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Trainspotting is a 1996 British black comedy drama film directed by Danny Boyle, and starring Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Kevin McKidd, Robert Carlyle and Kelly Macdonald in her acting debut. Based on the novel of the same name by Irvine Welsh, the film was released in the United Kingdom on 23 February 1996.[6]

The Academy Award nominated screenplay by John Hodge follows a group of heroin addicts in a late 1980s economically depressed area of Edinburgh and their passage through life. Beyond drug addiction, other themes in the film are exploration of the urban poverty and squalor in "culturally rich" Edinburgh.[7]

The film has been ranked 10th by the British Film Institute (BFI) in its list of Top 100 British films of all time. In 2004 the film was voted the best Scottish film of all time in a general public poll.[8]


Heroin addict Mark Renton and his circle of friends are introduced: amoral con artist Simon "Sick Boy" Williamson (also an addict); simple-minded, friendly Daniel "Spud" Murphy (another addict); clean-cut athlete Tommy MacKenzie; and psychopath Francis "Franco" Begbie, who picks fights with people who get in his way.

Renton decides to quit heroin and buys opium rectal suppositories from dealer Mikey Forrester to ease the transition. After his final hit (and a violent spell of diarrhoea caused by cessation of heroin) he locks himself into a cheap hotel room to endure withdrawal. He later goes with his friends to a club and, finding that his sex drive has returned, he eventually leaves with a young woman named Diane and they have sex in her home. In the morning, he realises that Diane is a 15-year-old schoolgirl and that her "flatmates" are actually her parents. Anxious, Renton tries to ignore the incident, but is forced to remain in touch after Diane blackmails him.

Spud, Sick Boy, and Renton start using heroin again. Tommy, whose girlfriend dumped him after a chain of events initiated by Renton, begins using as well. One day the group's heroin-induced stupor is abruptly interrupted when Allison, their friend and fellow addict, discovers that her infant daughter Dawn has died from neglect without any of the group noticing. All are horrified, especially Sick Boy, who is implied to have secretly been Dawn's father.

Renton and Spud are caught stealing from a bookshop and arrested. Spud goes to prison, but Renton avoids punishment by entering a Drug Interventions Programme, where he is given methadone. Despite support from his family, Renton is desperate for a more substantial high and escapes to his drug dealer's flat, where he nearly dies of an overdose, and his dealer sends him to hospital in a taxicab. After he leaves the hospital, Renton's parents take him home and lock him in his old bedroom to force him through withdrawal. As Renton goes through severe withdrawal symptoms, he has nightmares of Diane singing on the bed, his friends giving him advice, Allison's dead baby crawling on the ceiling, and an imagined TV game show in which host Dale Winton asks Renton's parents questions about HIV.

Renton is finally roused from his nightmares and hallucinations by his parents, who tell him he needs to get tested. Despite years of sharing syringes with other addicts, Renton tests negative. Low-spirited and depressed, he visits Tommy, who has succumbed to addiction and is now severely ill and HIV-positive. Renton moves to London and takes a job as a property letting agent. He begins to enjoy his new life of sobriety and saves up money on the side while corresponding with Diane. However, Begbie, who has committed an armed robbery, and Sick Boy, now a pimp and drug dealer, move into Renton's bedsit unannounced, to Renton's annoyance.

In Edinburgh, Tommy dies from HIV-related toxoplasmosis and the three travel back to Scotland for his funeral. They meet Spud, who has been released from prison. Sick Boy suggests a lucrative but dangerous heroin transaction, but needs Renton to supply half of the initial £4,000. Renton injects himself with a sample to test the heroin's purity. The four sell the heroin to a dealer for £16,000. During their celebration at a pub, Renton secretly suggests to Spud that they steal the money, but Spud is too scared of Begbie to even consider it. Renton is finally fed up with Begbie after witnessing him glass and then severely beat a man who he bumped into, causing beer to be spilt on him. Early in the morning as the others sleep, Renton quietly takes the money from sleeping Begbie's arms. Spud wakes up just as Renton is leaving the hotel room. The pair stare at each other for a few moments until Renton walks out, Spud remains silent and does not tell the others. When Begbie awakens, he destroys the hotel room in a violent rage, the police arrive causing Spud and Sick Boy to flee. Renton reiterates his vow to live a stable, traditional life and leaves Spud £2,000.



