Box elder bugs are loud, scary looking, and dependent on group swarming. Yet, they're also completely harmless and extremely passive aggressive. Using this metaphor to address a generation ... See full summary »
Jim and Dave are brothers. They haven't spoken in years and don't like each other very much, but are forced to come together for a week when their dad dies in Kansas City. Alonzo Mourning ... See full summary »
When Jim - a disenchanted yet highly popular college professor - learns of his father's death, he must track down his deadbeat brother Dave and deliver him to the funeral. Upon arrival, ... See full summary »
An ambitious reporter gets in way-over-his-head trouble while investigating a senator's assassination which leads to a vast conspiracy involving a multinational corporation behind every event in the world's headlines.
Alan J. Pakula
London, 1969 - two 'resting' (unemployed and unemployable) actors, Withnail and Marwood, fed up with damp, cold, piles of washing-up, mad drug dealers and psychotic Irishmen, decide to leave their squalid Camden flat for an idyllic holiday in the countryside, courtesy of Withnail's uncle Monty's country cottage. But when they get there, it rains non-stop, there's no food, and their basic survival skills turn out to be somewhat limited. Matters are not helped by the arrival of Uncle Monty, who shows an uncomfortably keen interest in Marwood...Written by
Michael Brooke <firstname.lastname@example.org>
In the tearoom scene, Richard E. Grant breaks out laughing. This wasn't scripted, but every time he spoke, he could hear the snorting of the dogs belonging to the old ladies at the table behind. He thought that this was someone laughing and kept corpsing. After too many re-takes, the director gave up and kept the laughter in. See more »
As the boys are driving OUT of London there is a light blue Ford Transit van. It is also there when they are driving BACK to London at the end of the film. Same number plate as well. See more »
[Withnail has been pulled over by the police for speeding down the motorway in the beat-up Jaguar]
Bit early in the morning for festivities, isn't it?
[gesturing at the wine bottles and Marwood in the back]
These aren't mine, they belong to him.
I assure you I'm not, officer. Honestly. I've only had a few ales.
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The original cinema version of this film was shorter than the one that has since been released on video, laserdisc and DVD. Changes include:
Marwood's opening voice-over has been redubbed.
Marwood's speech about his thumbs having gone weird has been cut. The scene thus goes from the line "I don't feel good" to "Look at my tongue".
Withnail's "I'm gonna pull your head off" has been cut.
Danny's anecdote about The Coalman has been cut.
Some dialogue concerning Withnail's current work and Marwood also being a thespian has been cut out of the scene at Monty's home.
The scene of Marwood slipping in the mud and then angrily persuading Withnail to have another look at the shed has been cut.
The first part of Withnail and Marwood's conversation with the major, concerning Withnail having been in the Territorials, has been cut. The scene in this version simply dissolves from Withnail and Marwood walking to the pub with Marwood's voice-over to the major bringing up the subject of Jake. Marwood's line about why Withnail lied to the major has understandably also been cut.
Withnail and I is set in an old, run down student flat in London's Camden Town at the end of the 1960's. Withnail and I are a couple of unemployed actors from different ends of the social spectrum.
Withnail is a Harrow educated dilettante, and rather upper crust; his flatmate Marwood is a grammar school boy with a slightly more realistic outlook on life. To escape from the squalor of their grim, unemployed, existence in Camden Town, soaked in a near lethal cocktail of alcohol and drugs, the desperate pair call upon the generosity of Withnail's uncle Montague and secure the use of his cottage in the country for a weekend.
Uncle Monty is an eccentric middle-aged homosexual, who prefers vegetables to flowers. He considers that 'flowers are essentially tarts - prostitutes for the bees', and wears a radish in his buttonhole in preference to a flower. He grows vegetables in pots in his Chelsea house, and makes suggestive references to 'firm young carrots'.
Withnail (excellently played by Richard E. Grant), persuades Uncle Monty (a superb Richard Griffiths) to lend Marwood (a convincing Paul McGann) and him his cottage in the country for the weekend.
Their exploits at the cottage, and in Penrith where they spend their Wellington boot money on booze and try to sober up in a gentile tearoom are memorable, witty and entertaining. The incongruous uncle Monty reciting Baudelaire in the Cumbrian hills, seeking carnal knowledge of Marwood (apparently coerced by the cowardly and treacherous Withnail), are testament to the writing skills and humour of author and director, Bruce Robinson.
The film's soundtrack brings us 'A Whiter Shade of Pale', played by King Curtis on the Saxophone, 'My Friend' and 'Walk hand in Hand', performed by Charlie Kunz, 'Schubert's Piano Sonata in B Flat Major' performed by Leslie Pearson, 'All Along the Watchtower' and 'Voodoo Chile', by Jimi Hendrix, 'Hang Out the Stars in Indiana', performed by Al Bowlly, and 'While My Guitar Gently Weeps', by the late lamented George Harrison, who provided much of the financial backing for this memorable film.
This is a thoroughly entertaining 108 minutes of humorous entertainment, a few too many drinks, a convincing 60's atmosphere, superb performances from the excellent cast, and music to make your heart, and your guitar, gently weep. Thank you, George Harrison.
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