Trainspotting Scene Analysis

Volcano Club Scene (Edinburgh) 

Begins 19.25

Ends 24.08

The scene begins with a cut transition from Renton and Sick Boy, who sit motionless on a sofa. The scene cuts sharply to the club sequence, with the introduction of loud diegetic music and an eccentric atmosphere of energetic movement, flashing light and bright colours. This is a major juxtaposition from the previous scene, featuring dull colours and stationary characters. 

The scene features a short montage of characters within the club. Sick Boy sits with women, as does Begbie. Behind Begbie is a cocktail board, featured within the mise en scene, with all the cocktails named with sexual innuendo. This links with the sexual desire within the club. Renton stands on his own, and Tommy and Spud sit together. Renton, standing alone, may symbolise how he differs from the rest of the group. It may foreshadow later events, such as theft of the money.

The montage clip switches to a long shot of Spud and Tommy, which pans slowly in. The shot features the two speaking to each other, however dialogue is hardly heard against the clubs music. This gives the audience a feel for the scene, and includes mise en scene throughout the clip. The dialogue is given subtitles to compensate for low volume. Spud discusses his lack of sex to Tommy, and recalls that the problem founds from an article in Cosmopolitan that his girlfriend read. This links to the social context of increasing women empowerment, featured in magazines of the era. 

The clip cuts to a shot of Lizzie and Gail exiting a toilet. Behind them is a large figure cut out of Jodie Fosters 'Taxi Driver' character Iris, a thirteen year old prostitute. This may resemble the clubs sexual tension and lust. It may also address the problem of underage sex, as seen with Renton and Diane. The two characters cross the camera, which pans right and follows them. They each stare into a mirror, checking their appearance. The camera shoots their reflection from behind the two characters. They each hold cigarettes, which adds to the mise en scene. The scene transitions to a low angle shot of the two characters, shot from the left. The scene features low key lighting, lit from above. The low key lighting creates ideas of lust. The two speak of Lizzies birthday, which Tommy forgot. The final line of dialogue; 'useless motherfucker' presents Lizzie with a power over Tommy.

The sequence cuts to a close up shot behind the heads of Tommy and Spud, with Tommy calling 'useless motherfucker is what she called me!'. This transition of dialogue makes the cut between scenes smooth, and links the two conversations together. It places the audience as a bystander between the two conversations. Between the heads of Tommy and Spud the bright lights of the dance floor can be seen, flashing yellow and red. This emphasises the conversation, adding an energy to the dialogue. 

The two girls can be seen approaching between the characters heads. The camera goes from short depth of field to long, changing focus from the men to women. The sequence cuts to a shot reverse shot of first the men, then the women. The dialogue features 'what are you two talking about?', in which the men answer 'football'. The question is returned, to which the women answer 'shopping'. This adds a comedy to the scene, however  addresses a more serious context of gender stereotypes. 

The scene then cuts to a close up low angle shot of Renton. Behind him is a large image of Robert Di Nero's character Travis from the film 'Taxi Driver'. This again emphasises the sexual desire of the club, but may also reflect the conflict within each of the characters. The shot makes it look as though Renton is a shadow of the Taxi Driver character. Non-diegetic narrative from Renton overdubs the music, in which he discusses his 'situation'. The scene seems to increase in pace with the music. The quick tempo of 'Temptation' also builds tension within the audience, as though we feel sorry for the protagonist of Renton, and wish for him to fulfil his desire. The song 'Temptation' refers to the sexual desire which fills the clubs atmosphere. The shot cuts from Renton to Begbie, who is situated with a woman. The shot cuts back to Renton, who turns his head in the opposite direction. This transitions to Sick Boy, also with a woman. This shot reverse shot of Renton, isolated and on his own, infers that wherever he looks he sees what he desires. This isolates Renton, making him seem even more desperate. The scene cuts back to a close up of Renton, his eyes now focused on the dance floor. The camera cuts to a shot reverse shot of Renton, then to a low angle of two lower class men, presented with no sex appeal, and given the aesthetic of a 'nerd', featuring slicked back hair and glasses. This emphasises Renton's current social status. 
The camera cuts back to a close up of Renton, who finishes the remainder of his beer. The scene watches him place the glass down, coax a cigarette into his mouth, and begin walking towards the dance floor. The camera pans right, still at low angle, and watches Renton walk from the front. The camera then follows Renton onto the dancefloor, producing quick shots, one after another. This quick, 'montage' like sequence adds pace to the clip, and along with the music, creates tension and causes the audience to be on edge. The scene cuts between clips of Renton approaching women, and clips of women dancing, filmed from the point of view of Renton. The women who he attempts to dance with all turn away, showing their decision to choose who they dance with. This directly shows the increasing empowerment of women, linking to the social context of the period. The sequence also features insert clips of the other characters, such as Sick Boy, who passes pills from his tongue to a girls. These recurring sexual actions seem to surround Renton, causing him to feel more desperate. The surrounding diegetic music and flashing lights also emphasise the haste and panic Renton feels, and causes this feeling within the audience. The sequence then cuts to a shot of Renton. Renton stands stationary, looking around with haste, cigarette in mouth, and surrounded by hectic, moving characters. The camera shoots from the side of Renton then pans right to get a visual of his facial expression. Renton remains still, taking the cigarette from his mouth, his eyes fixed on an subject unknown to the audience.