Producer Andrew Macdonald read Irvine Welsh's book on a plane in December 1993 and felt that it could be made into a film.[9] He turned it on to director Danny Boyle and writer John Hodge in February 1994.[10][11] Boyle was excited by its potential to be the "most energetic film you've ever seen – about something that ultimately ends up in purgatory or worse".[10] Hodge read it and made it his goal to "produce a screenplay which would seem to have a beginning, a middle and an end, would last 90 minutes and would convey at least some of the spirit and the content of the book".[11] Boyle convinced Welsh to let them option the rights to his book by writing him a letter stating that Hodge and Macdonald were "the two most important Scotsmen since Kenny Dalglish and Alex Ferguson".[9] Welsh remembered that originally the people wanting to option his book "wanted to make a po-faced piece of social realism like Christiane F or The Basketball Diaries".[9] He was impressed that Boyle, Hodge and Macdonald wanted everyone to see the film and "not just the arthouse audience".[9] In October 1994, Hodge, Boyle and Macdonald spent a lot of time discussing which chapters of the book would and would not translate into film. Hodge finished the first draft by December.[9] Macdonald secured financing from Channel 4, a British television station known for funding independent films.[10]


Pre-production began in April 1995 with Ewan McGregor cast in advance after impressing Boyle and Macdonald with his work on their previous film, Shallow Grave.[9] According to Boyle, for the role of Renton, they wanted somebody who had the quality "Michael Caine's got in Alfie and Malcolm McDowell's got in A Clockwork Orange" – a repulsive character with charm "that makes you feel deeply ambiguous about what he's doing".[10] McGregor shaved his head and lost 2 stone (12.7 kilograms) for the film.[10] Ewen Bremner had played Renton in the stage adaptation of Trainspotting and agreed to play the role of Spud. He said, "I felt that these characters were part of my heritage".[9] Boyle had heard about Jonny Lee Miller playing an American in the film Hackers and was impressed when he auditioned by doing a Sean Connery accent.[12] For the role of Begbie, Boyle thought about casting Christopher Eccleston because he resembled how the director imagined the character in the book, but decided to go a different route and asked Robert Carlyle instead. Carlyle said, "I've met loads of Begbies in my time. Wander round Glasgow on Saturday night and you've a good chance of running into Begbie".[12] For the role of Diane, Boyle wanted an actress with no previous experience "so no-one would twig that a 19-year-old was playing the part" of a 15-year-old.[12] The filmmakers sent flyers to nightclubs and boutiques and even approached people on the street, eventually hiring Kelly Macdonald.[12] The casting of Keith Allen as 'the Dealer' was intentional by Boyle to reference Allen's role in the earlier film Shallow Grave; with the implication that Allen plays the same character in both and the events of Trainspotting precede his death which instigates the plot of Shallow Grave.[13]


McGregor read books about crack and heroin to prepare for the role. He also went to Glasgow and met people from the Calton Athletic Recovery Group, an organisation of recovering heroin addicts. He was taught how to cook up heroin with a spoon using glucose powder.[14] McGregor considered injecting heroin to better understand the character, but eventually decided against it.[12]

Many of the book's stories and characters were dropped to create a cohesive script of adequate length. Danny Boyle had his actors prepare by making them watch older movies about rebellious youths like The Hustler and A Clockwork Orange.[15]

Principal photography

Trainspotting was shot in mid-1995 over seven weeks on a budget of £1.5 million with the cast and crew working out of an abandoned cigarette factory in Glasgow. Due to a lack of budget and time constraints, most scenes were done in one take, which contributed to the grungy look of the film. For example, when Renton sinks into the floor after overdosing on heroin, the crew built a platform above a trap door and lowered the actor down.[10] The faeces in the 'Worst Toilet in Scotland' scene were made from chocolate.[16]

Marketing and theatrical release

Macdonald worked with Miramax Films to sell the film as a British Pulp Fiction Script error: No such module "Unsubst"., flooding the market with postcards, posters, books, soundtrack albums and a revamped music video for "Lust for Life" by Iggy Pop directed by Boyle.[10]

Upon its initial release in the United States, the first 20 minutes of Trainspotting were re-edited with alternative dialogue to allow the American audience to comprehend the strong Scottish accents and slang. In addition, to ensure that the film received an R rating, Boyle trimmed two scenes: a graphic display of a syringe filled with heroin being inserted into a vein and Kelly Macdonald straddling McGregor during an orgasm.[10]Template:Failed verification The original dialogue was later restored on the Criterion Collection laserdisc in 1997 and then on the re-release of the "Director's Cut (The Collector's Edition)" DVD in 2004.

