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Tag Archives: Trainspotting

Trainspotting

trainspottingI wasn’t prepared for an immersive experience when I went to see In Your Face Theatre‘s production of Trainspotting, and when I realised there was no auditorium, I will admit to a little hesitation. The experience, however, was just as this incredibly grimy story needed it to be, and was only enhanced by not knowing where the performers were off to next.

The venue could not have been more appropriate. This former Masonic Lodge occasionally flashed up glimpses of the names of its members or phrases such as ‘trust in the lord’ all in a gold print that jarred eerily with Irvine Welsh’s confronting story of the lives of urban junkies.

Though I’ve not been able to find the names of the performers anywhere, they were all very impressive (and this is a very large cast). Rents, Sickboy and Tommy were at once pathetic and yet able to command my sympathy. And a chorus, accompanied by a very appropriate soundtrack from the last twenty years was not a mere addendum to the action, but was critically important in establishing the atmosphere and moving the audience to the appropriate part of the space (or distracting us from the set change).

While the script seemed to skim too quickly over some moments of character development, and though I felt the use of narration didn’t really suit this style of performance, in all, I was surprised at how closely this production elicited the same emotions in me as the novel and film did so long ago.

This is a story that has neither aged nor lost its edge, and remains as gritty as it was when it first saw the light of day in 1993.

 
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Posted by on Sunday, 3 August 2014 in British Theatre, In Your Face Theatre, Theatre

 

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Filth

filthI’ve been a big fan of films that play hard and fast with psychosis over the years, and Filth is, I think, one of the best. It keeps you on your toes trying to figure put the difference between reality and the subject’s experiences, but it doesn’t do this at the expense of character and plot.

The protagonist here, Bruce (James McAvoy), is brilliantly portrayed with incredible pathos and drive. Apart from an unfortunate lull in the third quarter, which many films suffer from, he drives the plot forward brilliantly.

The super-plot is both straightforward and innovative. Frank is in line for promotion, but so are several other detectives in his Edinburgh unit. By setting them up, he manages to move himself up the ladder, building the likelihood of promotion by a steady process of elimination. His plan goes well until his own psychosis gets the better of him.

McAvoy is supported, though, by a cast of well-developed characters, all of whom are brilliantly relatable and portrayed by great actors.

The spectre of Trainspotting is heavy in the air with this film. There are familiar sequences and phrasing, but the whole is a unique and engaging story that warrants a second look.

 
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Posted by on Monday, 25 November 2013 in British Film, Film, Steel Mill Pictures

 

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Harry Brown

Harry Brown begins with one of the most guesome scenes of urban violence imaginable. The purpose of this scene, almost unrelated to the rest of the film, is perhaps to numb us a little for what is to follow. The violence of Harry Brown is, perhaps, of the same calibre as Quentin Tarantino‘s films, but Daniel Barber’s use of violence is otherwise entirely incomparable. It is targeted, purposeful and meaningful to the same extent that Tarantino’s is aimless and vague.

Michael Caine is at his best in this film. In case you were wondering, no, he’s not funny; he strikes with absolute perfection that degree of pathos that could so easily turn into melodrama, without even a hint of going too far. He is supported by an impeccable script and visionary cinematography.

I have long been a devotee of those films that can take the most grotesque aspects of the human condition and appeal, even in that context, to our capacity for hope. Trainspotting was one of the first I encountered, and remains one of the best examples of the transcendental in film. Harry Brown certainly stands well beside it.

And in case you read my previous post about seeing Robin Hoodat Perth’s Picadilly cinema, you may be interested to know that Leederville’s art deco Luna cinema was the perfect venue for a film of this calibre!

 
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Posted by on Monday, 7 June 2010 in British Film, Film, Marv Films, UK Film Council

 

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