Film Reviews by HW

I watched the sequel recently and thought it was surprisingly good. But it doesn’t come close to the cinematic experience of the original. Having not seen this in years, I’ve forgotten how absolutely gripping this cocktail of black comedy, striking visuals and musical energy is. Yes it is fun and funny in places (if you have dark tastes) but there’s no denying this is a strong anti-drug film; not shying away from the grim consequences of heroin addiction while refusing to judge the characters involved. Read the novel for even more amoral chaos. 

This may not be as revolutionary, as visually striking or as fully entertaining as the original. However arguably this is just as darkly funny and poignant. More importantly, Renton is no longer the main focus. The characters and stories of Sick Boy, Spud and even Begbie have all grown and developed (if not necessarily matured). I actually felt sorry this time round for delinquents like Sick Boy and Begbie. I also like how the social cynicism of the first film has been applied to 21st century society, no better than in Renton’s updated ‘choose life’ rant. As well as cynicism though, the film deals with nostalgia. Nostalgia of the first film and the characters’ own nostalgias for their pasts have been skilfully interweaved. One of the big themes of the film is how characters are held back by holding onto the past: whether it’s Begbie solely focussed on revenge against Renton or Renton and Sick Boy reminiscing about their youth while failing to deal with their presents. It’s tragic to see that these ex-addicts, after 20 years, have still not found anything to fill the hole left by addiction. While Renton may not be able to follow his own advice on channelling his addiction into something new, it works for Spud in a surprising way. I like how writing is presented as a saviour against drug addiction. Even without the shadow of the first film, this is still a powerful modern drama that just as cunningly blends black comedy, energy and tragedy in its eye-opening depiction of Scottish culture. 

The plot of ‘King Lear’ translates easily to historic Japan. The static long shots are set up like paintings, with vibrant colours and dramatic staging. The halfway battle scenes were unlike any I’ve watched before: savage slaughter set to silence or gently building music. The performances felt ritualistic but passionate. Amazing to think Kurosawa was in his 70s when he directed this epic.