Filming locations

File:Glasgow. Café D'Jaconelli. 570 Maryhill Road.jpg

Glasgow. Café D'Jaconelli. 570 Maryhill Road. The café, where Renton and Spud share a milkshake.[17]

File:Glasgow. North Kelvinside. Crosslands. 182 Queen Margaret Drive.jpg

Glasgow. North Kelvinside. Crosslands pub, where Begbie chucks an empty pint glass from the balcony.[17]

Although set in Edinburgh, almost all of the film was shot in Glasgow, apart from the opening scenes, which were shot in Edinburgh, and the final scenes which were shot in London.[17]

Locations in the film include:

  • The opening scene of Renton and Spud being chased by security for shoplifting is on Princes Street, Edinburgh.[17] A shoplifting scene was filmed in the music department of a Princes Street John Menzies, now a Next.
  • The chase ending is on Calton Road, Edinburgh, near the rear entrance of Waverley Station.
  • The park where Sick Boy and Renton discuss James Bond, Sean Connery and The Name of the Rose is Rouken Glen Park in Giffnock, near Glasgow. The park was also the site of the grave in Boyle's previous film, Shallow Grave.[17]
  • Corrour railway station is the setting for the "great outdoors" scene in the film, where Tommy suggests the group climb Leum Uilleim.[17]
  • The flat that Renton shows the young couple around when he gets the job as an estate agent and ultimately stashes Begbie and Sick Boy in is 78A Talgarth Road in West Kensington, London, opposite West Kensington tube station.
  • The scenes where they do their drug deal takes place in Bayswater. The scene where they parody the cover of the Beatles album Abbey Road takes place as they walk out of Smallbrook Mews across Craven Road to the Royal Eagle, 26–30 Craven Road, Bayswater.[17]
  • The school attended by Diane is Jordanhill in Glasgow's West End.[17]
  • The pub in which Begbie throws a pint glass off a balcony is Crosslands, located on Queen Margaret Drive, Glasgow. The pub has an oil painting depicting the scene hung in the upstairs area.
  • 30 of the 50 locations used were in the then derelict Wills' Cigarette Factory on Alexandra Parade, Glasgow.


Script error: No such module "main". The Trainspotting soundtracks were two best-selling albums of music centred around the film. The first is a collection of songs featured in the film, while the second includes those left out from the first soundtrack and extra songs that inspired the filmmakers during production.


Trainspotting was screened at the 1996 Cannes Film Festival but was shown out of competition,[18] according to the filmmakers, due to its subject.[19] It went on to become the festival's one unqualified critical and popular hit.[20] The film made £12 million in the domestic market and $72 million internationally.[21] By the time it opened in North America, on 19 July 1996, the film had made more than $18 million in Britain. It initially opened in eight theatres and on its first weekend grossed $33,000 per screen.[10] The film finally made $16.4 million in North America.[22] Trainspotting was the highest-grossing British film of 1996, and at the time it was the fourth highest grossing British film in history.[23]

Critical reception

In Britain, Trainspotting was met with widespread acclaim from critics. In his review for The Guardian, Derek Malcolm gave the film credit for tapping into the youth subculture of the time and felt that it was "acted out with a freedom of expression that's often astonishing." [24] Empire magazine gave the film five out of five stars and described the film as "something Britain can be proud of and Hollywood must be afraid of. If we Brits can make movies this good about subjects this horrific, what chance does Tinseltown have?"[25]

American film critic Roger Ebert gave the film three out of four stars and praised its portrayal of addicts' experiences with each other.[26] In his review for the Los Angeles Times, Kenneth Turan wrote, "in McGregor ... the film has an actor whose magnetism monopolizes our attention no matter what".[27] Entertainment Weekly gave the film an "A" rating and Owen Gleiberman wrote, "Like Scorsese and Tarantino, Boyle uses pop songs as rhapsodic mood enhancers, though in his own ravey-hypnotic style. Whether he's staging a fumbly sex montage to Sleeper's version of Atomic or having Renton go cold turkey to the ominous slow build of Underworld's Dark and Long ... Trainspotting keeps us wired to the pulse of its characters' passions".[28] In her review for The New York Times, Janet Maslin wrote, "Trainspotting doesn't have much narrative holding it together. Nor does it really have the dramatic range to cope with such wild extremes. Most of it sticks to the same moderate pitch, with entertainment value enhanced by Mr. Boyle's savvy use of wide angles, bright colours, attractively clean compositions and a dynamic pop score".[29]

Rolling Stone's Peter Travers wrote, "the film's flash can't disguise the emptiness of these blasted lives. Trainspotting is 90 minutes of raw power that Boyle and a bang-on cast inject right into the vein".[30] In his review for the Washington Post, Desson Howe wrote, "Without a doubt, this is the most provocative, enjoyable pop-cultural experience since Pulp Fiction".[31] Jonathan Rosenbaum, in his review for the Chicago Reader, wrote, "Like Twister and Independence Day, this movie is a theme-park ride – though it's a much better one, basically a series of youthful thrills, spills, chills, and swerves rather than a story intended to say very much".[32] Trainspotting has an 90% "Certified Fresh" rating on Rotten Tomatoes and an 83 metascore on Metacritic.

