| Dan Howard |
Withnail and I plays at the Trylon Cinema from Friday, December 5th, through Sunday, December 7th. For tickets, showtimes, and other series information, visit trylon.org.
When Bruce Robinson was living as a struggling artist in London, he drew inspiration directly from his own less-than-glamourous lifestyle for his first novel, and eventually first film. If an artist doesn’t come from money, it can be very difficult to climb their way out of poverty to achieve even minor forms of success in the art world. In Robinson’s case, the result was an unpublished book-turned-film, and recently turned-stage play, which lead to one of the greatest examples of “write what you know.” It became one of the best and most endlessly quotable cult classic comedies to ever grace our screens: Withnail and I.
Set at the tail end of the 1960s, the profane loud-mouthed drug-enthusiast, Withnail (Richard E. Grant), and his friend and roommate, “I” (Paul McGann) aka Marwood, though his name is never spoken in the film, haven’t had acting jobs in months and struggle to stay afloat in their bohemian flat. The two are desperate for a break from the dreary London backdrop of their lives and have a week-long holiday as they flatter Withnail’s uncle Monty (Richard Griffiths) to allow them access to his estate in the countryside. A getaway seems just what they needed, until they experience the countryside full of unending rain, intimidating locals, and the overall tediousness that comes with living in the country. Here, Withnail and Marwood’s friendship is tested at every turn.
As we hear from our duo, the entertainment industry really can be relentless. We often must make certain sacrifices to achieve those dreams, including living below our means. How does an artist cope with the unknown and having to chase success on an empty stomach? You poke fun at it, of course. This is a case of “so relatable that we can’t help but laugh,” and Bruce Robinson uses his brand of dark humor to craft his tale. But what exactly defines “dark comedy” aka “black comedy?” When you Google “black comedy,” the Oxford Languages definition reads as:
black com·e·dy
noun
• a film, play, or other work that deals with tragic or distressing subject matter in a humorous way.
“a cynical black comedy with political overtones”
• a type of comedy in which tragic or distressing subject matter is dealt with in a humorous
way.
“the plot steers into black comedy” (black comedy definition – Google Search)
Therefore, one drama’s shocking death is a black comedy’s humorous miscalculation that results in a corpse. This style is effortlessly woven into the fabrics of Withnail and I and has been cited as a direct influence on filmmaker Shane Black’s Kiss Kiss Bang Bang, Lethal Weapon, and more specifically, The Nice Guys. Once you get accustomed to Black’s signature style of black comedy, it becomes impossible to not notice echoes of Withnail’s frantic rants or feel that Marwood’s anxious awkwardness has rubbed off on one of Black’s characters.
Using the backdrop of London in the final months of 1969, Robinson provides an outlet for his own brand of black comedy filled with jokes and references to the use of various drugs and alcohol (or other substances unfit for human consumption) even to the extent of Robinson hinting at Withnail and Marwood both coming down from a dose of speed at the beginning of the film and lying about being army veterans for free drinks, some unfortunate of-its-time misunderstandings and scenarios of the homophobic and sexual harassment variety (due to Withnail, no less), poor health and/or living conditions, threats of violence from complete strangers, even an unfortunate situation Marwood and Withnail find themselves in with a chicken. The biggest joke lands on them when their getaway to the countryside seems dead on arrival with their bad luck regarding the weather and the inhabitant’s hostile behavior.
We eventually see the ramifications of not only this hole we find our protagonists in, but of Withnail’s actions as well. We see how the environment affects Marwood’s mental well-being. The conditions of their flat, as well as other occasional occupations of shady characters like Withnail’s drug dealer, Danny (Ralph Brown); Withnail not caring for his health; and Marwood’s reactions to Withnail’s overall behavior helps him realize that Withnail is tragically stunted. Marwood ultimately desires change, the next chapter of his career and of his life. Withnail, on the other hand, simultaneously craves success and wants the free-love party vibes of the 60s to never end. When Marwood recognizes Withnail’s lack of growth, and when the first great opportunity comes, he knows it’s time to move on. Despite the good memories, Withnail is left with a hard dose of reality upon their bittersweet goodbye, reflecting on a stark, unfortunate contrast in all actors’ lives: Finding success or being faced with their own failures.
However, despite Marwood and Withnail’s tale, Robinson’s relationship with the man who served as the real-life inspiration for Withnail, his former roommate Vivian MacKerrel, didn’t seem strained at all. There are key moments during the film where we see the love that Withnail and Marwood do share for one another like the moment when Withnail slyly confirms they have secured Monty’s country house, the two men exchange joyous expressions. Would you base your most iconic character in your film on someone you had a complicated relationship with?
Judging from MacKarrel’s diary entries and Robinson’s memories (Withnail drinking lighter fluid was something Vivian MacKerrel actually did, resulting in losing his sight for days), an opportunity to forever immortalize his friend in Withnail was impossible to pass up. There are even diary entries from when Robinson was crafting the first draft of the original unpunished novel, written from 1969-1970. When MacKarrel first saw the film, he wrote that he found it “tragically sad,” reflecting on his own struggles with alcohol that eventually lead him to develop throat cancer and a laryngectomy, as well as his acting career folding as a result of his addiction. Which is ironic considering that playing Withnail is what launched Richard E. Grant to global stardom.
With the duality in the lives of aspiring artists on full display, it’s no wonder Robinson’s debut film has become such a comfort film for so many. Every time I show anyone Withnail and I, they all have the same response: “How have I never heard of this movie?!” However one may resonate with Withnail and I, i.e. a way to laugh at life or otherwise, Robinson, Grant, McGann, Griffiths, and MacKerrel have crafted a comedy for the ages. One that will further stand the test of time as well; a requiem for a friend that, perhaps, Robinson had trouble saying to him “I love you,” as it can be with a lot of men and just as so with Marwood and Withnail. Though I have a feeling MacKerrel must have known, through this film, and felt the love his dear friend felt for him. For me, even with the ending of a friendship, that love translates throughout the entire film.
Edited by Olga Tchepikova-Treon