Trainspotting appears in an aspect ratio of approximately 1.85:1 on this Blu-ray Disc. Despite some inconsistencies, the movie mainly presented a good - if low-budget - picture.
Sharpness varied but usually seemed solid. Occasional wide shots offered some mild softness, but most of the movie came across as reasonably delineated and defined. No concerns with jagged edges or shimmering manifested themselves, and edge haloes were absent. Print flaws appeared somewhat heavy, at least for a modern movie. I noticed periodic flecks of grit or specks, but I expected these issues given the flick’s no frills nature. They were more frequent than I’d like, but not terrible; they were the image’s biggest concerns, though.
I also figured Trainspotting would feature a grim and dismal palette, and I mostly got what I expected. The movie tended toward sickly greens and other drab hues. Occasional bouts of brighter colors showed up, but mostly the movie presented the kind of lightly nauseating tones that fit for a piece about heroin addicts. In any case, the colors were appropriately rendered. Blacks seemed fairly tight and dense, while low-light shots displayed positive definition. The occasional slight softness and the print flaws made this a “B-“, but it was still a more than acceptable transfer.
Not exactly an auditory extravaganza, Trainspotting’s DTS-HD MA 5.1 soundfield was dominated by music. The songs that comprised the mix presented fairly good stereo imaging, though the quality depended on the source material. The music also spread fairly well to the surrounds. Effects played a more modest role in the proceedings, but they added some moderate reinforcement and sense of environment.
Audio quality seemed acceptable but erratic. Given the dense accents, clear speech became important, but the track replicated the lines only sporadically well. The lines occasionally came across as somewhat thick, but they usually appeared fairly concise and distinctive. Music varied due to source issues and could range from reasonably vibrant to moderately harsh. Effects followed suit, as those elements occasionally betrayed a hard, metallic sound. They usually were fine, though, as was the mix overall. Too many mild problems cropped up for the audio of Trainspotting to earn more than a “B-“.
How did the picture and sound of this Blu-Ray compare with those of the 2004 Collector’s Series DVD? Audio boasted a bit more oomph, and the visuals demonstrated the standard added level of clarity and accuracy. I wish the movie got a better clean-up, but this was still an obvious improvement over the 2004 disc.
Most of the two-DVD set’s extras repeat here. We open with an audio commentary from director Danny Boyle, producer Andrew MacDonald, actor Ewan McGregor and screenwriter John Hodge. This commentary comes straight from the 1997 Criterion laserdisc; so straight, in fact, that McGregor still introduces it as being for the Criterion laserdisc! The commentary comes from a mix of sessions and gets edited into one coherent whole.
Despite a few more blank spots than I’d like, the track generally conveys a lot of good information about Trainspotting. We learn much about variations between the book and the movie as well as the rationale for those alterations and some deleted footage. We get many notes about the actors and their work as well as sets, locations, musical choices, and thematic concerns. Budget topics turn up frequently, as well as bits about the movie’s aftermath. A mix of grander topics and fun trivia, the commentary provides a nice general examination of the movie. It proves briskly paced and entertaining.
Also we get a collection of nine deleted scenes. These run a total of 10 minutes, 32 seconds of footage. The closest thing to a major removed subplot here comes from shots of a mate of Renton’s who goes straight and gets his leg amputated by accident. Otherwise, the shots all comprise short bits that don’t add much. Still, they’re somewhat interesting to see.
We can watch the deleted scenes with or without commentary from Danny Boyle, Ewan McGregor, Andrew McDonald, and John Hodge. They cover the basics such as the reasons for the excisions as well as some decent notes about the clips. We even get some funny cracks like McGregor’s explanation that they needed to cut one scene because it showed him in his underpants. The commentary seems useful and fun.
Now we move to four pieces in a section called “Retrospective”. The first two split into “Then” and “Now” segments; “Then” are interviews from the time of the movie’s creation, while “Now” present modern commend.
