There is a trend for, instead of producing new material, the film industry to simply makes endless remakes of hit-films or sequels to hit-films. Recently, I’ve noticed that sequels are being made 5, 10 or even 20 years after the original. Such was the case with the most recent film I’ve watched, Trainspotting 2 which is a sequel to the 1996 cult classic.
T2 takes place 20 years after the events of the first film with Mark “Rent boy” Renton (Ewan McGregor) coming back to Edinburgh from the Netherlands to find his old friends Daniel “Spud” Murphy (Ewen Bremer) has relapsed; Simon “Sick boy” (Johnny Lee Miller) works with a Bulgarian prostitute, Veronika (Anjela Nedyalkova), blackmailing degenerate men who like being sodomized by strap-ons, when not running his dead aunt’s failing pub; and the psychotic Francis “Franco” Begbie (Robert Carlyle) is in jail.
Its been years since I saw the first film but I remember it being quite dark. It had its humorous moments to be sure but T2 didn’t seem particularly dark to me. The first movie was a film about the effects of post-war, post-industrial society (and I suspect the neoliberal policies of Thatcher more specifically) on wrecking the working class in Edinburgh, as it was about a group of drug addicts. Although there are some references to the continued destruction of these old working class neighborhoods, the sequel seems to be more about the four main characters and their strained relationship. Even Renton’s love interest from the first film (played by Kelly Macdonald) had her role reduced to one level above a cameo, which is surprising given that Kelly Macdonald has had some success in high-profile American movies and TV shows. I went in to T2 expecting for her to have an even greater role than the first film, rekindling her relationship with Mark. I wonder if we will see any critiques of this film (or if they’ve been made already and I’ve just not come across it yet) for not having more screen time for the female characters or for not having enough non-White characters. There were a few black and East Asian faces but they were very minor characters or background characters only seen for a fleetingly short amount of screen time.
This film wasn’t without its political commentary, mind you. Mark Renton has makes a rant at one point to Veronika which includes jabs against consumerism and our fragmented, impersonal society of individuals who spend more time on social media than meeting people in real life, but of course it is more of a pseudo-edgy leftist rant because Mark then moves into feminism. He makes reference to rape jokes, slut shaming and revenge porn. Funny that to the left jokes about rape are seen as a bigger problem than the actual rape cultures of Pakistanis and other immigrant groups now existing in the Occident. Slut shaming is necessary because it is harmful to society for women to be loose, overly sexual entities. They need to fulfill their natural role as mothers and home-makers. As for revenge porn, I don’t know how big a problem that is but I agree that it is improper behaviour which should be discouraged. However, it – and indeed all these issues Mark brings up – are the consequence of our overly sexual society; a society ruined by feminism and the destruction of natural gender roles.
Mark also takes shots at those who notice Jewish power and influence by connecting awareness of this issue with half-baked conspiracy theories when he makes a crack about 9/11 conspiracy theorists and anti-Semitism. Of course, in doing so connecting all critiques of Jewish power with ridiculous and out-there views.
The most interesting scene in this movie revolved around Mark and Sick boy visiting a Loyalist pub. During the 19th century quite a large number of Irish Catholics moved into the industrial areas of Lowland Scotland and pretty soon sectarian conflict developed between them and the Protestant natives, although it was never as violent as the one between Irish Catholics and Protestant Ulster Scots back in Ireland. Mark makes a great statement about how Protestant Lowlanders have been abandoned by the political class but still they hold tightly to their identity as loyal Protestant subjects to the Crown. However, this identity is then condemned as being purely based on bigotry and is shown as a stale and un-dynamic one, as the pub is full of nothing but middle-aged and elderly individuals. They are also shown to be a foolish people.
I should note that the main characters are fans of the Hibernian football team, because this was one of several teams started by Irish Catholic immigrants to Scotland in the 19th century. Their supporters were originally Irish immigrants and the descendants of these immigrants while their rival clubs were founded by natives. The most notorious football rivalry in Scotland, however, is between the Glaswegian teams Celtic (founded by Irish Catholics) and Rangers (founded by local Protestants). The sectarian conflict in Scotland is not as relevant now as it used to be and many fans of the old Irish teams are not in fact Irish or are more Lowlander in ancestry, but it is still there.
Mark Renton and his mates don’t seem to have any identity and while the anti-Catholicism and often crass triumphalism of the Lowlanders and their kin across the North Channel doesn’t sit well with me, at least they have an identity that they are proud of. Irish – and those Scots who reject or were never part of this culture or Catholics of other White ethnic backgrounds – who see this film will no doubt take much glee at watching these people being made fun of and getting robbed, but they need to realise that they have been abandoned too.
All Whites have been abandoned by their ruling elite. Even those groups, like the Welsh, who are receiving government money to help revitalise their native languages are under threat by mass migration, destruction of the family, religion and all ties of community. While I am no pan-Europeanist, the tribal conflicts such as those in the Lowlands and Ulster are infuriating when there are greater problems that all parties need to deal with. Falling demographics, cultural marxism, globalism et al., are all of far more importance than constantly re-living 1690.
Post Script: I wonder how many of those in the audience (most of whom looked between 40-60, like the leading actors) with me cared about such issues? Do they see the film as confirming their prefabricated egalitarian notions? I can only assume so. They, the makers of this film and most of the actors are boomers. Deracinated Whites who have completely bought into the liberal worldview and aggressively promote it every chance they get.