Beruflich Dokumente
Kultur Dokumente
Filozofická fakulta
1
Masaryk University in Brno
Faculty of Arts
Department of English
and American Studies
Petra Lacková
2005
2
I declare that I have worked on this thesis independently,
using only the primary and secondary sources listed in the bibliography.
……………………………………………..
Author’s signature
3
I would like to thank doc. Mgr. Milada Franková, CSc., M.A. for her kind help and
understanding, and Iveta Frízlová, Karolína Štěpánová and John Evans for their valuable
4
Contents
I. INTRODUCTION……………………………………………………….……6
II. SURPLUS SOCIETY…………………………………………………………8
III. THE RISE OF AN “UNDERCLASS”………….…………………………..11
IV. UNDERCLASS ON THE SCREEN…………………………………….…..18
V. A TALE ABOUT THE MALE IN BRASSED OFF
AND FULL MONTY.……………………………………………..22
VI. THE PERFECT DAYS IN TRAINSPOTTING...........................................28
VII. CONCLUSION………………………………………………………………31
VIII. BIBLIOGRAPHY……………………………………………………………33
5
Introduction
The social reality of the working class has become one of the main issues of the
roaring debates in Britain under the Conservative Government at the end of the 80’s. Many
have argued about the emergence of a new class, characterised by people who suddenly
find themselves as outcasts at the fringe of society. Whether this constantly growing group
of impoverished people could be easily identified by certain common features, and what
these features should be, is still a part of an unresolved question. The theme of this so-
called underclass was popularised by a number of films and books which showed how this
new social phenomena was to be regarded. Trainspotting, dealing with irresponsible and
careless drug addicts, became one of the most celebrated items of modern youth culture in
Britain. Brassed Off and The Full Monty give us a vibrant and heart-warming picture of
working class men who lose their jobs but manage to keep their minds cheerful and their
In my work, I intend to show that this type of underclass film was, in a way, a
response to the debate in academic and political circles, and announced the return of class-
consciousness and the interest in community life. Firstly, I will look at the historical, social
and political context in which an underclass was developing. I will follow the
contemporary debate on underclass and present explanations and descriptions of this social
group that either reject or give validation to the use of this term. I will argue that although
the concept of underclass is rather problematic, there is enough evidence to suggest the
Secondly, I will describe how a specific form of popular culture, the cinema, handled the
issue of underclass and what were the circumstances that led to the reintroduction of
accompanied by the loss of working class traditions and values, which is the result of
6
changes in the labour market. I plan to show that underclass films focus on a number of
common themes, and for this purpose I have chosen three films. In Full Monty and
bonds and the loss of traditional gender roles. Trainspotting focuses on the portrayal of
youth underclass as a specific subculture and social exclusion as a matter of free will.
7
Surplus society
In the last few decades, as the gap between the economically well off and the most
disadvantaged widened, the questions surrounding all different forms of inequality have
taken up central stage in social, political and economical spheres. The main concerns are
the possible causes of poverty and the ways it should be dealt with. Opinions on this
matter differ dramatically, ranging from some conservative views pointing to deviant
behaviour and unwillingness to become fully active members of society, to those views
that look for causes of economic disadvantage in social change and structure.
The notion of the unwanted, savage, outsider group of impoverished people has
been in the minds of populations since the dawn of societal life. It was with the rise of
theories on social structure in the nineteenth century, that the category of the poor gained a
new dimension. They were portrayed as “a threat to social organization” and such terms as
“the redundant population, the lumpenproletariat, the street folk, the social outcasts, the
residuum, and the dangerous classes” were common (Morris 2). The dominant view
followed that poverty was the result of an individual failure and ignorance and thus, the
state was not responsible for providing any help for “the idle man […] who will not work
according to his faculty”, but he should be left to “perish according to his necessity”
(Carlyle 177, qtd. in Morris 12). These ideas reached their height with the popularisation
of social Darwinism and eugenics that stressed selection and biological predispositions of
humans to become either desirable members of society or an inferior breed on its margins.
In fact, the biggest fear of the state was that financial support to the poor would
lead to the creation of a culture of dependency in which people would voluntarily stay out
of work and this behavioural pattern would be projected onto future generations. Not until
the end of the First World War did the attitudes poverty change. The rise of the welfare
8
state was an intractable outcome of the post war conditions characterised by the
returning from the front. From the start, there were attempts to draw a kind of line between
those who deserved to be helped and the idlers who only wanted to live at others’ expense.
The distinction between the deserving and undeserving poor had been popular even before,
and this categorizing continued to be in use throughout the twentieth century and is still
However, policies attempting to establish what type of people qualify for social
benefits, proved extremely problematic and had negative affects related to the fear of being
stigmatised and potentially excluded from society. “The right to benefits is dependent upon
upon to prove their worth” (Morris 53). Morris argues that the very instrument of material
relief has become the means of social stigma and exclusion, and is increasingly associated
In Britain, this new “class” started forming in the 80’s under the Conservative
around the idea that “there is no such thing as society; there are only individual men and
women and there are families” (Jones 97). Her instincts were towards individualism, mass
consumerism and competitiveness, and her project focused on strengthening the powers of
central government and supporting private enterprise at the expense of large national
companies and trade unions. The idea was to reduce the expenditures on industry and
invest in the more profitable and flexible area, the service sector. Thus, the collapse of
Britain’s manufacturing base followed and thousands of workers lost their jobs.
Although the rate of unemployment rose due to the decline in manufacturing jobs,
the commitment to full employment was abandoned and the government introduced severe
9
cutbacks in welfare benefits. The aim was to prevent the rise of state dependency among
the unemployed, and encourage the development of local labour markets, mainly in the
service sector. Sacked miners and other skilled labourers found themselves without future
prospects for work in regions hit by acute lack of jobs. Thus the state “created a division
between those who were the beneficiaries of the Thatcher years-not only the very rich but
also the new ‘service class’ in the private sector and core workers in the growth industries-
and the losers-especially ‘peripherical’ workers, the long-term unemployed and the new
poor” (Hill 7).1 Thatcher’s propagation of the view that those who failed in society did not
have rights against those who succeeded, and gave credence to many voices that tried to
10
Since the emergence of the concept of an “underclass”, a raging debate around its
meaning has taken place among scholars and in public circles. But no single definition has
yet emerged. The term was invented to describe a marginalized group that is somehow
shut out from the rest of society. It came into usage at the time when the critics of social
inequality started to feel the urge to define a separate category that would reflect possible
explanations for poverty. The continuous discussion on this topic left many asking what it
was that drove people into the trap of separation from the majority of population. Was it
the passive attitudes and unwillingness of people to accept the rules of modern capitalism
and consumerism that made them outsiders of mainstream society? Or did the cause of
deteriorating living conditions of the working classes lie in the inefficient market economy
and “the structured inequality which disadvantages particular groups in society” (Morris
80)?
First, let us have a closer look at the origins and explanations of the underclass
issue. Although the term “underclass” was first in use at the beginning of the twentieth
century and referred to the majority of society oppressed by the capitalist “overclass”, it
was a sociologist Gunnar Myrdal who came with a new contemporary term to define a
group of people who became victims of the changing post-industrial economic system of
the West (MacDonald 4). He spoke about “an unprivileged class of unemployed,
unemployables and underemployed who are more and more hopelessly set apart from the
nation at large and do not share in its life, ambitions and its achievements” (qtd. in Gans
142). His concept, however, soon became transformed and developed various ideological
associations. Ken Auletta, an American journalist, who made the term “underclass”
famous not only within academic circles, included in his category the types of behaviour
and values that were, in his view, characteristic of the new class. He depicts them as
people who cannot break out of poverty, usually due to their passivity or refusal. Long-
11
term welfare recipients stand side by side with “hostile street criminals, drop-outs or drug
addicts”. Under the same category are “traumatised drunks, drifters, homeless and released
mental patients” (qtd. in Morris 81). His explanation tended to establish disparate types of
people as members of the same class and implied that their conduct was often the cause of
their miserable situation. By contrast, the American sociologist William Wilson who also
participated in the popularisation of the concept stressed the importance of the unequal
access to labour market over the conduct of underclass as the source of inequality.
