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Sunday, January 23, 2011

Trainspotting (film)

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Trainspotting is a 1996 British drama film directed by Danny Boyle based on the novel of the same name by Irvine Welsh. The movie follows a group of heroin addicts in a late 1980seconomically depressed area of Edinburgh and their passage through life. The film starsEwan McGregor as Mark Renton, Ewen Bremner as Spud, Jonny Lee Miller as Sick Boy,Kevin McKidd as Tommy, Robert Carlyle as Begbie, and Kelly Macdonald as Diane. AuthorIrvine Welsh also has a cameo appearance as hapless drug dealer Mikey Forrester.
The Academy Award-nominated screenplay, by John Hodge, was adapted from Welsh's novel. It does not contain any references to the hobby of train spotting. The title is a reference to a scene in the original book (not included in the film) 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 visiting to use as a toilet. He asks them if they are "trainspottin'."[1] Beyond drug addiction, other concurrent themes in the film are exploration of the urban poverty and squalor in "culturally rich" Edinburgh.[2]
The film has been ranked 10th spot 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

Plot

This article's plot summary may be too long or overly detailed. Please help improve it by removing unnecessary details and making it more concise. (October 2010)
Set in Edinburgh, the film begins with Mark Renton's (Ewan McGregor) narration as he and his friend Spud (Ewen Bremner) run down Princes Street pursued by security guards. Renton states that unlike people who "choose life" (i.e. a traditional family lifestyle with children, financial stability and material possessions), he has chosen an alternative lifestyle of a heroin addict. Renton's close circle of football enthusiast friends are introduced: scheming con artist Sick Boy (Jonny Lee Miller), clean-cut athlete Tommy (Kevin McKidd), sensitive, well-intentioned Spud, and violent sociopath Francis Begbie (Robert Carlyle). Sick Boy, Spud and Renton are all heroin addicts, while Tommy and Begbie openly criticise heroin use, even as they indulge in binge drinking and chain smoking. The heroin users of the group spend their time shooting up at the flat of their friendly drug dealer Swanney (Peter Mullan).
One day, Renton decides to quit heroin. He prepares for heroin withdrawal by acquiring soups, pornography, Valium and buckets for vomit, urine, faeces as well as nailing wooden planks over the door. Realising he needs one last high, he buys opium rectal suppositories from Mikey Forrester (Irvine Welsh) which he immediately inserts into his anus. Struck by diarrhea, he unloads into the filthiest toilet in Scotland. He quickly realises the loss of the opium suppositories and fish them out of the polluted toilet bowl. After this "final hit", he locks himself into a cheap hotel room to endure withdrawal.
After quitting heroin, Renton struggles to adjust to the sober lifestyle he no longer remembers. The return to sobriety forces Renton to view his friends much more critically as they spend time together sober engaging in unconventional activities. Renton and Sick Boy relax in a park, theorising about human nature and Sean Connery while shooting at a skinhead's dog's testicles with an air rifle. Over a milkshake, Renton gives Spud amphetamines and gives him tips about best the best way to fail a job interview to maintain unemployment benefits. At a bar, Begbie brags to his friend about his prowess at the pool table and concludes the story by casually throwing a pint glass of beer off the bar balcony, injuring a woman. This instigates a violent bar brawl; privately, Tommy reveals to Renton the exaggerations of Begbies pool story. While Tommy lifts weights at home, he tells Renton a story about Begbie's psychotic behaviour. While listening, Renton discreetly steals a sex tape that Tommy filmed with his girlfriend Lizzy (Pauline Lynch). A bit later, Renton watches Tommy's sex tape with Sick Boy and suddenly realises he needs a woman.
Without heroin, Renton's sexual desires return and with his friends he goes to a dance club. Both Begbie and Sick Boy quickly find receptive women while Renton is rejected by every girl he flirts with. Spud - who has been platonic with his girlfriend Gail (Shirley Henderson) for six weeks because of an article she read in Cosmopolitan Magazine - gets drunk and is dragged by Gail to her parent's house. When Gail tries to initiate sex, Spud passes out naked in her bed. In the middle of the night, Spud defecates all over her bed. The next morning, Spud fails to clandestinely smuggle the filthy bed sheets out of the house. Tommy goes home with his girlfriend Lizzy, and as the two undress, Lizzy asks to play their sex tape (that Renton stole) to spice up the sex. When Lizzy learns the tape is missing, a violent argument erupts as Tommy mistakenly believes he returned their sex video to a rental store instead of a football video. This incident causes Lizzy to break up with Tommy, and is a major factor in his eventual downfall.
At the club, Renton flirts with Diane (Kelly Macdonald), after seeing her reject the advances of a frilly shirted male (Hugh Reed of Hugh Reed and the Velvet Underpants). She is a sexy girl with a sharp wit who quickly exposes his bad chat-up lines, but takes him home anyway. After the two have sex, Diane refuses to let Renton sleep in her bed, kicking him out of her bedroom before he could even remove his condom. The next morning, Renton discovers that Diane is actually a young schoolgirl under the age of consent who is living with her parents. Dianeblackmails Renton into staying in contact with her by threatening to inform the police about their sexual liaison if he refuses.
