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Trainspotting and the Writer's Journey ~ University Essay


BA1b Film Analysis Essay


To what extent does ‘Trainspotting’ (1996) subvert Vogler's ‘Writer’s Journey’ to explore the bleak reality of modern society?


“Choose life. Choose a job. Choose a starter home. Choose dental insurance, leisure wear and matching luggage. Choose your future.


But why would anyone want to do a thing like that?” [1]


This iconic quote from Danny Boyle’s film ‘Trainspotting’ embodies not just the fundamental theme and message, but the very narrative structure itself. Subversion and frustrating repetition are not just represented clearly in this quote, but also through the ways in which the film’s plot subverts and utilises Vogler’s interpretation of the ‘Writer's Journey’, to create a pessimistically socially-realistic representation of modern society, particularly for the working class.


Christopher Vogler’s concept of the ‘Writer's Journey’ posits that most stories, in particularly films, can be condensed to a series of key moments and archetypal characters [2]. Vogler himself says that his work is an adaptation of Joseph Campbell's ‘The Hero with a Thousand Faces’ [3], and that subversion and adaptation by other authors is a vital part of storytelling, suggesting “that’s why the hero has a thousand faces” [4]. Boyle, and by extension Irvine Welsh [5], create a repetitive and depressingly disorientating portrait of working class, drug addicted youth, by subverting and re-employing elements of the Writer’s Journey, creating a narrative that mimics the endless cycle that the hero, Renton, find himself in. As Renton subverts the expectations of what he sees as a stereotypical, formulaic life, so does the film subverts conventional translations of the hero’s journey.


Vogler starts by presenting the need to establish an ‘ordinary world’, as “most stories take the hero out of the ordinary, mundane world and into a special world” [4]. In ‘Trainspotting’, the initial equilibrium [17] is not ‘ordinary’ for a typical audience. This alienation and transgression from typical, acceptable society is echoed in the films very name, ‘Trainspotting’ being a reference to the subcultural hobby [6], connoting the idea of a pastime unappealing to outsiders, but obsessive to those who are into it, as well as the sense of a pointless waste of time [7]. A small percentage of the population use illicit drugs, [8], so it seems safe to suggest that for a typical viewer, Renton’s ‘ordinary’ world is definitely alien. One could argue that Renton is already in a special world of sorts, as he has left the ordinary world of civil society, and entered a new reality, similar to the effect of drugs upon him, and we follow him through the hero’s journey back to conventional life. As we open on the repetitive montage of Renton’s daily criminal antics, cutting back and forth between shooting up and running away, all to his cynical inner monologue, the equilibrium is quickly established.


What isn’t so clear cut, throughout ‘Trainspotting’, is who exactly is the hero? Or rather, is there one? Renton is the clear protagonist, but he is far from a conventional hero. The Greek root ‘heros’, means defender or protector [18], and to otherwise be self-sacrificial. This is not the case with Renton, as he steals not only from the public but ultimately his friends. However, Vogler points out, similar to Vladimir Propp's [9] concept of archetypal characters in folklore, these archetypes do not have to serve rigid roles but rather as “functions performed temporarily”. Building on the ambiguity, Vogler introduces the concept of anti-heroes, defined as “a central character to the narrative... Who lacks admirable qualities possessed by traditional heroes” [6], and “who may be an outlaw or a villain from the viewpoint of society, but with whom the audience is basically sympathetic” [4]. Comparing Renton’s subversive attitude to society, and his selfish and cynical outlook, to that of a conventional hero, we see he fits the model of anti-hero far better. In addition, the other characters are fluid in their roles, their archetypes used much more like “masks” [4]. There is no saving hero, only a flawed and self-centered protagonist. Renton’s story arc is broken, shifting between impulsive calls to arms; just as real life doesn’t fit the conventional three act structure, neither do real people conform to the motivational demands of a conventional narrative. The people in Renton’s life morph and take on the different masks of the archetypes to fulfill their narrative role, so there is never even structure in Renton’s life in terms of his allies and enemies; this brings a cynical complexity to the characters and their relationships.


