attempts to get “off the skag”, maintaining a constant flow between diegetic and non-diegetic narrative drive.

Boyle implements figurative filmmaking techniques during the scene when Mark locks himself away in his room. Utilising exaggerated mise-en-scène such as when Renton nails the wood to the door in a cross shape, Boyle draws upon familiar cartoon imagery to reinforce Renton’s isolation. Georges Bizet’s famous Habanera aria to create a sense of irony by utilising this piece of non-diegetic classical music in a comical fashion.

Boyle uses the intertitle “the worst toilet in Scotland” to introduce us to a surrealist sequence. This use of an intertitle is notably unorthodox and risky, as it has the potential to disrupt the flow of the film. However, the intertitle suits the light-hearted tone of the film, and allows for a brief interlude from the film’s blistering pace. The toilet itself is theatrically repulsive, expressively displaying Renton’s distraught state of mind – the non-diegetic Habanera piece also re-enters at this point. We then enter a highly surreal sequence in which Renton dives into the toilet and swims into the depths, in search of his suppositories. Brian Eno’s non-diegetic compiled score, Deep Blue Day, bolsters the expressive embellishment of Renton’s psyche.

During the park scene, the audience is positioned to support Renton and Sick Boy, as they are framed in closeup, while everyone else in the park is framed in a wide shot. Jarring editing is employed during Spud’s interview between wide and long shots, creating a sense of disorientation to heighten the chaos of the interview. In the pub, the freeze frame of Begbie concentrates the viewer on the importance of the moment, reinforcing it as a defining moment in Begbie’s characterisation. The narration also assists the narrative during this point, initiating the story of Renton stealing the videotape as Tommy recounts his viewpoint of Begbie’s violent interaction during the pool game. Each sequence naturally flows into the next, with significant use of ellipsis, time manipulation, and temporal editing implemented to achieve this.

The interior of the rave is reminiscent of A Clockwork Orange’s (Stanley Kubrick, 1971) milk bar, being an example of postmodernism that links to the stylistic aesthetic of the film. The use of subtitles burned onto the screen during Tommy and Renton’s conversation highlights the importance of the poetic dialogue that must be heard in order to comprehend the film. The only correctly capitalised word is Iggy Pop – highlighting his importance to the characters. Trainspotting also briefly draws on postmodernism during this scene, with a Taxi Driver poster behind Renton, and an introduction to Diane that is reminiscent of Ilsa’s introduction in Casablanca (Michael Curtiz, 1942). During Diane’s dialogue, there is a juxtaposition between the poetic literary dialogue and the reality of the situation, which adds a layer of artifice on top of reality.

The film features parallel editing during a sequence which details each of the three men’s sexual encounters, with visceral depictions of each. The mountain interlude sedates the pace of the film, during which traditional camerawork is employed. Afterwards, we return to the drug den during which the scene is cut in time with the non-diegetic compiled score. The film’s stylised, choreographed movements and blocking during the scene where the characters beat up an American man is an example of expressive filmmaking.

During the scene when Alison discovers the dead baby, the score lowers in the mix as her diegetic screaming enters the mix, alongside the implementation of a blue colour palette that reinforces the seriousness of the situation. The baby’s death marks a turning point in the tone of the film – it signals the decline of hedonism.

A particularly memorable scene in the film is Renton’s final hit, which leads him to overdose. The scene is filmed with tight closeups that are created as the camera pushes in towards Renton, creating a sense of anticipation and claustrophobia. The viewer is forced to watch the graphic intravenous procedure of a heroin injection, which is uncomfortable yet compelling. This scene sparked controversy with the British Board of Film Classification (BBFC) due to the fact that this scene could be argued to convey instructional heroin usage, leading to a debate about the film’s intentions. In response, Boyle argued that the film did not glorify the use of drugs at all, instead deterring audiences from taking such dangerous substances.

Renton sinking into the carpet after overdosing on heroin is an example of expressive filmmaking, embellishing the effects the drugs are taking. Irony is created with the implementation of the non-diegetic compiled score – Lou Reed’s “Perfect Day,” which simultaneously references Sick Boy’s mention of Reed’s solo career earlier in the film. The overdose sequence is also a masterclass in surrealist filmmaking. The otherworldly imagery is heightened and hyperbolised, making the viewer feel like they are experiencing Renton’s trip alongside him. The perspective shift makes Renton’s room feel impossibly long, adding to the disorienting effect of the sequence. This is a masterful example of how Trainspotting uses narrative to convey a character’s distraught mental state.

The London montage serves the purpose of conveying a shift in location. The montage shows stereotypical images of London, such as red buses, black taxis, policemen, tourists, ice creams, and the Piccadilly Circus sign. The upbeat electronic dance music represents the contemporary music of the ‘90s, juxtaposing the retro soundtrack of the earlier portion of the film, thus conveying a shift in lifestyle. As we are introduced to Renton’s new abode, the lyrics of the song “Mile End” by Pulp is reflect the images on screen, creating a sense of unity between the visual and aural elements of the film. This is a powerful way of conveying narrative and emotion simultaneously, propelling the film’s narrative drive through the use of carefully selected non-diegetic composed score.

Ideology

Trainspotting is also notable for its ideological substance, which can be best underpinned by the characters’ anti-capitalist attitudes. Renton’s opening “choose life” monologue serves to establish the film’s anti-capitalist ideology, in which Renton mocks the Scottish anti-drug mantra, establishing an inherent rejection of middle-class aspirations and ideals. Renton’s famous line “I chose something else. And the reasons? There are no reasons.” exemplifies this rejection of standard life choices and the embrace of unorthodox, hedonistic means – a central theme of the film. Renton’s monologue in the mountains about being Scottish also exemplifies a nihilist ideology that rejects any sense of national or cultural identity.