Bored with sobriety, Sick Boy, Spud and Renton decide to start using heroin again. Through a montage we see them injecting drugs financed through theft or drug dealing. Renton narrative explains that the group used any drug they could find, claiming "we would've injected Vitamin Cif only they'd made it illegal." Depressed after being dumped by Lizzy, Tommy begins injecting heroin which Renton provides. Begbie is shown supplying his addicted friends with money procured through armed robbery, but warns Renton not to spend it "on smack." One day the group's heroin-induced stupor at Swanney's flat is violently interrupted when Allison, their friend and fellow addict, discovers that her infant daughter, Dawn, has died from neglect or starvation. Any of the regulars at the flat could have been Dawn's father. The baby was left unattended while the group spent days or weeks in a heroin daze forgetting to care for her. All are horrified, especially Sick Boy, who reveals through his grief that he is Dawn's father. Despite the grief, an injection of heroin was desired by all. In his narration, Renton declares that with the baby's death, "something inside Sick Boy was lost and never returned."
Renton and Spud are later caught stealing from a book shop and are pursued by security guards and captured, as seen in the opening scene of the film. Due to prior convictions, Spud is given a prison sentence but Renton avoids punishment by entering a Drug Interventions Programme, where he is given methadone: a synthetic opiate that is used for preventing painful heroin withdrawal symptoms.
Despite support from his friends and parents, Renton is constantly depressed and bored with life and escapes to the flat of his heroin dealer Swanney, after abandoning his friends and family at a bar. He injects too much heroin and overdoses — Swanney dumps him in a taxi which leaves him outside a hospital, where his life is saved. Seeing no other option, Renton's parents take him home and lock him in his old bedroom to beat the addiction cold turkey.
As Renton lies in his bed and goes through severe withdrawal symptoms, he hallucinates that he is seeing his friends. Diane appears to stop by and sing the New Order song "Temptation" to him. Sick Boy appears with Renton's mother and encourages him to "Just Say No". Begbie appears under his bed sheets threatening to "kick [the heroin] out" of his system, Spud in prison chains, and Tommy, who is now a dishevelled hardcore addict accusing him with his eyes. Renton's hallucinations show Allison's dead baby, crawling on the ceiling. This nightmare caused Renton to break down, scream and cry for his mother. The heroin withdrawal is inter-cut with a bizarre imagined TV game show in which the host Dale Winton asks Renton's mother and father questions about HIV and "Is he guilty… or not guilty?". Renton is finally roused from his nightmares and hallucination by his parents, who tell him he needs to get tested for HIV. Despite years of sharing syringes with other addicts, Renton tests negative for HIV.
Clean of heroin, Renton is bored and depressed, feeling no purpose in life. He visits Tommy, who has tested positive for HIV, living in a dark and filthy apartment. On Diane's advice, Renton moves to London and starts a job as a property letting agent. He begins to enjoy the vibrancy of London, still clean off heroin, and saves up money on the side while corresponding with Diane. His happiness is again short-lived, however. Begbie commits an armed robbery and arrives at Renton's London flat seeking a hiding place from the police. Sick Boy, who now sees himself as a well-connected pimp and drug pusher, later shows up at Renton's doorstep. Renton feels increasingly frustrated that he cannot turn his "mates" away, despite the fact that they steal from him, wreck his flat and are a general nuisance. Seeking to be rid of them, he puts them up in a property he is responsible for until they learn of Tommy's death from toxoplasmosis and travel back to Scotland for his funeral.
Back in Edinburgh, they meet Spud, who has been released from prison. Sick Boy suggests a profitable but dangerous business venture: the chance to buy two kilos of heroin for £4,000 and sell it in London for £20,000. Sick Boy needs Renton's help to supply the initial £4,000. After the purchase, Renton is asked to inject a dose of heroin to test the purity. The four travel to London and sell the heroin to a high level dealer for £16,000. They go to a pub and celebrate, discussing possible plans for the money. Spud suggests that he would spend the money on a car, and getting a girl to treat right. As Begbie and Sick Boy leave to order another round of drinks, Renton suggests to Spud that they both steal the money. After a moment of hesitation, Sick Boy returns and notes that the two friends have not already run off with the money. Sick Boy then asks why they haven't, indicating that he would have. The mood is further broken when during his return to the table, Begbie savagely attacks another customer over a spilled beer. As his friends try to stop this senseless attack, Begbie slices Spud's hand open with a knife. This incident convinces Renton to go through with the plan of stealing the whole £16,000 from his friends.
Early the next morning, Renton pulls the bag of money from Begbie who was holding it while he slept. Spud wakes up and sees Renton leaving with the bag, but remains silent. Narrating, Renton vows to live the stable, traditional life he described at the beginning of the film as he walks through London in the sunny morning. When Begbie awakes and discovers the money is missing, he smashes apart the room in a violent rage — the last time we see him, police (whose arrival is enough to send Sick Boy and Spud on their way) are banging on the hotel door as Begbie pulls out his knife. In the final scene, Spud finds £2,000 left for him by Renton in a train station locker.[4][5]