Its release sparked some controversy in some countries, including Britain, Australia and the United States, as to whether it promoted drug use or not. US Senator Bob Dole accused it of moral depravity and glorifying drug use during the 1996 US presidential campaign, although he later said that he had not seen the film.[33] Producer of the film Andrew Macdonald responded to these claims in a BBC interview stating "we were determined to show why people took drugs ... you had to show that it was fun and that it was awful" to which Boyle adds "It's the music and humour that makes people feel it's glamorising drugs."[34] Despite the controversy, it was widely praised and received a nomination for Best Adapted Screenplay in that year's Academy Awards. Time magazine ranked Trainspotting as the third best film of 1996.[35]


The film had an immediate impact on popular culture. In 1999, Trainspotting was ranked in the 10th spot by the British Film Institute (BFI) in its list of Top 100 British films of all time,[36] while in 2004 the magazine Total Film named it the fourth greatest British film of all time. The Observer polled several filmmakers and film critics who voted it the best British film in the last 25 years.[37] In 2004, the film was voted the best Scottish film of all time by the public in a poll for The List magazine.[38] Trainspotting has since developed a cult following.[39] It was recognised as an important film during the 1990s British cultural tour de force known as Cool Britannia.Script error: No such module "Unsubst". It was also featured in the documentary Live Forever: The Rise and Fall of Brit Pop.[40]

The film title is a reference to a scene (not included in the film) in the original book, where Begbie and Renton meet 'an auld drunkard' who turns out to be Begbie's estranged father, in the disused Leith Central railway station, which they are using as a toilet. He asks them if they are "trainspottin'."[41]


Trainspotting was nominated for three British Academy Film Awards in 1996, including John Hodge for Best Adapted Screenplay, Best Film and Best British Film. Hodge won in his category.[42] Hodge also won Best Screenplay from the Evening Standard British Film Awards. The film won the Golden Space Needle (the award for Best Film) at the 1996 Seattle International Film Festival. Ewan McGregor was named Best Actor from the London Film Critics Circle, BAFTA Scotland Awards, and Empire magazine.[42] Hodge was also nominated for an Academy Award for Best Adapted Screenplay but lost to Billy Bob Thornton's Sling Blade.

Style and themes

Danny Boyle uses a coherent film style throughout his filmography. Music has great importance in his films, as evidenced by the best-selling soundtracks for Trainspotting and Slumdog Millionaire, both of which feature a lot of pop and punk rock artists. In Boyle's view, songs can be “amazing things to use because they obviously bring a lot of baggage with them. They may have painful associations, and so they inter-breathe with the material you’re using”.[43]

The combination of visuals and music with the setting of the criminal underworld has drawn comparisons to Pulp Fiction and the films of Quentin Tarantino, that had spawned a certain type of "90s indie cinema" which "strove to dazzle the viewer with self-conscious cleverness and empty shock tactics".[44] This impacted the shooting style of the film, which features "wildly imaginative" and "downright hallucinatory" visual imagery, achieved through a mix of "a handheld, hurtling camera", jump cuts, zoom shots, freeze frames and wide angles.[45] This vigorous style contributed to the "breathless" pace that Boyle's films have been associated with.[26]

For the look of the film, Boyle was influenced by the colours of Francis Bacon's paintings, which represented "a sort of in-between land – part reality, part fantasy".[12] The scene where Renton (McGregor) dives in a toilet is a reference to Thomas Pynchon's 1973 novel Gravity's Rainbow.[46]


Script error: No such module "main". Boyle has declared his wish to make a sequel to Trainspotting which would take place nine years after the original film, based on Irvine Welsh's sequel, Porno. He was reportedly waiting until the original actors themselves aged visibly enough to portray the same characters, ravaged by time; Boyle joked that the natural vanity of actors would make it a long wait. Ewan McGregor stated in an interview that he would return for a sequel, saying "I'm totally up for it. I'd be so chuffed to be back on set with everybody and I think it would be an extraordinary experience."[47]