The scene then cuts to a long shot of Diane. At this same point, the diegetic music cuts to 'Atomic', an upbeat song reflecting the new feeling derived in Renton. The shot features Diane alone, leaning against the bar. Her facial expression is blank, however she smokes a cigarette, with one arm to her mouth and another across her waist. This gives an impression of power. Diane wears a silver, shiny dress, looking as though it is made entirely of diamond. The dress alone infers she is an object of desire. She removes the cigarette from her mouth and blows away the smoke. The action is done in a sexual manner. The sequence cuts back to a close up shot of Renton, his face giving an expression of desire, looking as though he is in awe of Diane. Behind Renton continues the chaotic dancing of the club, and with Renton stood completely still, this emphasises his complete change in character. The shot cuts back to a long shot of Diane, filmed as though it is from the point of view of Renton. Diane walks past the bar towards the clubs exit,  looking over towards the dance floor. The shot cuts back to Renton, whose eyes follow Diane as she walks. The shot then cuts back to Diane, with the camera positioned in front. Behind her pursues a man holding two drinks. He wears a pink, frilled shirt, inferring he is an outcast to modern society. The scene is of low key lighting, with an orange tint and a mist to the background. He offers Diane a drink through gestures, the scene features no dialogue besides the diegetic music. Diane takes the drink and shots it. The sequence then cuts back to Renton. He is framed by two silhouettes, and shows an expression of desperation, looking like an infant after a new toy. The camera cuts back to Diane, who hands the character back an empty glass, takes the second drink, and shots that. The powerful actions of Diane shows a calm, control to her. This gives the audience the impression she is young, however experienced, and has a power over men, both seen from Renton's desperation and the mans inability to tame her. Diane then walks past the camera, leaving the scene showing a shocked man with two empty glasses. The sequence cuts back to a close up of Renton once again, who has a lustful grin upon his face. Renton narrates the scene with the line 'and with that, Mark Renton had fallen in love'. Diane's actions show the changing roles of women in society. 

The sequence cuts to a long shot of the exterior of the club. The mise en scene features the clubs crimson red walls and doors, with the red indicating the sexual, lustful actions taking place inside its walls. The door opens, and exits Diane. She wears a long red coat, once again inferring sexual desires, or foreshadowing events between her and Renton. She begins walking towards the camera before the shot cuts to a further out long shot, featuring the clubs name letters of 'Volcano'. Behind Diane can be seen Renton, who rushes through the door pulling on his jacket. Renton runs past Diane and confronts her with 'excuse me, I don't mean to harass you'. Renton is shown as excitable by running and jumping, compared to the calm Diane, who walks with an intent to get home. Renton begins to walk besides her, continuing to compliment her with 'this girls special'. The scene cuts further back to frame the two, and shoots from a slightly lower angle with a wider lens. This frames the two characters between the damp pavement and the night sky, but also features the bright red club in the distance. The camera carries out a dolly shot, panning to the right to keep up with the two walking. The sequence cuts to a close up of the two characters' faces, before cutting back to the shot before. Renton circles Diane and caresses her shoulders as he speaks, showing his intentions implicitly. Renton remarks 'ill come back with you if you like, but I'm not promising anything'. This humours the audience. Diane stops to face Renton in reaction to this remark. She begins a speech to Renton, stating 'in fact, you don't usually approach girls'. The camera cuts to a close up of the two. Diane remarks 'the truth is you're a quiet, sensitive type', then goes on to say 'might get to know the inner you, witty, adventurous, passionate'. Diane calls for a taxi, with the camera cutting to a shot of a taxi stopping to her call, then cutting back to the close up. Diane continues with her speech, before leaving Renton stunned to head towards the taxi. She turns to address Renton, shouting 'what's the matter boy, cat got your tongue?' The speech shows Diane's control over men, and suggests a confidence which few women possess. Diane enters the taxi, however leaves the door open. The driver shouts 'are you getting in or not pal?'. The scene cuts back to a close up of Renton, who runs past the camera. The camera then follows him as he rushes into the taxi. The scene shows how Diane had full control over the situation, and how she chose the fate of Renton's night. This addresses the immense change in women over the past forty years, going from obeying men to controlling them. Diane can be seen as a role model for women of the time to follow.