Withnail and I
BUY AT:
See more details, packaging, or compare
Synopsis
The ultimate cult British comedy, Bruce Robinson’s semi-autobiographical cinematic bender is a feast of delectably florid dialogue delivered with deadpan relish by stars Richard E. Grant and Paul McGann as, respectively, Withnail and “I,” a pair of perpetually soused, unemployed actors in 1960s London who, desperate to escape their nightmarishly grimy flat, embark on a hilariously misbegotten country getaway beset by menacing locals, bare cupboards, and a randy uncle—all of which they may be able to withstand as long as they don’t run out of alcohol. While Robinson’s dazzling script yields quotable moments galore, it’s the film’s bittersweet evocation of a friendship gradually unraveling that gives this beloved end-of-youth tale its lasting poignancy.
Picture 9/10
Returning to the collection, Criterion upgrades their non-anamorphic, interlaced DVD edition of Bruce Robinson’s Withnail and I to 4K UHD, presenting the film in its original 1.85:1 aspect ratio with Dolby Vision on a triple-layer disc. The 2160p/24hz ultra high-definition presentation stems from a new 4K restoration sourced from a scan of the original camera negative. A standard Blu-ray is also included, featuring a 1080p presentation of the film and all of the release’s video supplements.
Blowing Criterion’s old DVD out of the water by a wide margin and easily outclassing Image’s interlaced Blu-ray, this new 4K presentation delivers a gorgeous, sharp image with a wonderful film-like texture that was entirely absent from those editions. Grain is finely rendered, always retaining a natural and clean look without appearing blocky or noisy. It can appear heavier in some shots, but it always looks appropriate and well-resolved. The restoration work has also cleaned up the image beautifully, scrubbing away all of the blemishes and artifacts that plagued earlier transfers. I honestly can’t recall anything of note, neither distracting nor minor.
In direct comparison with Arrow’s 4K edition (swapping discs and sampling the same scenes) I didn’t notice any major differences, which isn’t too surprising since both labels worked on the restoration together and are using it for each of their editions. I’m sure screencap comparisons would tease out distinctions, but on-screen, they appear nearly identical. That includes the color grading. This new grading differs from older presentations, but I think for the better. The film has always carried a deliberately dreary look, something Robinson has addressed in interviews and commentaries, including material found on this release. The color palette leans toward teal, lightly in some sequences and more heavily in others (particularly the London exteriors, which go quite teal). Interior scenes at the cottage aren’t as affected, while others, such as those in Uncle Monty’s home, come across warmer and more inviting, free of the cooler cast. It all seems quite intentional: the warmer scenes feel more welcoming, while the cooler ones amplify the film’s pervasive sense of misery (what Robinson says he was going for). Robinson also mentions in an included interview that different lenses were used for specific scenes, which may have informed choices as well.
Ultimately, I think it works: it fits the tone of the film, and I prefer the colder overall look. And given that both Arrow and Criterion replicate this grading (unlike the stark differences between their respective “director-approved” editions of Fear and Loathing in Las Vegas), I feel confident this reflects Robinson’s intent.
That aside, color reproduction is strong, and black levels look excellent. Dolby Vision certainly plays a role here, giving the image a noticeable boost. I first noticed this when watching Arrow’s 4K, but it’s just as true here: deeper shadows and smokey interiors, like those in Uncle Monty’s home, look richer and with more depth. It’s funny as Withnail and I always struck me as having a flat, TV-movie aesthetic due to earlier transfers, but the wider dynamic range available here really reveals how rich and nuanced the photography actually is.
All around, it’s a beautiful presentation. The restoration is top-notch, and Criterion does a fine job bringing it to screen.
Withnail and I - Screen Captures
Audio 7/10
Criterion includes a lossless PCM monaural soundtrack. The Dolby Digital track on the old DVD held up decently for what it was, but this is clearly a step up. There’s no sign of excessive filtering, and the dynamic range feels noticeably wider, with the louder music cues standing out in particular. Dialogue remains sharp and clear throughout, with excellent fidelity.
Extras 8/10
Criterion’s release technically features fewer supplements than Arrow’s, and only shares one with that edition, but I think both ultimately cover the same ground. Criterion’s starts with two audio commentaries: one from 2001 featuring actors Ralph Brown and Paul McGann (originally recorded for Anchor Bay’s UK DVD), and another from 2020 with director Bruce Robinson.