In 2013, Boyle said he wants to make a sequel that would be loosely based on Porno which he has described as "not a great book in the way that Trainspotting, the original novel, is genuinely a masterpiece". Boyle says that if the sequel happens 2016 would be the release date.[48]

On 6 May 2014, during a BBC Radio interview with Richard Bacon, Welsh confirmed that he had spent a week with Boyle, Andrew Macdonald and the creative team behind Trainspotting to discuss the sequel. Welsh stated that the meeting was in order to "explore the story and script ideas. We're not interested in doing something that will trash the legacy of Trainspotting. ... We want to do something that's very fresh and contemporary."[49] Welsh did not however confirm any kind of timeline for the film, unlike Boyle's comments about wanting the film to come out in 2016.

In a newspaper interview with The Scotsman on 17 November 2014, Welsh revealed that McGregor and Boyle had resolved their differences and had held meetings about the film, saying "I know Danny and Ewan are back in touch with each other again. There are others in the cast who've had a rocky road, but now also reconciled. With the Trainspotting sequel the attention is going to be even more intense this time round because the first was such a great movie—and Danny's such a colossus now. We're all protective of the Trainspotting legacy and we want to make a film that adds to that legacy and doesn’t take away from it."[50]

On 7 September 2015, at the Telluride Film Festival, Boyle stated his next film would be a sequel, tentatively titled Trainspotting 2.[51]

In a 27 September 2015 interview with ComingSoon.net, Boyle revealed that a script for the sequel has been written, and that filming will reportedly take place between May and June 2016, in the hopes of releasing the film within that same year to commemorate Trainspotting's 20th anniversary.[52]

While promoting Steve Jobs in November 2015, Boyle reiterated the hopes of beginning principal photography for the sequel in May and June 2016, and has started pre-production in Edinburgh. Boyle also clarified that John Hodge wrote an original screenplay for the sequel, and will not be a strict adaptation of Porno. An earlier script was reportedly written about 10 years prior, but was scrapped and redone so that the original cast would agree to return for a film sequel. The current working title for the sequel is T2.[53][54][55]

In a November 2015 phone interview with NME, Robert Carlyle confirmed he will be returning for the sequel to play Begbie. According to Carlyle, he and other members of the Trainspotting cast have already read John Hodge's script, and will take place 20 years (much like its intended 2016 release) after the original plot. Filming started on the 16th of May 2016,[56] Carlyle praised Hodge's screenplay and hinted that T2 "is going to be quite emotional for people. Because the film sort of tells you to think about yourself. You are going to be thinking: 'Fuck. What have I done with my life?'"[57]


  1. Murray Smith, Trainspotting, British Film Institute, 2010 p. 10.
  2. Peter Biskind, Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film, Simon and Schuster, 2013 p. 238.
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  4. Alexander Walker, Icons in the Fire: The Rise and Fall of Practically Everyone in the British Film Industry 1984–2000, Orion Books, 2005 p. 237.
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  7. "Genres in transition". British National Cinema, by Sarah Street, Published by Routledge, 1997. ISBN 0-415-06735-9. Page 111.
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  12. 12.0 12.1 12.2 12.3 12.4 12.5 Grundy, Gareth (February 1998). "Hey! Hey! We're the Junkies!". Neon. p. 103.
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  23. Lash, Scott; Lury Celia (2007) Global Culture Industry: The Mediation of Things, Polity, ISBN 978-0-7456-2482-2, p. 167.
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  34. Movie Connections, [television programme, online], Prod. credit n.k., Prod. company n.k., Prod. country n.k., 22:35 26 January 2009, BBC ONE, 40mins. http://bobnational.net/record/215775, (Accessed 16 February 2016).
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  40. "Live Forever: The Rise and Fall of Britpop" (2003). BBC. London: Passion Pictures.
  41. Welsh, 1997, Trainspotting, p. 309.
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  43. [1]. Danny Boyle: Brits ‘Brilliant With Music’ But ‘Rubbish at Film’, by Paul Hechinger, Published by BBC America, 2013.
  44. [2]. Danny Boyle: a career in 10 songs, by Paul O’Callaghan , Published by BFI, 2015.
  45. [3]. Fiction into film, or bringing Welsh to a Boyle, by Bert Cardullo, Published by Literature/Film Quarterly, 1997. Page 158-62.
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Further reading

External links

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Template:Danny Boyle Template:Irvine Welsh Template:Empire Award for Best British Film

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