This starts with Look of the Film. “Then” lasts four minutes, two seconds, while “Now” goes for three minutes, 13 seconds. Production designer Kave Quinn comments “Then” as she talks about the visual elements and their inspirations. “Now” offers remarks from Boyle, MacDonald, and Hodge as they present some general notions of the movie’s look. “Then” seems substantially more informative, as “Now” is a bit superficial and bland.
In Sound of the Film, we also go “Then” (7:41) and “Now” (4:50); both MacDonald and Boyle appear for each segment, and Hodge also shows up for “Now”. “Then” goes into the basics of mixing the sound plus the challenges caused by all the music licensing issues. “Now” focuses mainly on the music used for the end segment as well as some other topics connected to acquiring and selecting the songs. Neither track seems revelatory, but they illustrate their subjects fairly well.
Four subsections show up in Interviews. We get “Origins - Irvine Welsh” (four minutes, 36 seconds), John Hodge (7:58), Danny Boyle (14:32), and Andrew MacDonald (10:32). The first one presents the novel’s author on the flick’s set as he prepared to shoot his cameo. He goes into subjects connected to the tale’s adaptation. It’s pretty insubstantial.
Not surprisingly, Hodge mostly discusses issues connected to the adaptation, though he also gets into topics like the cast and working with Boyle and others. Boyle chats about his interest in the book and more about the adaptation, shooting on a low budget, the actors, some specifics of the shoot and the flick’s tone, the portrayal of drugs and reactions to the movie, and its impact and marketing. Finally, MacDonald covers bringing the flick to the screen, the rapid production, critical and popular reception, and its legacy and impact. The tone seems fairly reflective, and the information offers a decent look at the movie’s overall impression on the film world and that of the participants.
In Behind the Needle, we get a multi-angle feature that lasts six minutes and 24 seconds. One angle shows behind the scenes footage from the set, while another lets us watch and hear from Boyle as he examines the sequence; the third option offers both angles on one screen. We check out the shooting of a needle injection sequence. The Boyle shots seem useless, especially since we can hear his audio with all three options. Granted, the footage from the set doesn’t seem terribly interesting either. This presents a pretty mediocre look at the shoot.
This area also includes “Calton Athletic Boys”, a 32-second clip. We hear from McGregor who chats about research with former heroin addicts and how it changed his impression. It’s a quick and slightly informative snippet.
Cannes presents soundbites from some folks at the 1996 festival. We get comments from Ewan McGregor (46 seconds), plus actor Martin Landau (54 seconds) and musicians Noel Gallagher (two minutes, 12 seconds) and Damon Albarn (64 seconds). They all offer their impressions of the film in these marginally interesting clips. The “Cannes Snapshot” runs 117 seconds as it presents some additional celebrity reactions to the flick plus shots from a party. (Some of the soundbites repeat what we heard already.)
The Making of Trainspotting offers a nine-minute and 32-second promotional featurette. We get movie snippets, shots from the set, and interviews with MacDonald, Boyle, Hodge, Welsh, Kevin McKidd, McGregor, Ewan Bremner, Jonny Lee Miller, and Robert Carlyle. It goes through basic issues like adaptation, the characters, the approach to the material, research, sets, and the use of music. It runs through these subjects too rapidly to offer any depth, but it seems more satisfying than most programs of this ilk.
Within the Gallery we get a running collection of photos. The package lasts five minutes, six seconds as continuity Polaroids and a few other shots from the set. It’s a decent compilation.
The disc opens with ads for Memento, Apocalypse Now, Swingers, and I Love You Philip Morris. These pop up under Also from Lionsgate as well, and we find two trailers for Trainspotting, too.
A second platter provides a Digital Copy of the film. As always, this lets you place the movie on a computer or portable viewing thingie. If that floats your proverbial boat, go for it!
Although I feared Trainspotting might not have aged well over the last 15 years, I needn’t have worried. The movie still seems fresh and exciting, as it remains a vivid and forceful work despite imitators seen since 1996. The Blu-ray presents flawed but usually good picture and sound as well as a very nice roster of supplements. Though it comes with some concerns, the Blu-ray represents the best version of the film to date.
To rate this film go to the Collector's Series review of TRAINSPOTTING