Brown and McGann’s track is serviceable enough. The two recall the film’s production, discussing the development of their characters (including who Brown’s accent and voice were based on, which also comes up elsewhere in the supplements) and working with co-stars like Grant and Griffiths (both of whom they praise, particularly Grant). They also talk through various production challenges, including budget constraints.
It’s a fine track, but of the two, I found myself more taken with Robinson’s. Rather than the track he recorded for Arrow’s edition, this one comes from a livestream hosted by Esquire UK, with Robinson answering viewer questions as he goes. It makes for a looser, more freewheeling commentary, at times reflective, at others sharply funny. He shares memories of being broke in the ’60s, having to choose between cigarettes and fish 'n chips, and notes that wine—not drugs—was his vice of choice. He discusses discovering Baudelaire (a major influence), the semi-autobiographical nature of the script, and the chaotic casting process: he initially didn’t want Grant, fired McGann multiple times, and was unsure about Ralph Brown upon first seeing him in character (thankfully he kept him). Robinson apologizes for swearing at one point, appearing to try to keep things family friendly, but this would be out of character since he curses freely and frequently in every other supplement he appears in. Still sounding to be shocked by the film's lasting legacy, it’s a candid, funny, and deeply personal track.
New to this edition (and the only newly produced supplement) is a 16-minute interview segment featuring Robinson and Richard E. Grant, recorded separately during the same sessions as the ones found on Criterion’s How to Get Ahead in Advertising Blu-ray. Though it’s a bit more general in nature and not as tightly focused on Withnail, it’s still excellent. Robinson shares thoughts on what makes comedy work (citing The Gold Rush as an influence) and how working with Truffaut shaped his approach to directing. Grant discusses the struggle of feeling like a misfit actor due to his looks—he humorously cites Donald Sutherland as a role model—and talks about finding a niche. The conversation eventually shifts toward Withnail, with Grant praising Robinson’s dialogue and Robinson discussing the film’s visual style, emphasizing how he aimed to “capture the misery” with a camera that simply “watches the story.”
It’s a strong interview that complements the one on Advertising nicely, even if I was hoping for a bit more film-specific material. That said, I suspect that was by design, since many of the production's stories and insights appear elsewhere on the disc, particularly in the Robinson commentary and a 2017 BFI Q&A featuring both Robinson and Grant. While some of this overlaps with the commentary, Robinson goes into more detail here about his life as a struggling actor in the ’60s, including stories about the roommate who inspired Withnail—one anecdote apparently new even to Grant (who seems slightly offended he had never heard it before). He also expands on his experience with Franco Zeffirelli (who inspired Uncle Monty), recounting where the “Are you a stone or are you a sponge?” line originated. He touches on the more dated elements of the film, including Monty’s character, stating he never intended him to be a villain, just another one of Withnail’s victims, and gets into how he pushed back on Handmade Films’ request to make the character more of a stereotype. The audience Q&A section is often amusingly brisk, with short, sometimes curt answers to questions proposed by the audience, but it adds a light touch to the deeper reflections.
Rounding things out, Criterion includes the 1999 television documentary Withnail and Us, which also appeared on their original DVD and on Arrow’s 4K edition. Though somewhat dated, the 25-minute piece is charming, exploring the film’s legacy through interviews with Grant, Brown, Robinson, critics, and fans. It also features one of Robinson’s funniest impersonations, a skill of his that shines throughout the supplements. The disc concludes with the film’s trailer and a navigable gallery of photos featuring Grant and McGann taken by Ralph Steadman, replicating the gallery found on the DVD. As a side note, on my Panasonic DP-UB820, the gallery loops back to the first image and freezes when browsing through, requiring a full restart. I haven’t tested it on another player, but the issue was consistent across multiple attempts.
The original DVD included an insert and separate fold-out poster featuring Steadman’s artwork. This 4K edition also includes a fold-out poster insert, though with Steadman’s art on one side and an excellent new essay by David Cairns on the other. That said, I’m again a little disappointed Cairns wasn’t tapped to provide a video essay as well.
Arrow’s release still packs on more, but Criterion’s supplements remain excellent across the board, offering a thoughtful, funny, and often unexpectedly personal look at the film, with Criterion even managing to bring Robinson and Grant back for new material.
Closing
Withnail and I receives a worthwhile upgrade from Criterion, delivering a sharp 4K presentation and a strong set of supplements.
BUY AT:
