Yesterday set itself a pretty low entertainment bar to clear with its premise. “You mean I’ll get to sit and listen to Beatles tunes for two hours? Yeah, where do I sign?” Screenwriter Richard Curtis – he of Love Actually fame – and director Danny Boyle have crafted a movie that feels slight, yes, but one that is also infectiously charming and just a plain damn good time at the movies. It might not contain the deep and meaningful qualities with which we’ve all imbued the music at its center, but it brought a big, fat smile to my face while I was watching it. On this occasion, and in these bleak times, that was more than enough.
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When I think back to the person I was 20 years ago, I’m amazed by how much I’ve changed. Things that I once thought were fundamental truths are laughable to me now. As true as that is, though, at my core, I’m still the same person in many other ways. That observation is at the heart of Danny Boyle’s T2 Trainspotting, the sequel to his 1996 break-out hit. We check in with Renton, Sickboy, Spud, and Begbie two decades after the heroin fueled events of Trainspotting. It’s like visiting old friends you haven’t even thought of in years, and discovering that despite all the time that has passed, you still get along like you just saw each other yesterday. Despite a few missteps, Boyle and screenwriter John Hodge have captured the free-wheeling fun, sick humor, and pathos present in the original.
The screenplay for Trainspotting was Hodge’s adaptation of Irvine Welsh’s novel of the same name. This time, Hodge is adapting Welsh’s sequel to Trainspotting, titled Porno, while also using characters and elements from the first book. Porno was written in 2002, and takes place ten years after the events of the first novel. T2 moves things forward even more, and despite 20 years having gone by, we discover that echoes of the past are ever present for these characters.
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“What exactly does it mean to be an asshole?”
That was how New York magazine writer Mark Harris boiled down Aaron Sorkin’s screenplay for The Social Network in a 2010 piece on the movie and its screenwriter. Sorkin’s past work is littered with characters that are intensely driven, successful, and can charitably be described as “difficult.” In writing for TV – most notably NBC’s The West Wing – Sorkin knew how to soften the edges of these overachievers. Yes, they could be hard to deal with, but they realized it (usually by the end of the episode), and cared enough about those around them to make amends for their behavior.
Then along came The Social Network, and Mark Zuckerberg. While ostensibly about the creation of Facebook, the movie is actually an intense character study of the website’s founder. Sorkin’s Zuckerberg was an asshole who knew it, but only cared enough to feel a little bad about it – making amends was not that character’s style. After another stint on TV with the similarly fractious Will McAvoy of The Newsroom, now Sorkin gives us Steve Jobs. From Zuckerberg to McAvoy to Jobs, something of an asshole evolution is evident. This time the asshole genius knows what he is and he doesn’t give a damn. The result of Sorkin’s writing is as compelling and multi-layered a character study as he delivered with The Social Network, with a dramatic structure as tight as Citizen Kane.
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