[edit]Cast

[edit]Production

Producer Andrew Macdonald read Irvine Welsh's book on a plane in December 1993 and felt that it could be made into a film.[6] He turned it on to director Danny Boyle and writer John Hodge in February 1994.[7][8] 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".[7] 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".[8] 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".[6] 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".[6] He was impressed that Boyle, Hodge and Macdonald wanted everyone to see the film and "not just the arthouse audience".[6] 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.[6] Macdonald secured financing from Channel 4, a British television station known for funding independent films.[7]

[edit]Casting

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.[6] According to Boyle, for the role of Renton, they wanted somebody who had the quality "Michael Caine's got inAlfie 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".[7] McGregor shaved his head and lost 26 pounds for the film.[7] Ewen Bremner had played Renton in the stage adaptation ofTrainspotting and agreed to play the role of Spud. He said, "I felt that these characters were part of my heritage".[6] 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.[9] 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".[9] 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 14-year-old.[9] The filmmakers sent flyers to nightclubs and boutiques and even approached people on the street, eventually hiring Kelly Macdonald.[9]

[edit]Pre-production

McGregor read books about crack and heroin intoxication 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.[10] McGregor considered injecting heroin to better understand the character, but eventually decided against it.[9]

[edit]Principal photography

Trainspotting was shot in the summer of 1995 over seven weeks on a budget of $2.5 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.[7] For the look of the film, Boyle was influenced by the colors of Francis Bacon's paintings, which represented "a sort of in-between land - part reality, part fantasy".[9]

[edit]Marketing and theatrical release

Macdonald worked with Miramax Films to sell the film as a British Pulp Fiction, flooding the market with postcards, posters, books, soundtrack albums, and a revamped music video for "Lust for Life" by Iggy Pop directed by Boyle.[7]
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 needle of a syringe filled with heroin being inserted into a vein and Kelly Macdonald straddling McGregor during an orgasm.[7] The original dialogue was later restored on the Criterion Collection laser disc in 1997 and then on the re-release of the "Director's Cut (The Collector's Edition)" DVD in 2004.