Next Vogler identifies the ‘call to arms’, where the hero encounters a “problem, challenge, or adventure to undertake” [4]. Renton’s first, of many, calls to arms, is his declaration: “Never again, Swanney, I’m off the skag.”, to which Swanney’s reply of “Are you serious?” sets the tone for the rest of his fated call to arms. Renton’s new-found ambition to get clean is a self motivated call to arms, for the reward of a better, happier life. As he prepares to go cold turkey via ‘the Sick Boy method’, this introduces the Mentor archetype, who helps “prepare the hero for the unknown” [4], just as Sick Boy guides Renton through withdrawal. Here Trainspotting begins to blur the conventional narrative stages, as the mentor appears earlier than Vogler ordered, and as the film progresses from this point, the status of the characters’ roles shifts confusingly from mentor, to ally, to enemy. A number of characters act as mentors to Renton, not just Sick Boy, but also Mother Superior and the drug dealer Mikey Forrester. The latter two, however, could instead be considered enemies to Renton, as they are mentors of his other world, and seek to enable him to stray from his call to arms. This conflict develops throughout the film, Renton between two worlds, where ordinary life is alien to him, and his motives are constantly shifting between his logical goals and his nihilistic impulses. Renton’s continued inability to ‘cross the threshold’ [4] and commit to his original call to arms, lead to stasis and even answering conflicting calls that will lead him back to the life he aimed to escape.


We soon see his self-imposed barricades torn down as Renton heads out to get ‘one last hit’, which illustrates Vogler’s ‘refusal of the call’, a “point where the hero balks at the threshold adventure...facing the greatest of all fears, terror of the unknown” [4]. This perfectly encapsulates Renton’s attitude towards getting clean and ‘choosing life’, and he almost immediately decides he needs one more hit. This plot beat could be interpreted as a refusal to answer the call as Renton slips back into his usual habits, though equally it could be argued that because Renton sees this as a vital step on his way to sobriety, he isn't actually refusing the call, but rather uncoventionally crossing the threshold into the new world. This casts further confusion onto the roles of some of the other characters. If this was interpreted as a positive step for Renton, his drug dealer could be seen as a Mentor of sorts. As at the core of Trainspotting and Renton’s inner conflict are opposing perceptions, it is appropriate that the film is never clear in establishing the archetypal ‘mask’ any character is presenting at anyone one time. In this way, the filmmakers connote the paranoia and ambiguous relationships with the other characters that Renton feels. Through subversion and manipulation of the aspects of the ‘Writer's Journey’, the filmmakers strip the comfort of the established archetypes, and conventional narrative order, to construct the bleak and unstable ‘reality’ of a junkie shunned by society.


Vogler believed the next few steps of stereotypical narrative were the ‘crossing of the threshold’, which “signifies the hero has finally committed to the Journey” [10], followed by the ‘Tests, Allies and Enemies’ that come with this venture into the special world. Here we see the emergence of other archetypal characters, like sidekicks, allies and enemies. This stage teaches the hero the rules of the special world, and “tests the hero's commitment to the journey” [10]. It is here we find ‘Trainspotting’’s greatest subversion of the writer's journey, and with it its most impactful commentary. Whereas Vogler prescribes this period of testing and trials before the break of Act II, and the descent towards the ‘The Ordeal’ and resultant ‘Reward’, Renton experiences no such arc. Rather, what we see is an almost inescapable cycle of failure to cross the threshold and commit to the call to arms. Take the original call to arms: getting off skag; Renton crosses the threshold in the sense that, for a while, he doesn't do heroin. With this comes the tests, enemies and allies; we see this through Sick Boy’s snide devaluing of Renton’s efforts, Spud’s dimwitted companionship, and Diane’s manipulative relationship. “These scenes allow character development as we watch the hero react under stress” [4], Vogler explains, but we do not see such a clear evolution with Renton, rather a regression, due to the stress, back to his old ways: “We made a healthy, informed, democratic decision to get back on heroin as soon as possible” [1].


We would expect to see overcoming of tests for the betterment of the hero and his allies, such as in ‘Wizard of Oz’ [11], where Dorothy acquires allies on her adventure, and overcome tests that make them stronger, like oiling the Tin man, but are instead treated to a much more bleak illustration of reality. By subverting the usual path of our hero, and instead showing them to fail, not just falter, but consciously decide to regress, we are exposed to the uneasy notion that in reality, not everything that doesn't kill us makes us stronger [12]. Through this we do not only decode Renton as an anti-hero, but as a flawed, unsuccessful, unlikable person, who fails to escape his cycle of existence. In addition to his failings throughout the film to weather his storms and breach the next stage of his story, we see him take up ‘calls to arms’ to do the very opposite of his original mission.


