Withnail and I (3 Stars)

Plot Synopsis

Withnail and I is a 1987 British black comedy written and directed by Bruce Robinson, loosely based on his own experiences in London in the late 1960’s. It follows two unemployed young actors, the flamboyant and alcoholic Withnail (Richard E. Grant) and his more introspective, neurotic flatmate “I” (Paul McGann, Marwood in the screenplay but unnamed on screen). They share a squalid Camden Town flat in September 1969, spending their days drinking, doing drugs, moaning about the world and rarely working. Their only regular visitor is their philosophical drug dealer Danny.

After a particularly miserable morning, Marwood suggests they take a holiday to escape their dreary lives. Withnail calls his wealthy eccentric Uncle Monty (Richard Griffiths) and, with a few deliberate lies about their success and Marwood’s supposed background, secures the use of Monty’s cottage in Penrith in the Lake District. The trip soon proves less idyllic than they hope. In the countryside they struggle with freezing temperatures, a lack of food and fuel, clumsy attempts at country pursuits, and awkward encounters with locals. Their urban excesses make them out of place and ineffective in rural life.

Uncle Monty unexpectedly turns up at the cottage, revealing himself as a flamboyant and unmistakably homosexual character who makes Marwood increasingly uncomfortable. After a series of misunderstandings, Monty leaves a note wishing them well, and Marwood decides they should return to London. Back in the city, Withnail drunkenly drives and is arrested; they come home to find Danny and a friend squatting in their flat. Marwood receives a telegram offering him a lead acting role, meaning he must move to Manchester. He decides to leave, prompting a painful farewell with Withnail in Regent’s Park. In the final scene, Withnail stands alone in the rain outside the zoo, wine in hand, reciting Hamlet’s “What a piece of work is a man!” soliloquy to indifferent wolves, symbolizing his despair and isolation as his friend departs.

Themes and Tone

The film has a darkly comic but poignant tone; it’s often uproariously funny yet tinged with melancholy about lost youth, friendship, failure and unfulfilled potential. Its dialogue is sharp and quotable, and the characters embody both the comic excess and deeper emotional turmoil of an ending era of the 1960s counterculture.

Cult Film Status

Though not a box office hit on release, Withnail and I gradually became one of Britain’s most celebrated cult classics. Its reputation grew through home video, repeat viewings and a devoted fan community that embraces its humour, quotable lines, and evocative depiction of a specific time and mindset. It’s widely regarded as one of the greatest British comedies and has been featured in various polls and lists of top films.

Fans often quote lines like “We want the finest wines available to humanity” and “We’ve gone on holiday by mistake,” relishing its unique blend of abrasive wit and emotional depth. Its cult reach extends to student film societies, midnight screenings and festivals, with devotees celebrating the film’s depictions of excess and ennui.

The Drinking Game

Part of the cult phenomenon is the infamous drinking game inspired by the film’s heavy focus on alcohol. The basic rule: drink each time Withnail consumes an alcoholic beverage on screen. Over the course of the film, Withnail is shown consuming a staggering variety and volume of alcohol: roughly nine and a half glasses of red wine, half a pint of cider, a shot of lighter fluid, about 2½ shots of gin, six glasses of sherry, thirteen measures of Scotch whisky, and half a pint of ale.

The game is widely referenced in fandom, though it’s worth noting that participants often warn it’s not for the faint-hearted and could be dangerous if taken literally; the lighter fluid scene alone is traditionally substituted for non-alcoholic alternatives.

Director Bruce Robinson himself reportedly never intended the film to be used this way; the drinking game emerged organically from fans drawn to the unabashed depiction of boozy excess. Some argue this tradition misreads the film’s intent, as it doesn’t glamorize drinking so much as vividly portray squalor and self-destructive behaviour.

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