These two different approaches suggested that the explanation of poverty could be
found either in social structure or the behaviour of underclass. The subsequent attempts in
analysing this term more or less grew in the direction of both theories. In Britain, the
turmoil around the possible emergence of a “new” class began with the arrival of the
American critic, Charles Murray, who claimed to be “a visitor from a plague area [coming]
to see whether the disease is spreading” (qtd. in MacDonald 9). In his words, underclass
was “a class of violent, unsocialized people who, if they became sufficiently numerous,
would fundamentally degrade the life of society” (“The British Underclass”). He pointed
out three trends causing the growth of the underclass, namely, dropping out from the
In fact, Murray takes a rather conservative approach in arguing that the break down
of family values was brought about by the lack of socialization of young people. He claims
that in contemporary society young men fail to exercise any moral righteousness and
voluntarily keep out of suitable employment. Surely, without secure future prospects, they
do not represent partners perfect for marriage. Thus, young women who irresponsibly
conceive children with them find it more useful to become welfare recipients (“The British
Underclass”). He blames the welfare state for succumbing to the phenomenon of the
undeserving who become accustomed to state assistance, and for creating an unproductive
12
community of social benefit dependants. Such dependency on generous benefits has led to
the deterioration of family and community values. As children tend to imitate the
behaviour of adults around them, they need positive role models to build up a sense of
morality. It is not possible for single mothers to raise their sons to be fully responsible
members of society. Without the presence of their fathers, many young men grow up to be
“idlers” who refuse to work and frequently develop criminal behaviour and drug addiction
need fathers” (“Underclass” 29). However, in his later work The Bell Curve, his
controversy takes a new turn, when he credits the members of underclass with low
intelligence, and at the same time claims in his other theories, that they are rational
Murray’s incompatible theories aroused strong polemics and have many times been
rejected by other theorists of social inequality. Through the pages of the Sunday Times his
ideas gained popularity among wider audiences and enjoyed much support even from
influential politicians. His writings gave credit to the Conservative party programme
“Back to Basics” which emphasized the return to traditional values of marriage and family
(MacDonald 6). Some of his opponents considered the popularity of his thesis as a
possible instigator of many policies created to regulate the behaviour of underclass. Mann
has criticised Murray for drawing a picture of underclass as a social problem, instead of a
group who suffer social problems. He ironically states that in Murray’s theory, “the state
has provided not a safety net, but a feather bed” (106). According to Mann, these
assumptions have led many middle class observers to identify underclass in relation to its
negative connotations and this term should thus be avoided, unless carefully defined (165).
Similarly, the Labour MP Frank Field is not much in favour of this term as for him it
already carries in itself ideological assumptions about underclass. In his conception of the
13
most marginalized group are those who involuntarily find themselves in long-term
unemployment, single parents and the retired. They all suffer from being locked out of the
rising living standards and the hardening of public attitudes towards those who “have
The protagonists of these structural theories agree that the impoverished groups are
more vulnerable to restricted job opportunities and are often unlikely to succeed in the
extent the low commitment to work, as suggested by Murray, is the cause of high
unemployment rates among the disadvantaged. In his survey among Sheffield respondents,
Duncan Gallie found that although “long-term unemployed experienced high levels of
unemployable as their values adjust to the lack of work, or […] as having political and
cultural values distinct from those of the working class” (qtd. in Buck 279). Other studies
have focused on proving whether the underclass can be said to be sharing their own
version of sub-culture. The findings of Jonathan Bradshaw and Hilary Holmes led them to
relinquish the concept of underclass, as its members “are just the same people as the rest of
our population, with the same culture and aspirations, but with simply too little money to
be able to share in the activities and possessions of everyday life with the rest of the
Kempson concluded that people with a lack of finance should not be counted as an
underclass, as their ambitions towards getting a job good enough to ensure a decent house
and living are just like those of other people; however, she continues to argue that the
increase in income and living standards of the rest of society makes it even more difficult
for the disadvantaged to reach their “fairly modest aspirations” (qtd. in “Underclass” 8).
14
In order to disperse the mist around the concept of the underclass, the debate has
concentrated on other problematic issues raised by Murray and his opponents. Many
underclass and the idea that specific inequality traits might be passed from one generation
to another. It has been suggested that certain sub-cultural influences do exist but, in
general, poor socialization and the absence of role models do not lead to the continuity of
disadvantage among the poor (Morris 94). Furthermore, Lydia Morris challenges Murray’s
ideas on unreliable single mothers by arguing that although women gained much freedom
after the collapse of traditional gender roles and the majority are in paid employment, their
job possibilities are still limited, particularly when coupled with the obligations of
husbands. Thus, women face a dilemma; “as benefit dependents they are stigmatized
members of the ‘underclass’, and as such are failing in their distinctively ‘female’ role of
socializing the next generation” (Mingione 165-66). According to Morris, this view puts
women in an ambiguous position and can negatively affect the policies aimed at single
mothers.
Similarly, in questioning the guilt factor of young people in their own degradation,
Robert MacDonald avers to the fact that many policies designed to deal with the
underclass tend to be directed at youth, such as the reduction of benefits to single mothers,
tightening of laws associated with “the clubbing culture” and the boom in workfare
programmes for the young (19). For these reasons, he implies, the debate on the underclass
should mainly focus on the problems related to young people. Unlike Murray who
emphasized the unwillingness of them to find jobs, MacDonald sees the primary cause of
high unemployment among the young as being “the rapid collapse of employment
15
opportunities for school leavers and young people” (20). He stresses the impact of
claiming that the underclass is a “structurally separate and culturally distinct” group of
people who “share some similar cultural outlooks, values and activities” (3-4). This is
levels of unemployment and exclusion from the labour market. In Britain, it is the long-
term unemployed father trapped in an area where job opportunities are scarce, which as a
consequence negatively affects his family’s prospects and outlook. As Mingione observes:
This is due to the fact that the difficulty in finding a stable, sufficiently well-paid
job, unfavourably concentrated among individuals and social groups with low
which appear in the stages of the life history of the socially excluded (27-28).