[edit]Filming locations

Despite being set in Edinburgh, almost all of the film was filmed in Glasgow, apart from the opening scenes of the film which were filmed in Edinburgh, and the final scenes which were filmed in London.[11]
Notable locations in the film include:
  • The opening scene showing Renton and Spud being chased by store detectives was filmed on Princes Street, Edinburgh.[11] A scene showing the actual theft was filmed in the music department of the since-closed John Menzies, also on Princes Street, but did not make the final cut.
  • The scene where the chase ends is on Calton Road [1], 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 Newton Mearns, near Thornliebank. The park was also the site of the grave in Boyle's previous film Shallow Grave.[11]
  • Corrour railway station is the setting for the "great outdoors" scene in the film.[11]
  • The flat that Renton shows the young couple around when he gets the job as an estate agent and ultimately stashes Begbie and Sickboy 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 Beatles Abbey Road takes place as they walk out of Smallbrook Mews across Craven Road to the Royal Eagle, 26–30 Craven Road, Bayswater.[11]
  • The school attended by Diane is Jordanhill in Glasgow's West End.[11]
  • 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 panting depicting the scene hung in the upstairs area.

[edit]Soundtracks

Main article: Trainspotting (soundtrack)
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.

[edit]Reaction

Trainspotting was screened at the 1996 Cannes Film Festival but was shown out of competition[12], according to the filmmakers, due to its subject.[13] However, it went on to become the festival's one unqualified critical and popular hit.[14] The film made £12 million in the domestic market and $72 million internationally.[15] By the time it opened in North America, on July 19, 1996, the film had made more than $18 million in the UK. It initially opened in eight theaters and on its first weekend grossed $33,000 per screen.[7] The film finally made $16.4 million in North America.[16] Trainspotting was the highest-grossing British film of 1996, and at the time it was the fourth highest UK grossing British film in history.[17]

[edit]Critical reception

In the United Kingdom, Trainspotting garnered almost universal praise from critics. In his review for The Guardian, Derek Malcolm gave the film credit for actually tapping into the youth subculture of the time and felt that it was "an extraordinary achievement and a breakthrough British film".[18] 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?"[19]
American film critic Roger Ebert gave the film three out of four stars and praised its portrayal of addicts' experiences with each other.[20] 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".[21] 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 toSleeper'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".[22] 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 colors, attractively clean compositions and a dynamic pop score".[23]
Rolling Stone magazine'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".[24] 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".[25] Jonathan Rosenbaum, in his review for theChicago 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".[26] Trainspotting has a 89% "Certified Fresh" rating on Rotten Tomatoes and an 83 metascore on Metacritic.
Its release sparked some controversy in some countries, including the United Kingdom, Australia and the United States, as to whether it promoted drug use or not. U.S. Senator Bob Dole accused it of moral depravity and glorifying drug use during the 1996 U.S. presidential campaign, although he later admitted that he had not actually seen the film. 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.[27]

[edit]Legacy

The movie 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,[28] 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.[29] In 2004, the film was voted the best Scottish film of all time by the public in a poll for The List magazine.[30] Trainspotting has since developed a cult following.[31] It has also been recognised as an important piece of culture and film during the 1990s British cultural tour de force known as Cool Britannia. It was featured in the documentary, Live Forever: The Rise and Fall of Britpop as well.

[edit]Awards

Trainspotting was nominated for three British Academy Film Awards in 1995, including John Hodge for Best Adapted Screenplay, Best Film and Best British Film. Hodge won in his category.[32] 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.[32] Hodge was also nominated for an Academy Award for Writing Adapted Screenplay but failed to win.

[edit]Sequel

Boyle has stated his wish to make a sequel to Trainspotting which will take place nine years after the original film, based on Irvine Welsh's sequel, Porno. He is reportedly waiting until the original actors themselves age 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 has stated in interviews that he would not like to make a sequel, due to his preference for being remembered for the critically acclaimed first film, and not an inferior sequel.[33]