Volger says the structure of mythology suggests the next step should be ‘The approach to the innermost cave’ [4], as by this point “the hero has survived his descent into the special world [and] must make the preparations needed to approach … ‘the Ordeal’” [10]. Instead we see Renton and ‘The Skagboys’ [13], dive back into drug abuse, and steal, cheat and lie to support their addiction. They do overcome challenges, of getting money and gear, and even great challenges such as the death of baby Dawn. In a twisted sense this regression back to drug abuse is presented as the most euphoric and arguably happiest time of Renton’s journey. However, in aiming to paint real life, especially for drug addicts, as depressingly unpredictable, inescapable and turbulent, ‘Trainspotting’ ends this ‘anti-call to arms’ as quickly as it is begun, and throws Renton and the audience almost straight into “the Ordeal”. We can view Spud and Renton’s arrest, and Renton’s parents’ subsequent plan for him getting clean, as yet another call to arms. This again, followed by a refusal as Renton goes to Mother Superior to get a stronger hit, and his subsequent overdose throws us straight into the clear ‘Ordeal’. The ordeal is the moment the hero ‘hits rock bottom in direct confrontation of his fears” [4]. Renton experiences this in the horrible hallucinations during his withdrawal.


Yet there is no reward for “cheating death” [14] and though Renton is “reborn” of sorts, he is by no means heading home on his journey; if anything, this begins a new chapter in his journey towards his goal. We see instead yet another attempt at crossing the threshold, one of the most successful attempts, as Renton moves to London and gets a Job; whereas Vogler would expect to see the brink of Act III with the ‘Road back’, marking “a decision to go back to the ordinary world”. However, Renton experiences yet another anti-call to arms, as Sick Boy and Begbie re-enter his life to propose a heroin deal that will make them rich. This could be regarded as what Vogler called the “resurrection”, a “kind of final exam to see if the hero learnt the lessons of the ordeal” as the evil strikes one last time. Renton doesn't defeat this evil and disregard them, but rather answers this call to arms that will lead him away from his original goal. Renton dives back into his old world, tries heroin again and breaks the law.


‘Trainspotting’ subverts Vogler’s traditional structure of the ‘Writer's Journey’ in an attempt to portray a realistic and depressingly repetitious view of everyday life, especially for those suffering with addiction, utilising the first few steps of the traditional journey to connote the sense of inescapability of reality; as a real life heroin addict testifies: “From the day I started using, I never stopped” [15]. ‘Trainspotting’ accepts the unpredictability of real life, and how real people do not go on great, structured and isolated adventures, but fail and restart small chapters in their life. The film is a window into the life of a struggling junkie, and makes no apologies for its unheroic protagonist, and his largely unsuccessful journey. Even if we see the money he steals from his friends at the end as a “reward” or “elixir” of sorts, in the sense it has the power to help make his life better [16], it acts far more like an item given by a mentor that allows him to begin his journey. Which is what we see at the end of ‘Trainspotting’ with its cliffhanger ending: no return to the ordinary world, but rather a venture back out into a whole new world. Life is a constant battle for Renton, with tests, enemies and ordeals at any point, failure at every turn, and he has no choice but to have another go at answering his call to arms; at “choosing life” [1].





Bibliography

[1] Trainspotting (1996) Directed by Danny Boyle [Film] POlygram Filmed Entertainment

[2] BBC (2007) Christopher Vogler’s Screenwriting workshop Available at: https://web.archive.org/web/20070818162749/http://www.bbc.co.uk/writersroom/insight/insight_vogler.shtml

[3] Campbell, J. (1949) The Hero with a Thousand Faces

[4] Volger, C. (1999) The Writer’s Journey: Mythic Structures for Writers pp. 15 - 60

[5] IMDB (2018) Available at: https://www.imdb.com/title/tt0117951/

[6] Collins (2015) Collins English Dictionary

[8] UNODC (2017) World Drug Report 2017 Available at: https://www.unodc.org/wdr2017/field/WDR_2017_presentation_lauch_version.pdf

[9] Propp, V. (1928) Morphology of the Folk Tale

[10] Stuart V. (1999) Myth and the Movies: Discovering the Mythic Structure of 50 Unforgettable Films

[11] Wizard of Oz (1939) Directed by Victor Fleming [Film] MGM

[12] Clairmont, N. (2017) “What doesn't kill you makes you stronger.” Really? Available at: http://bigthink.com/the-proverbial-skeptic/what-doesnt-kill-you-makes-you-stronger-really

[13] Welsh, I (1993) Trainspotting

[15] Drug Free World (2018) Available at: The truth about heroin https://www.drugfreeworld.org/drugfacts/heroin/international-statistics.html

[16] Vogler. C (2011) Heros Journey Short form Available at: https://chrisvogler.wordpress.com/2011/02/24/heros-journey-short-form/

[18] Online etymology Dictionary (2018) Available at: https://www.etymonline.com/word/hero





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