In fact, the impact of such factors as alcoholism or the release from prison on one’s
maintains that the main cause behind the impoverishment of certain groups is the lack of
As has been shown above, the underclass cannot be seen as a homogenous group,
as it is almost impossible to capture its form and size due to the lack of a comprehensive
16
definition. Many factors have to be taken into account when explaining the causes of
impoverishment, such as the functioning of the labour market and the complexity of the
processes of social exclusion. Some theories warn that the state tends to play the part of a
host for those who usually fall into hardship due to their own misconduct. However, most
critics have suggested that the emphasis should be put on changes in social life brought
Whichever explanation is considered valid, it has been argued that the concept of
the underclass can be used to draw attention to the poverty problem and serve to present
powerful messages. Some critics point out that the “underclass idea is simplistic and
politically dangerous” and “ the use of stigmatising labels is likely to lead to stigmatising
policies” (“Underclass” 9-10). It often serves the privileged to label a certain group of
people as problematic and unwanted, and thus to propagate unsympathetic views of the
underclass. For this reason, many fear the consequences of suggesting the existence of a
group whose members choose not to conform to the demands of society and find their way
to completely condemn the existence of the underclass, as most evidence points to the
emergence and growth of a deprived group characterized in terms of social exclusion and
economic marginalisation. It is, therefore, necessary to use the term in such a way as to
draw attention to the increasing gap between the powerful and underprivileged and the
17
Underclass On The Screen
From academic and political circles, underclass sneaked into the attention of
popular culture and made its way onto the screen. With the departure of Margaret Thatcher
from political scene, British filmmakers felt the urge to point out to the state of society
Thatcher left behind. Film makers became increasingly interested in portraying this
impoverished social class which suffered from long-term unemployment, criminality and
labour market was nothing new, as the use of social realism has traditionally been a
distinguishing factor of British cinema in which realistic characters “wear cloth caps not
top hats” (Hill 250).2 The preceding 80’s continued in this vein with the popularity of
heritage films, mainly being concerned with national identity and were mostly targeted at a
middle class audience. The arrival of underclass films was therefore, “defined in
opposition to middle class comedies and backward looking war films of the period” (Hill
250)3. They attempted to attract wider audiences and to challenge long-established ideas
Among the underclass films, there were three that shone above the others – Full
Monty, Brassed Off and Trainspotting. All of them were hugely successful internationally
and have many similarites. They discuss the fragmentation of working class identity,
of modern youth. Satire has its moment with sentiment, and regional and national
stereotypes blend with changing roles and structures in society, with images of factory
chimneys being followed by images of junkie squats. These films wanted to move away
from the social realism of earlier eras, and while using realist details, they added imagery,
2
Hill, John. “From the New Wave to ‘Brit Grit’”
3
Ibid
18
Most of these underclass films are set in areas where traditional heavy industries
are in decline and abandoned factories are slowly falling apart. The prospering south is
with scenes of urban dereliction. The decaying north is best depicted in one of the earlier
films, Derek Jarman’s The Last of England. It is a dark vision of a desert region dominated
by old factory chimney, empty industrial buildings and unexploited coal pits. The “Wind
of change” blew over here and sirens announce “the best mines of the country destroyed
by madness.” In this forsaken land, the white lies of bureaucrats murder hope and
“tomorrow has been cancelled due to lack of interest.” Like the characters in
Trainspotting, the young in Jarman’s film refuse to drink brandy and would rather inject
In the way these films are bound to specific locations that have been hit by the loss
of their manufacturing base, and suffer from urban decay, they also construct special
communities with a strong sense of local attachment. It‘s community life and geographical
location are tied to its working class traditions. Yet, what the underclass films highlight, is
the decline of this way of life, the break-up of communities through the experience of
unemployment and poverty. Underclass members are shown “as victims of harsh
economic conditions” which are “responsible for yet further erosion of working class
4
traditions” (Hill 251). The characters in the films respond by trying to retie community
bonds, although it mostly concerns only the male half of community. The group’s
comradeship in Full Monty gets them through hard times and the only hope for the
relation to unemployment and social and economic changes. The characters in Brassed Off
and The Full Monty are portrayed as the victims of restructuring of labour market and the
4
Ibid
19
consequent loss of male working class labour. “These films show that what the Victorians
called the ‘undeserving poor’, lack regular employment, are tempted into criminality, are
plagued by lone sharks, and are banished to bleak, crumbling housing estates, though
capable of resilience and humour, had the odds stacked against them” (Murphy 292). 5 Men
who were members of the working class “sweat” for the bloom of their country, were
without any warning left to live on nothing, unable to fulfil their roles as breadwinners,
forgotten by society. Women in Brassed Off spend their time striking for the preservation
of the pit but the men already lost their will to fight. As Hallam notes, the films depict
underclass identity “not as the collective political unity of a group in society but as a site
for exploring the personal stagnation, alienation and social marginalisation of their white
male characters” (261). Moreover, loss of jobs is accompanied by loss of dignity and self-
The feminisation of the labour market meant that women took up the public space
traditionally associated with men who, having lost their jobs, were forced out of their place
in society. The crisis in male economic and social roles blends with the crisis between men
and women and thus, the films’ “sympathetic portrayals of working class men as
physically redundant in the workplace and emotionally retarded at home create an image
of masculinity in crisis” (Hallam 266). While the male characters in The Full Monty sit
around in a job centre or practise in the abandoned factory for their big night, the women
in the film go to fulltime work and enjoy their leisure time in an ex-men’s club. The only
who terrorizes Renton with her demands. And ironically enough, Gloria in Brassed Off,
the only one with a respectable job, works for the enemy. All things considered, the
5
Murphy, Robert. “Citylife: Urban Fairy-tales in Late 90s British Cinema.”
