Directed by Bruce Robinson.
Starring Richard E. Grant, Paul McGann, Richard Griffiths and Ralph Brown.
SYNOPSIS:
Two unemployed and down-on-their-luck actors take a holiday in the countryside. Trapped inside a dank, empty cabin with an endless downpour of heavy rain, the two men form a complicated bond fuelled by booze, disaster, and nihilism.
British cinema has always prided itself on providing the gritty, realistic, earthy, antithesis to Hollywood cinema. Kitchen sink realism, working class folk, the struggle against the drudgery of life, the bleakness of the wet and windy landscape, and the longing for greener grass. Far less often than American cinema is prone to, British cinema will not glamorise the surroundings and situations. The locales become an integral part of the films, almost as an extra character. Such examples could include Get Carter. The setting evoking a time and place brilliantly, with no sprinklings of Hollywood glitz and style. I’m all for a lavish epic such as The Godfather, but to me it all looks too good, where-as in the apex of Brit cinema, I think we can ground the audience into the settings very well. Maybe that’s down to smaller budgets, meaning more use of natural light, on location shoots, or less time for set ups, and perhaps also because of that, more emphasis on characterisation and often a feeling of intimacy in our best cinema. Naked by Mike Leigh another example. Ranking up high in the pantheon of great British cinema is Withnail & I.
It is a film that has achieved cult status. It’s a favourite amongst students, particularly film students. Now that might not be the best endorsement, but for once those beer-swilling, debt laden, tax-dodging young folk are quite right. Withnail is indeed a cinematic triumph. It’s a simple tale to say the least. This isn’t a film with an emphasis on the plot, it’s purely character based. It could quite easily translate to a theatre production without losing much at all. There’s a central core of two characters, with an additional couple of key roles also thrown in.
As two out of work actors who decide to escape the grimy surrounds of home in London, to a country cottage holiday in Penryth, Paul McCann (as I) and Richard E Grant (Withnail), both shine. McCann’s character is neurotic, nervy, tetchy, and a hypochondriac. As Withnail, Grant is a preening, posturing, pompous, obnoxious, melodramatic ham. Quite an odd couple, but with fantastic chemistry. The relationship between the two is of enduring, of two men in the same boat, floating through life as non-entities. In particular, Withnail holds Marwood (I’s given name but never referred to in the film) back. Indeed there’s a sense that Withnail is either a wasted talent, or someone who’s enormous opinion of his own talent is very wide of the mark. McCann and Grant are both exceptional here, brilliantly crafting their characters. The film is of course very funny, but the underlay of poignancy running through the film rests on the ability of the cast to make, particularly in the case of Withnail being such a vile character at times, the audience empathise. Both actors achieve this with aplomb, with Grant in particular delivering a performance more than worthy of an Oscar nomination (though sadly ignored at the time).
Elsewhere in support is Ralph Brown, as Danny the drug dealer. He almost borders on ridiculous in his creation, but Brown is so into the role, the nature of the character and time the film is set, manages to make him wholly believable. Eminently quotable, he flits in and out of the film brilliantly. Of equal brilliance to Richard E Grant is Richard Griffiths as Uncle Monty. Monty is a work of artistic brilliance. From conception, to writing, to the performance, it’s a wonderful bit of character work, beautifully played by Griffiths. Sad and tragic, and something of a fool and a letch it’s an example of acting that any upcoming thesp should aspire to. Like Grant, Griffiths would have been thoroughly deserving of an Oscar nomination at the time. There’s such poignancy with Monty. He’s equally ridiculous as a person as he is tragically and desperately (and destined to remain) alone.
The brilliance of the film also rests in its unconventional style. As a plot outline it probably doesn’t look much, but it’s filled with so many morsels of brilliant humour, and characterisation. Bruce Robinson as writer and director, manages to craft a film that doesn’t follow conventional formula, or film-making text book. Scenes play out like mini-plays. Dialogue isn’t here to further plot. It’s almost like a collection of scenes, interactions, between the inhabitants. It’s great actors bringing to life moments in the lives of these characters, that somehow from start to finish connect, and move the film from a-b-c. It shouldn’t really work, but it does. The scene for example, with the now infamous line; “We demand the finest wines known to humanity! We want them here, and we want them now!” does little in furthering the story, but it’s brilliant none-the-less. At times too, the film looks beautiful. There’s some wonderful photography, and Robinson isn’t afraid to indulge in a few artful shots. It adds to the ambience, and again acts as a few extra brushstrokes that paint a picture of the films settings wonderfully. Really the film plays out like moments in someone’s life, and indeed it is part based on Robinson’s own experiences of the time. It’s less filmic, and more bio, given it a sense of reality and integrity. We’re given a collection of apathetic characters, who hardly aspire to much, don’t push to achieve much at all. Only Marwood ends the film with some form of hope, resolution, but that is as such, like real life. Not everyone can get the breaks, and not everyone steps out of their comfort zone to get them.
Aside from anything, perhaps the greatest strength of the film is in it’s humour. Wonderfully witty at times, and in others silly, subversive and sometimes bizarre, Withnail & I is packed full of fantastic dialogue and hilarious moments. Even at it’s most ridiculous it feels authentic. Most importantly is the fact that the film seems to get better with every repeat viewing. Having been a student of film myself, I relented and watched the film, almost as an obligation to my choice of study, upon countless recommendations from fellow students. On first viewing I liked it, but didn’t quite see why it was so highly regarded. However on second viewing the penny dropped, I got it, I could see why people quote it incessantly, attend conventions, apply it to drinking games. Every time I re-watch it’s as funny as before, and if not more. New morsels reveal themselves while certain moments enhance their standing in my favourite moments list.
But the film will stand the test of time because it so delightfully, brings to life a small group of colourful characters. It’s an example of going against the grain as a screenwriter, and something and budding writer should take note of. Without engaging characters you have lost your audience before the film has even started. In closing it would also be a travesty on my part not to mention the fantastic soundtrack too.
Tom Jolliffe
Movie Review Archive
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