Here is trailer for “T2 Trainspotting,” the sequel to Danny Boyles’ ground-breaking 1996 feature “Trainspotting,” about the lives of four heroin addicts in late ’80s Edinburgh.
Directed by Danny Boyle and based on Irving Welsh’s 1993 cult novel, “Trainspotting” was impeccably cast, was acted, shot and directed with a kinetic frenzy that was impossible to deny and featured the greatest music supervision of the 1990s.
In spite of its visual antics acting as something of a poor influence (“Lock, Stock And Two Smoking Barrels” and, say, “Blow,” I am looking at you), it remains an astonishing (and often astonishingly touching and terrifying) cinematic freight train.
Hooo boy. Let’s all take a moment, shall we?
Reportedly based loosely on “Porno,” Irving Welsh’s 2002 sequel to “Trainspotting,” “T2” takes place 20 years later (probably around 2008 or so).
“Choose life. Choose a job. Choose a career. Choose a family” has morphed into “Choose life. Choose Facebook, Twitter, Instagram and hope that someone, somewhere cares. Choose looking up old flames, wishing you’d done it all differently. And choose watching history repeat itself.”
And that’s about where, Underworld’s still-astounding “Born Slippy” blaring, everyone who adored the film 20 years ago feels the snake-like grip of Time itself.
I wasn’t completely prepared for how moving I would find this 2 minutes. Boyle (and returning screenwriter John Hodge) have kept the visual mania but also perhaps the original’s grimy humanity.
The biggest hurdle, of course, will be the soundtrack. The original was an astounding smash hit, a blend of post-punk and then-current Britpop, both a moment-defining collection on its own and a teach-it-in-filmschool example of how to wed movie to music. (Confession: I saw the thing something like four or five times in theaters, mostly because of the music supervision. As a result, I certainly have never thought about, say, Brian Eno’s “Deep Blue Dream” or Lou Reed’s “Perfect Day” quite the same way since.)
While “Born Slippy” (back in ’96 a VERY contemporary song) acts as a nostalgia blast for trailer’s first minute, English band Wolf Alice’s “Silk” holds together the second. Well, we’ll see how this bit goes, but make no mistake: it is incredibly, possibly film-definingly important.
What do you think of all this?