20
underclass films introduce a discontented male hero who has to get used to the lack of
are adopted as a lifestyle priority. Although “the majority of the characters are confident in
their ability to learn and adapt within the wider culture and economy if they choose so,”
they stick to taking heroin and earning money on the drug market rather than going with
the flow of consumer society that has nothing to offer (Lury 107).
embitterment over the upcoming economic changes are discussed in Mark Herman’s
6
Monk, Claire. “Men in the 90s”
21
Brassed Off. The story follows a North Yorkshire band whose members are mostly
employed as miners with local mining company. The band faces an uncertain future, not
having enough money to support their rehearsals. The situation becomes even more
appalling when the government decides to close the local pit as part of its large-scale
programme of economic “reformation”. The miners are offered higher redundancies only
if they decide immediately and vote for pay off instead of review of the mines case. Under
the pressure of falling into serious financial difficulties after loosing their jobs, many
workers start to give up on their will to fight the management and slowly sink into the
deep waters of depression and resentment. One of the women, who still demonstrate in
front of the factory against the pit closure, reminds us about the coal miner’s strike in 1984
when Thatcher’s attempt to undermine trade union power reached its first peak. She
upbraids her husband for surrendering to exploiting authorities and wonders how he can be
interested only in his music and band in these worrying times, to which he promptly
The cold ignorance of the officials is once again shown when Gloria, who after
returning to her hometown and joining the colliery band, tries to save the pit by elaborating
a report on the viability of the local pit for the British Coal Board, only to discover that the
decision to close the pit had been made two years ago and nothing can change it. As one of
the managers puts it with mockery, “coal is history”. Ironically enough, this comment
leaves most of the local people without jobs and hope for a brighter future. Phil, the son of
the passionate bandleader Danny, cannot pay his old debts off and when his property is
confiscated, his desperate wife packs up and runs away with their children. After he
performs as a clown for children in a church, he blames God for creating the Tory party
and “Margaret bloody Thatcher”, he unsuccessfully tries to commit suicide. Due to the
support of his friends he is able to get back on his feet and finally manages to persuade the
22
crushed band members to take part in the finals in Royal Albert Hall, the biggest success in
the band’s history. Danny, who gets up from his “death bed” and comes to London to
witness the triumphant victory of his band, he tells the overwhelmed audience the truth
about the fate of these excellent musicians who were betrayed by their own country. “I
thought that music mattered but people matter more”. He refuses to accept the prize given
out by the government that destroyed the entire industry and communities, “all in the name
of progress”.
where the impact of the progress planned during the Thatcher years is evident. Sheffield,
once a lively place full of shopping centres, rich nightlife and “housing of the future”
gained its fame and attractiveness due to its primary industry – steel. After the widespread
closing of steel works many workers became unemployed and the possibilities for skill
The film gives a witty and understanding insight into the life of a group of steel
welders whose living and relationships are threatened by their long-term unemployment.
Gaz has a criminal history; unable to get a proper job, he needs quick money to pay back
aliment to be able to retain the joint custody of his son. His friend Dave is a just man who
has low self-confidence feeling he is too fat and impotent, which in turn makes him so.
The two save the life of Lomper who, having no job, no friends and an old mother to take
care of, tries to end his life in his car. Gerald, the most professional of the group, lost his
job and has not found the courage to tell his wife for six months in fear he would not be
They all usually meet in a job club until the day Gaz comes with an exciting idea.
They decide to sort their despairing situation out by becoming strip dancers and giving a
show in a local pub. Peter Cattaneo offers a positive and entertaining insight into working
23
class background and shows that the life of unsuccessful and desperate job seekers does
not always have to be miserable. There are ways of getting over the obstructions in life and
making the best out of what it brings us, though it is not always the sweetest of berries.
Several typical features characteristic of underclass are shown and described in the
films discussed above. Both films focus on the consequences of Thatcher’s “post-
industrial” programme on working class and the industrial regions of the north. In The Full
Monty, all characters involved in the plan to become strippers suffer from long-term
inequalities in the economy system. The shut down of the local factory created an
environment in which there is no demand for skilled labour and the possibilities in the
local labour market are generally very scarce. In turn, the men become dependant on the
state that does not give them much opportunity to reach their modest aspirations
whatsoever. Although, the miners in Brassed Off still count as members of working class
during the first half of the film, after years of heavy strikes, they loose their painful battle
for keeping their poor living standards. In these worrying times, they all struggle to
manage with their low wages and they find it hard to collect enough money to support
their rehearsals and to keep their band going. Phil is already in big financial trouble, trying
to support his numerous family and pay off his mortgage. Even though the film leaves us
with a rather heartwarming open ending, it is not difficult to imagine the possible future of
towards criminal behaviour. Having poked his empty pockets, Phil is tempted to steal a
new instrument from a music shop window but is dragged away from this idea by his
friends. And two members of The Monty crew, Gaz and Dave, get involved in the thievery
24
of an iron frame and seem to enjoy occasional shoplifting in local supermarket. Despite the
innocent nature of these crimes, unkike the harder crimes in Trainspotting, the films
The films also serve as a commentary on the contemporary social trend of the
break-up of the nuclear family, which is encouraged by the loss of jobs and the inevitable
welfare dependency. In The Full Monty Gaz’s ex-wife chooses a stable and financially
better off man rather than watching her son follow the steps of his unemployed father-
criminal. Phil in Brassed Off gets home from a band concert to find his house empty and
his wife packing their children in a car to drive them to a “safer” place. Here, Charles
Murray might turn our attention back to his words about carefree mothers who
irresponsibly leave their unemployed husbands to resort to the more “comfortable” lives
on social benefits. Phil’s wife, however, comes back to support him during his triumph in
Carnegie Hall. Her escape is more a result of long-lasting troubles and a desperate attempt
to spare her children from life in poverty, rather than a well-thoughtout act of a cold-
hearted woman.
Although, women do not take central stage in these two films, they serve as a
platform for the demonstration of changing gender roles. The scene showing a female
audience at a stripshow in a former men’s club and the fact that more women than men
have regular jobs suggest that they “have usurped men’s roles and territory” (Monk 281).7
With the development of service factor, women were given the possibility to give up their
domestic lives and take on regular jobs to contribute to their household expenses. The
wives in The Full Monty work full time and Gloria in Brassed Off has a job in the services,
working for management. While women display many masculine characteristics and take
up their husbands’ roles as breadwinners, “men are depicted as crippled and mostly
7
Monk, Claire. “Underbelly UK. The 1990’s Underclass Film, Masculinity and the Ideologies of
‘New’ Britain.”
25
economically impotent which proceeds into the other parts of their lives” (Monk 281).8
The male characters are negatively affected by loss of self-confidence and sense of shame
for not being able to meet the expectations connected to their masculinity roles. As Gaz
puts it, “a few years more, and men won’t exist, except in the zoo. We’re obsolete.
The men in the films respond to their male disempowerment by sticking together
and trying to maintain a sense of community and comradeship. In Brassed Off, Hallam
notices, ”keeping the band together and making sure it continues to play symbolizes a
rather desperate attempt to maintain the collective dignity of the community and keep its
values intact” (266). However, what we can see is a band composed only of male players
and Gloria gets access into the band only due to her relationship to a former bandleader.
Similarly, in Full Monty we are presented with “a group of men pulling together in times
class life […] people laughing and joking together through hard times” (Hallam 266).
What the films point to is that members of the “new underclass”, being outcasts on the
edge of society left to their individual hardships, urge for the return of working class
Both films give an account of a predominantly male underclass who suffer from
exclusion by adopting the values of collectivity and community. Monk suggests that “in
proposing that this community is organised around shared male emotions rather than class,
The Full Monty and Brassed Off re-frame the economic oppressions of long-term
(282). Yet, the depicted redundancy of men both on the labour market and in relation to
their gender roles just points to the fact, that they were made redundant as members of
8
Ibid
26
society in whole. As Hallam sums up, the male characters in the films seem to long for
“the stability of secure employment, the weekly pay packet, Saturday night at the work
men’s club and clearer demarcation of gender roles between men and women” (267).
