Shakespeare a colazione

There is no other movie that I have seen where almost every line of the screenplay is memorable. This is a beautifully crafted script and many of the lines in the film will live with you forever.

But of course, it is the way the words are spoken that makes them so memorable, and this is where Marwood and Withnail take you through a journey of almost impeccable desperation, confusion, anxiety, freedom and ultimately love, loss and redemption.

It's in this field of complex and beautifully woven emotion that all the aspects of the film become greater than the sum of it's parts.

To hear Withnail quoting Hamlet in the rain at the end of the film is one of the most underrated moments of modern cinematic history-it's stunning.

If you've ever spent time in London, been naughty and been caught in a period of uncomfortable and chaotic transition this is a film that will capture you.

This film is about 'youth, beauty and decay' as Uncle Monty would say.

The first time I watched 'Withnail and I' in the late 80s I thought it was pretty good, but that's about it. Over the years, and a few more viewings, it really started to grow on me, and recently rewatching it on DVD for the first time I was struck at how brilliant and unique it is. It's a very subtle film really, and most comedy is admittedly a matter of taste, but if this movie clicks with you you'll most likely end up putting it in amongst your all time favourites. To me it's one of the greatest comedies ever. It's intelligent and sad and genuinely laugh out loud FUNNY, something you rarely see these days. The movie is episodic and seems to ramble on, but it's much more than a shaggy dog story, there's an underlying depth and melancholy to it that makes it something special. Richard E. Grant has never been better than this. Playing Withnail and writing his wonderful autobiography cement his place in film history as far as I'm concerned. Paul McGann is also excellent, and there are lovely performances from Richard Griffiths, Michael Elphick and Ralph Brown. EVERYONE is good in 'Withnail' but it's still Grant's movie all the way. He is just utterly brilliant! 'Withnail and I' is one of THE great British movies, and comes with my highest recommendation.

Withnail & I (Bruce Robinson, 1987) has one of the great scripts, with skies that are "beginning to bruise", a landlord "who was coming over all bald" and a pair of heroes who "are drifting into the arena of the unwell". Paul McGann is "I" (the script calls him Marwood), a mild-mannered actor who decamps to the country for the weekend with boozing, carousing flatmate Withnail (Richard E. Grant) - an eternally inebriated bull artist and wannabe thespian - and the unwelcome Uncle Monty (Richard Griffiths). There they battle against supposed starvation, fear grown of disorientation and alcohol, and the advances of predatory homosexual Monty, who has his eye on I.

The plotting is virtually non-existent, but the dialogue is sensational and Grant's theatrics as the gaunt, wild-eyed Withnail are the stuff of legend - culminating in a heartbreaking spot of Hamlet in the pouring rain. McGann, in his more restrained part, is also superb, while Griffiths oscillates between being affectingly vulnerable and hilariously irritating and weird with admirable regularity. Though there are moments of conventionality that jar with the brilliance frequently dripping from Robinson's pen - including some "fish out of water" stuff that could have come straight from The Egg & I - and Ralph Brown is a bit one-note (and a bit much) as a frazzled drug dealer, there isn't a half-minute that passes without some moment of borderline genius or a disarmingly hysterical joke. Though superficially dealing with excess and the foreign nation that is the English countryside, Withnail & I is really a film about self-destruction, self-delusion and friendship, as one young man heads for the big-time and another for the alcoholics' ward. As a comedy, it's virtually matchless - as a tale of lost dreams, heartbreaking.

Trivia notes: Robinson boiled down three years' of experiences in a shared flat in London to a narrative spanning two weeks. Withnail is based on Vivian MacKerrell, a friend who talked about how he was the best at everything, "but never did anything" - in Robinson's words. Uncle Monty was famously inspired by the writer-director's experience of working for Italian filmmaker Franco Zeffirelli, who supposedly pursued the boyish Robinson after casting him in Romeo and Juliet. The line: "Are you a sponge or a stone?", is apparently ripped from that encounter.

Camden, 1969. Two unemployed actors, Withnail (Richard E Grant), and I (Paul McGann), are facing up to the reality of an empty wine cellar and a harsh comedown following a speed binge. Squalid living conditions and the prospect of life on the poverty line leads 'I' (otherwise known as Marwood), to suggest a rejuvenating break in the Lake District. After Withnail manages to persuade his bizarre uncle, Monty (Richard Griffiths) to part with the keys of his dilapidated cottage, the take the Jag north for a taste of country life.

Adapting to such an alien environment is an initial challenge to the highly strung Withnail; his predicament is significantly worsened following an altercation with poacher Jake (Michael Elphick). Meanwhile, Marwood is forced to concentrate his attentions to fending off the advances of the lecherous Monty, who has inconveniently come to stay.

Following an awkward evening, the pair hurriedly return to London and, after a run-in with the Metropolitan Police, return to find Danny (Ralph Brown) has made himself at home. Drugged rodents fill the oven while Presuming Ed fills the bath and Marwood is rescued from the mire - it seems he will crack the boards after all. "Congratulations", Withnail says emptily, as he begins to contemplate life without his straight man.

Bruce Robinson deserves high praise for creating a rich, debauched world of weird thumbs, phenodihydrochloride benelex, old suits, uncontaminated urine and the Camberwell carrot. WIth a the tightest of budgets, he brings the late 1960's to life. The script is incredibly witty and eminently quotable. Both Mary Selway (casting director) and Bruce Robinson succeeded in bringing dialogue to life with an impeccable choice of actors. Richard E Grant has never come close to his performance as Withnail - his drunken performances are remarkable. Richard Griffiths is as camp as a hat as the overbearing, exuberant Monty, and Ralph Brown is frequently hilarious as the dangerous but lovable Danny.

This is a film that will never be tarnished by age, and neither is it limited by repeat viewings. It is a very accessible film, despite its largely English humour, and 'Withnail' remains one of the best films about friendship. Certainly a one off, 'Withnail' is a must see film that will not disappoint.

What a film! The one-liners, the names (Monty, Withnail...where else would you find such spectacular names?!) True it does not have much of a plot but what it lacks in plot it makes up for in sheer brilliance of dialogue and wit. I had never heard of this film and then suddenly out of the blue : the people i babysat for told me about it, my friend Sarah began raving about it and then the ultimate shove towards watching it, my sister brought the video home! Now if that is not fate i don't know what is. I will be forever grateful. Richard E. Grant is the epitome of the brilliant character actor(i would put his performance on a level such as Daniel Day Lewis, a fete not known by any other actor in my book)finding an exquisite foil in McGann. Watch this film and if you do not find it in the least bit interesting then so be it you are condemned to be boring forever. But if you do not even crack a smile at the infamous line GET IN THE BACK OF THE VAN!! then i would worry for your future in the art of film watching.