However, as the film progresses, Renton ultimately ends up embracing capitalist ideals. This is a commentary on how even those who reject mainstream ideals and try to live outside the system can ultimately be pulled back in. The ending sequence of the film displays the opening monologue coming full circle, with Renton embracing a capitalist ideology, “choosing life” by taking the money for himself. Ultimately, Renton realises that hedonism does not lead to true fulfilment in life, with Renton pledging to begin living a disciplined life, stating that “I’m gonna be just like you.”

This is England (Shane Meadows, 2007)

Narrative

The opening sequence of the film greatly contrasts that of Trainspotting’s – a highly edited, fast paced chase sequence beginning in medias res. This is England instead opens with a montage that displays news and current affairs of the 1980s. This use of archival footage establishes the time, place, and mood, aptly rooting the story in the time period. The first clip is of Roland Rat, the children’s mascot of Channel 4, being representative of a diverse variety of niches that were growing in notoriety on television. The montage also includes imagery that displays seminal hallmarks of the 1980s, including Rubik’s cubes, computers, CDs, Knight Rider, and space raiders. In addition, the footage highlights societal conflicts including miner strikes, far-right marches, National Front activities and the Falkland Islands war. The houses that are displayed in Shaun’s town are emblematic of the new housing scheme that the British government devised after homes were destroyed in the wake of WW2. The impoverished state of living resulted in replacing the slums with modern housing, leading to a rise in ‘council estates’.

The film largely follows a linear structure, meaning that the plot and story run in parallel. This narrative structure allows Meadows to compress time using ellipses thorough the use of montage, initially used to showcase the mundane aspects of Shaun’s life – bike riding, car cleaning, catapulting, etc. This characterises Shaun as a young boy who seeks a sense of belonging and acceptance. We are then introduced to the skinheads who take Shaun under their wing, acting as a surrogate family for him, most notably Woody serving as a father figure. Shane Meadows subverts the viewers’ preconceptions of skinhead culture by portraying the group as innocent and friendly through the use of montage – activities such as jumping in puddles and swimming develop the camaraderie between Shaun and the skinheads.

However, the narrative undergoes a pivotal turning point during Combo’s introduction – the definitive antagonist who shares parallels with Begbie from Trainspotting. Combo’s racist ideologies are hinted at during his recount of a prison story, during which the highly manipulative non-diegetic piano score by Ludovico Einaudi is implemented to create a sense of discomfort and unease. The camera is also tightly focused in a closeup on Combo’s face, reinforcing this. This scene marks the film’s first head-on confrontation with racism, with Combo’s unflinching use of racial epithets being dually repulsive and threatening. Combo is further characterised as a three-dimensional antagonist with a subtextual backstory being alluded to at points throughout the film. He is a tragic victim of 1980s society, having been given a prison tern at a young age, hoping for reconciliation with Lol after his release.

The film’s climax centres around the confrontation between Combo and Milky, highlighting the racial violence and emotional weight the film has been building towards. The confrontation arises due to Combo being angered by Milky’s alleged privileges over him, with Einaudi’s manipulative score being implemented once again to bolster the emotional weight of the scene. The violence is raw and unflinching, despite not being particularly gory. The camera also does note cut away from the violence, forcing the viewer to confront Combo’s repugnant actions.

The montage of newsreel footage at the end of the film mirrors the opening sequence. The footage displays the soldiers’ return at the end of the Falklands war, highlighting the film’s themes of belonging, violence and societal change.

Ideology

This is England is a film highly concerned with ideological underpinnings, most notably that of an anti-nationalist focus. The opening montage made up of archival footage draws particular attention to the Margaret Thatcher government and the rise of far-right politics in England. This included groups such as the National Front, a political party known for its racist rhetoric and violent actions, briefly displayed in the opening montage. The montage also showcases working-class resentment towards Thatcher and her controversial policies, involving the embrace of capitalism and shutting down coal mines. The montage’s display of the Iranian embassy hostage crisis and the British government’s decision to send in the SAS highlights the brutality of the time period.

The film’s portrayal of skinhead culture also closely links to its anti-capitalist agenda. The skinhead movement initially had its roots in African American culture – particularly through the movement’s shared interest in reggae and soul music. However, the film depicts how the movement was gradually infected by nationalism and racist, stemming from impoverished people who scapegoated foreigners for the poverty-stricken society of the 1980s.

This idea is primary explored through the character of Combo, whose sinister ideals are slowly revealed to the viewer during his recount of a prison story. He later indoctrinates Shaun under his command, radicalising his views to match his own nationalist agenda. His extremist views also create a rift within the skinhead group, driving Woody, Lol, and Milky away. These three represent the inclusive skinhead movement, banding together due to shared cultural interests. The film also distinguishes the fine line between political viewpoints and racially-driven hatred, as many viewers will unwillingly resonate with Combo’s monologue about Thatcherist policies. Combo instead assigns the blame towards foreigners as an easy scapegoat.

During the closing sequence, Shane Meadows subtly questions the value of patriotism and the cost of human lives during the display of the end of the Falklands War. The montage of archival footage showcases the prisoners of war appearing to be unarmed and untrained, raising questions about the true value of warfare victory. The film’s final scene perhaps best underpins a rejection of nationalism when Shaun throws the England flag, Saint George’s Cross, into the sea. This symbolically highlights Shaun’s rejection of a nationalist ideology.