One of the most popular and widely discussed film of the 90’s, Trainspotting
consumerism and market economy” (Welsh). The film illustrates their alienation from and
disapproval of society that values commodity and therefore never gets away from an
27
endless toil and chase for money. They grow up in a society where the main institutions of
socialization, in the interest of passing the values of society onto new generations, raise the
youth to become fully efficient components in the economic machinery. And in the times
of individualisation and competition, you have to “work your guts out” to succeed in the
game of winners and losers. As the main character, Renton, tells us, you are supposed to:
“Choose life. Choose a job, choose a career, choose a family. Choose a fucking big
television, choose washing machines, cars, compact disc players […] I chose not to choose
life, I chose something else. And the reasons? There are no reasons. Who needs reason
when you’ve got heroin.” And heroin is not such a terrible alternative to “normal” life after
all.
Yet, the life on drugs has its pros and cons for the characters in Trainspotting.
Renton and his friends live from day to day in the constant need of a shot, which drives
them into the turmoil of notorious criminality. They are all messed up. Renton joins Spud
in his self-destructive addiction and habitual thievery. Sick Boy’s baby dies while he is
enjoying the highs on heroin with the baby’s mother. Even though Begbie loathes the
other’s disgusting drug habits, he likes to immerse himself in heavy drinking and seems to
be addicted to violent rages. And the only thing that keeps Tommy away from the drug
culture is his girlfriend and when she breaks up with him, Tommy joins his mates in the
heroin rides. Neither Renton nor the rest of his friends seem to question their addicted
lifestyles too often or show desire to move to another type of life. But after he is arrested
and admitted to hospital, everything seems to change for Renton. In an attempt to escape
his life in the drug underworld, he tries to kick the habit and after a cold turkey period,
finds a job in London. But the “easy” days spent with his mates are too much of a
temptation and he is soon back in his old ways. With the taste of an “ordinary” life still on
his tongue and having to witness the degeneration of the rest of the crew, Renton finally
28
chooses his life. He grabs the money they all got from a drug deal and runs off back to
London.
The film offers a picture of underclass subculture in several shapes. As is also the
case in The Full Monty and Brassed Off, underclass is connected to a specific cultural
milieu and in Trainspotting, it is in a deprived area in Edinburgh, a place well known for
its junkie underworld. The choice of Scotland is also symbolic, as “it raises a set of
(McLoone 184). While Scotland is depicted as a subordinate, neglected and rotting place,
we are given the most clichéd images of London, the glory of Britain, “the city of
delights.” We can see why Renton decides for London as the starting point for his new life,
in his confession of what it takes to be Scottish: “we are the lowest of the low […] It’s a
shite state of affairs and all the fresh air in the world will not make any fucking
difference.” Ironically, he is not speaking only about the peculiarities of Scottish versus
British identity, but also gives a statement about his place among “the scum” in society.
Trainspotting does not attempt to add a moral undertone to its narration but it aims
to map out the culture of drug dependency in a non-judgmental fashion. It does not
demean its characters for preferring heroine highs in a culture driven by an obsession with
In a society where identity is based not on who you are or where you come from
but on what you consume, heroine is the ultimate consumer product. If what you
consume is the hallmark of your identity, socially sanctioned goods and objects
29
Yet, Trainspotting acknowledges that heroin is not only the drug of the underclass and the
urban poor, as it came to be regarded, it tries to show heroin as a popular part of the youth
Unlike in Full Monty and Brassed Off, where the male characters were victims of
acceptance. As Renton shows us, he can leave the life in poverty if he chooses. In his own
words, “it’s not misery, it’s pleasure. Otherwise we wouldn’t do it.” Monk writes that
Trainspotting “framed the male underclass not as a ‘social problem’” but “in terms of an
appealing subculture of dissent from the demands of adulthood, women and work” (161).9
However, the society is not without blame. Renton and his friends feel the pressure to
adopt the “normal” lifestyle, otherwise they will stay outcasts to society, the values of
which are distant to them. Robert Carlyle, who plays Begbie in the film, make us aware
that “it’s about the society that puts people in that situation, the level of nihilism that
means you’d rather lie smacked out in a corner than take part in life” (qtd. in Brooks 789).
