Trainspotting Identity

Trainspotting presents an ostensible image of fractured society. The 1996 film opens, famously, with a series of postulated choices—variables, essentially, in the delineation of identity and opposition. Significant here is the tone in which these options are delivered—it might be considered the rhetorical voice of society, a playful exposition of the pressure placed on individuals to make the "correct" choices, to conform to expectation.

As such, the introduction might be read as contributing to the formation of two narrative constructs: that of "normality"—or at least that considered "normality" by prevailing ideology—and that of "subnormality," the remainder. In its uncompromising rejection of the former, the commentary of Ewan McGregor's
Renton notes that his mother, on tranquillisers, "is, in her own socially acceptable way, also a drug addict." Because these particular characters' choice of lifestyle conflict with that of the dominant order, they are marginalised—forced to live in squalor and filth. This is something signified in the mise-en-scene: theirs is a world of repugnant toilets; of splattered walls, doors and floors; of soiled bed-sheets; of buckets for "urine," "vomittus" and "faeces."

Fittingly, there is an equally strong argument to the contrary. Begbie proves an unreliable narrator, yet appears to act without conscience or consequence; Sick Boy, portrayed early on as a closet philosopher, is rendered mute after the death of his son. Some things are above and beyond words. Similarly, despite its apparent emphasis on the relationship between power and subjectivity, the film does pronounce ultimate ethical judgements, as I will describe in a
Perhaps this is where we find a meaning for the film's title: a train, hurtling towards you at lethal speed, cannot be diverted from its tracks; you have to acknowledge it, and get out of the way. Averting your eyes is no solution.

But such assumption of responsibility is conspicuously absent in Trainspotting; far more common is the transferral of blame and guilt. Begbie, most notably, is never accountable for his actions; when a "killer hangover" prevents him playing a competitive game of pool, he viciously assaults a stranger for "putting him off." Additionally, Spud's mother is verbally abused when her son is caught stealing, blame being transferred to his upbringing; when the baby dies, Renton's voice stutters nervously, "it wasn't mine," a delivery which suggests a conscience being brought clumsily under control.

In what is arguably the film's most memorable scene, however, Renton is forced to face up to his guilt in what is best described as a "parade of sin." Fittingly, this occurs as he sweats the heroin out of his system. We see Diane in her school uniform, Tommy literally sliding away into the abyss, and Spud rattling his