He takes a plate with some rashes of bacon and puts them in frying pan that is cooking over the fire. He rips off Marwood's bed sheets. Marwood races across the bed to the other side of the room. Monty advances. As he approaches and corners Marwood, Monty unties his dressing gown. Marwood looks up and down in horror. Monty presses himself against Marwood. In 2016, Games Radar voted Withnail and I the sixteenth greatest comedy film of all time. [52] In a 2017 poll of 150 actors, directors, writers, producers and critics for Time Out magazine, the film was ranked the 15th best British film ever. [53] The line "We want the finest wines available to humanity, we want them here and we want them now", delivered by Richard E. Grant as Withnail, was voted the third favourite film one-liner in a 2003 poll of 1,000 film fans. [54] To rub on us, you fool. We can cover ourselves in Deep Heat and get up against a radiator. Keep ourselves alive `til twelve. Jake isn't a friend, Monty. I'd hoped to avoid telling you this, but there's a psychotic on the prowl outside this house. Ask him if I exaggerate. He's threatened us and he's dangerous.

Hoggard, Liz (17 September 2006). "Cult classic: Withnail and us". The Independent . Retrieved 28 May 2023. And you'll be marvellous. Marvellous. [He starts quoting from Hamlet] We do it wrong, being so majestical. To offer it the show of violence... Grant, Richard E. (1999). Withnail and Us. Channel 4. Event occurs at 5:34. Paul McGann's character is Marwood, uh, but he's only referred to as 'I' in the story. Although the first name of "I" is not stated anywhere in the film, it is widely believed [ by whom?] that it is "Peter". This myth arose as a result of a line of misheard dialogue. [20] In the scene where Monty meets the two actors, Withnail asks him if he would like a drink. In his reply, Monty both accepts his offer and says "...you must tell me all the news, I haven't seen you since you finished your last film". While pouring another drink, and downing his own, Withnail replies that he has been "Rather busy uncle. TV and stuff". Then pointing at Marwood he says "He's just had an audition for rep". Some hear this line as " Peter's had an audition for rep", although the original shooting script and all commercially published versions of the script read "he's".this most excellent canopy the air, look you, this brave o'er hanging firmament, this majestical roof fretted with golden fire; why, it appeareth nothing to me but a foul and pestilent congregation of vapours. What a piece of work is a man, how noble in reason, how infinite in faculties, how like an angel in apprehension, how like a god! The beauty of the world, paragon of animals; and yet to me, what is this quintessence of dust? Man delights not me, no, nor women neither. Nor women neither.

Canby, Vincent (27 March 1987). " 'Withnail and I', a Comedy". The New York Times. Archived from the original on 29 March 2019 . Retrieved 26 April 2020. Grant, Richard E. (1996). With Nails: The Film Diaries of Richard E. Grant. Picador. ISBN 0879519355. Well, it doesn't mean to say I've got it. They probably just want to see me again. Well, that settles it, then. We leave immediately. Raymond, the publican, gets the drinks and takes the money for them. In opening the till he just avoids falling over. Withnail and Marwood suppress laughter. This grass is the most powerful in the Western hemisphere. I have it special flown in from my man in Mexico. He's an expert. His name's Huang. This grass grows at exactly two thousand feet above sea-level.Withnail takes a swig of wine from the bottle as Marwood departs. He walks to the railings of the zoo and leans into them.

Marwood is still bent over his makeshift bed, but he turns around to look at Monty. Monty comes and stands over him. Marwood breaks off from stuffing bread rolls in his mouth but has not quite swallowed all of it yet. He alternates between pointing at her with his knife and buttering a scone. I must say. Now that represents a degree of hypocrisy that I've hitherto suspected in you, but not noticed due to highly evasive skills. The cottage Withnail and Marwood are sat inside. There is no sign of Monty. Marwood has just finished shaving and is drying his hair with a towel.Why don't you ask your father? How can it be so cold in here? It's like Greenland in here. [Putting on a rubber glove] We've got to get some booze. It's the only solution to this intense cold. Something's got to be done. We can't go on like this. [He strikes a theatrical pose, one arm in the air] I'm a trained actor reduced to the status of a bum! I mean look at us. Nothing that reasonable members of society demand as their rights. No fridges, no televisions, no phones. Much more of this and I'm going to apply for meals-on-wheels. No man, that's a side line. You can have that. [He makes a motion to the contraption] Instructions are included. Yeah. My partner's got a really good idea for making dolls. His name's 'Presuming Ed'. His sister give him the idea. She got a doll on Christmas what pisses itself. The big Irish man gets up and walks over to them. Now he is upright we see he is very large indeed and looks in the mood for a fight. That's what you'd say, but that wouldn't wash with Jeff. No, he'd like a bit of pleading. Add spice to it. In fact, he'd probably tell you what he was going to do before he did it. [He starts acting out the scene in his head] ``I'm going to pull your head off''. ``Oh no, please, don't pull my head off''. ``I'm going to pull your head off because I don't like your head.''

Before becoming one of cinema’s most legendary screenwriters, Bruce Robinson himself was what is still referred to today as a “classically trained” actor, having studied at the Central School of Speech and Drama in London in the mid-1960s. It was from there that he enjoyed early, indeed almost instant, success as an actor, being cast as Benvolio by the great Italian film director, Franco Zeffirelli, in his self-consciously Sixties-influenced screen adaptation of Romeo and Juliet in 1968. Zeffirelli sought to capture at least some of the youthful spirit of the age by deliberately casting beautiful and, crucially, young actors in the film, including Leonard Whiting and Olivia Hussey as the leads. Hitherto, productions of the play on stage had generally cast actors who were many years older than the titular characters were supposed to be, but Zeffirelli was determined to use young actors to portray the ultimate tale of young love doomed by old prejudices. Withnail's bedroom Marwood is asleep in Withnail's double bed. Withnail creeps in with the candle and puts his hand over Marwood's mouth. Marwood comes violently awake and begins trying to talk through Withnail's fingers. Withnail tries to shoosh him quiet and finally removes his hand. In September 1969, two unemployed young actors, flamboyant alcoholic Withnail and contemplative Marwood, live in a messy flat in Camden Town, London. Their only regular visitor is their drug dealer, Danny. One morning, the pair squabble about housekeeping and then leave to take a walk. In Regent's Park, they discuss the poor state of their acting careers and the desire for a holiday; Marwood proposes a trip to a rural cottage near Penrith owned by Withnail's wealthy uncle Monty. They visit Monty that evening at his luxurious Chelsea house. Monty is a melodramatic aesthete, who Marwood infers is homosexual. The three briefly drink together as Withnail casually lies to Monty about his acting career. He further deceives Monty by implying that Marwood attended Eton College, whilst a lithograph of Harrow School seen earlier in the flat suggests that both Monty and Withnail were educated there. Withnail persuades his uncle to lend them the cottage key and they leave. Thanks for posting the script. Interestingly, the published version includes several missing scenes, cut, apparently, for reasons of rythmn. These include the scene where Withnail, convinced of the Jaguar's roadworthyness, is informed by the mechanic that he has, '..seen better tyres hangin' over the side of a tug.' Priceless.Sometime later, the three of them are sat around the table having finished breakfast. The table is littered with plates, bottles, cutlery and condiments. Withnail is smoking and they are all drinking wine. Jesus, look at that. Apart from a raw potato, that's the only solid to have passed my lips in the last sixty hours. I must be ill. Danny sits at the table and starts pulling out Rizzler papers at a prolific rate. Marwood does into the kitchen. You're the food and plumbings man. I've no idea. I wish I'd found this an hour ago. I'd have taken great pleasure in gunning this pullet down.