Conclusion
The underclass films follow up the traditional social realist films of the postwar
period that focused on the depiction of working class, and also the 80s that were a response
9
Monk, Claire. “Men in the 90s”
30
to the economic changes of Thatcher’s years. British social cinema of the 90s, in contrast
to its predecessors, goes commercial and aims to attract wider audiences. The themes of
underclass and poverty are displayed in relation to a wide range of other issues of the
modern culture, and filmmakers transform the cinematic language typical for social realist
cinema, using new aesthetic approaches and adding imagery, sarcastic humour or popular
music. The underclass film speaks about the disruption of working class life and the shift
individualism. They present the inconsolable conditions of life in poverty, the demise of
patriarchal society and the retelling of gender roles. Moreover, they bring an image of the
everyday lives of youths “who elect to take heroin rather than face up to the tedious
alternative of dead-end jobs, marriage and mortgage” in consumer society (Brooks 89).
renowned directors of social realist cinema as Ken Loach or Mike Leigh for giving an
unrealistic and twisted picture of life in Britain. But neither the filmmakers nor Welsh who
cooperated on the script wanted Trainspotting to be a social realistic film. Danny Boyle,
the director, explains: “Social realism’s objective eye creates victims. I don’t know what
value showing that has any more. We’ve moved on from social welfare in Britain when it
was useful to identify victims. We collectively decided – and we elected Thatcher for
twelve years to do it – that we don’t want to do that anymore” (Brooks 68). Rather than
repeating the same story over and over again, Trainspotting wanted to become accessible
to the young audience by avoiding any moral conclusions. Lury observes that it does not
rather than a commentary, becomes a brand itself” (105). For this reason, many film critics
and the media criticized Trainspotting for showing drug addictions as a great thing for the
youth to fill their long empty days. But the makers of Trainspotting refused these
31
accusations, arguing that they managed to show how disgusting the lives of junkies can be
Although Brassed Off and The Full Monty do not reject the portrayal their
characters as victims of the system and societal changes, what the three films have in
common is their involvement in “re-branding of Britain” whose image around the world as
a “backward looking island immersed in its heritage” needed change (Monk 283). The
films show Britain as an open-minded, self-critical and class-conscious nation proud of its
of different regional identities. Unlike in the earlier times when there were attempts to
sweep poverty under the carpet and pretend it is not there, which culminated with the
arrival of Margaret Thatcher and her policies, the underclass films show that “‘new’
industrial unrest, regional decline and drug addiction within the fabric of the nation”
(Monk 283).
BIBLIOGRAPHY
Ashby, Justine, and Andrew Higson. British Cinema, Past and Present. London:
Routledge, 2001.
32
Brassed Off. Dir. Mark Herman. Perf. Ewan Mc Gregor, Stephen Tompkinson, Tara
Fitzgerald, and Pete Postlethwaite. Channel Four Films and Miramax, 1996.
Brooks, Xan. Choose Life: Ewan McGregor and the British Film Revival. London:
Chameleon, 1998.
Buck, Nick. “Social and Economic Change in Contemporary Britain: The Emergence
Field, Frank. Losing Out: The Emergence of Britain’s Underclass. Oxford: Basic
Blackwell, 1989.
Hallam, Julia. “Film, Class and National Identity. Re-imagining Communities in the
Hill, John. British Cinema in the 1980s. Oxford: Clarendon Press, 1999.
---. “From the New Wave to ‘Brit-Grit’.” Ashby and Higson 249-60.
---. “Failure and Utopianism: Representations of the Working Class in British Cinema
Lury, Karen. “Here and Then: Place and Nostalgia in British Youth Cinema of the
MacDonald, Robert, ed. Youth, the “Underclass” and Social Exclusion. London and
Mann, Kirk. The Making of an English ‘Underclass‘? The Social Divisions of Welfare
The British Cinema Book. Ed. Murphy, Robert. London: BFI Publishing,
33
2001. 184-190.
Mingione, Enzo, ed. Urban Poverty and the Underclass. A Reader. Cambridge:
Monk, Claire. “Underbelly UK. The 1990’s Underclass Film, Masculinity and the
---. “Men in the 90’s.” British Cinema of the 90’s. Ed.Murphy, Robert. 156-66.
Murphy, Robert, ed. British Cinema of the 90’s. London: British Film Institute, 2002.
---. “Citylife: Urban Fairy-tales in Late 90s British Cinema.” The British Cinema
2005 <http://www.civitas.org.uk/pdf/cw33.pdf>.
---. The British Underclass: Ten Years Later.” The Public Interest archives. Autumn
<http://www.thepublicinterest.com/archives/2001fall/article3.html>.
Shopping. Dir. Paul Anderson. Perf. Sadie Frost, Jude Law, and Sean Pertwee. Impact
Pictures, 1994.
The Full Monthy. Dir. Peter Cattaneo. Perf. Robert Carlyle, Tom Wilkinson, and
The Last of England. Dir. Derek Jarman. Perf. Rupert Audley, Gay Gaynor and
Trainspotting. Dir. Danny Boyle. Perf. Ewan McGreggor, Ewen Bremner, Johnny Lee
34
Welsh, Irving. A short essay on the cover of Trainspotting DVD. 1996
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