[edit]Notes

  1. ^ Welsh, 1997, Trainspotting, p. 309.
  2. ^ Genres in transition British National Cinema, by Sarah Street, Published by Routledge, 1997. ISBN 0-415-06735-9. Page 111.
  3. ^ "Trainspotting wins best film poll". news.bbc.co.uk. Retrieved December 6, 2010.
  4. ^ Lee, Marc (9 September 2005). "Must-have movies: Trainspotting (1996)". The Daily Telegraph (London). Retrieved 27 March 2010.
  5. ^ Lasalle, Mick (26 July 1996). "'TRAINSPOTTING' NEEDS A FIX:But darkly comic tone of heroin-addiction film sets it apart"].San Francisco Chronicle.
  6. ^ a b c d e f g Grundy, Gareth (February 1998). "Hey! Hey! We're the Junkies!". Neon: pp. 102.
  7. ^ a b c d e f g h i Gordinier, Jeff (2 August 1996). "Stupor Heroes".Entertainment Weekly. Retrieved 9 September 2009.
  8. ^ a b "Trainspotting". Empire: pp. 128. June 1999.
  9. ^ a b c d e f Grundy 1998, p. 103.
  10. ^ Jolly, Mark (August 1996). "Trainspottings Engine That Could".Interview: pp. 107.
  11. ^ a b c d e f "Filming Locations for Trainspotting". Movie-locations.com. Retrieved 2 January 2008.
  12. ^ "Festival de Cannes: Trainspotting". festival-cannes.com. Retrieved 20 September 2009.
  13. ^ Power, Carla; Thomas, Dana (15 July 1996). "Track Stars".Newsweek. Retrieved 16 April 2009.
  14. ^ Ressner, Jeffrey (27 May 1996). "All You Need is Hype". Time. Retrieved 16 April 2009.
  15. ^ Petrie, Duncan J (2004). "Contemporary Scottish Fictions--Film, Television, and the Novel: Film, Television and the Novel". Edinburgh University Press. pp. 101–102.
  16. ^ "Trainspotting". Box Office Mojo. Retrieved 16 April 2009.
  17. ^ Lash, Scott; Lury Celia (2007) Global Culture Industry: The Mediation of Things, Polity, ISBN 978-0-7456-2482-2, p. 167
  18. ^ Malcolm, Derek (22 February 1996). "Trainspotting". The Guardian (London). Retrieved 16 April 2009.
  19. ^ Jeffries, Neil. "Trainspotting". Empire. Retrieved 16 April 2009.
  20. ^ Ebert, Roger (26 July 1996). "Trainspotting". Chicago Sun-Times. Retrieved 16 April 2009.
  21. ^ Turan, Kenneth (19 July 1996). "Trainspotting". Los Angeles Times. Retrieved 16 April 2009.[dead link]
  22. ^ Gleiberman, Owen (19 July 1996). "Trainspotting".Entertainment Weekly. Retrieved 16 April 2009.
  23. ^ Maslin, Janet (19 July 1996). "Bad Taste in a Vile Story Doesn't Rule Out Fun". The New York Times. Retrieved 16 April 2009.
  24. ^ Travers, Peter (8 August 1996). "Trainspotting". Rolling Stone. Retrieved 16 April 2009.
  25. ^ Howe, Desson (26 July 1996). "Trainspotting: A Wild Ride".Washington Post. Retrieved 16 April 2009.
  26. ^ Rosenbaum, Jonathan (26 July 1996). "Too High to Die".Chicago Reader. Retrieved 16 April 2009.
  27. ^ "The Best of Cinema 1996". Time. 23 December 1996. Retrieved 16 April 2009.
  28. ^ James, Nick (September 2002). "Nul Britannia". Sight and Sound. Retrieved 10 September 2009.
  29. ^ "The Observer Film Quarterly's best British films of the last 25 years". The Observer (London). 30 August 2009. Retrieved 31 August 2009.
  30. ^ "Trainspotting wins best film poll". BBC. 24 February 2004. Retrieved 10 September 2009.
  31. ^ Catterall, Ali; Simon Wells (2002). "Your Face Here: British Cult Movies Since the Sixties". Fourth Estate. pp. 233.
  32. ^ a b "Trainspotting". British Film Institute. Retrieved 10 September 2009.
  33. ^ "Scotsman.com News". News.scotsman.com. 13 January 2009. Retrieved 3 April 2009.

[edit]References

[edit]Further reading





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