Reblogging with this excellent comment. For a popular request (read: one person), I can actually answer what I meant by this post.
There is an unsettling side to this whole thing when you look at the implications. Far from wanting to ruin anyone’s enjoyment of Paul McGann-as-Marwood aesthetics; I just find it confusing, in the “what is the purpose of this thing?” way.
We do know that Robinson based Marwood on himself. He often talks about how beautiful he was in his twenties, and this is typically where the Franco Zeffirelli episode (unwanted sexual advances) is mentioned. (*1)
Since the beauty of a young man is connected with sexual harassment, I suppose the only way for this to work is to actually have a young man who is beautiful. (*2) Although it is not just about looks: Marwood is not simply pretty. He is also vulnerable, plagued by anxiety and has a dose of naivety about him (despite being occasionally mean and sarcastic.) He comes from a poorer, lower-class background than Withnail, which is something that might escape non-UK viewers but is very intentional on Robinson’s part. (”Withnail and I” is so political in many ways, which is a rant for another time.)
It is not a secret that Paul McGann was cast on the spot, as soon as Robinson saw him. While Robinson (probably?) knew McGann from one of his TV roles and was aware of his acting abilities, it is clear that looks were important part of the casting. (*3) That was a “beautiful, anxious boy” role. A role he portrayed so well in “Withnail and I” - and never again. (@prydon has an excellent essay on how Marwood is different than any other of his roles and is, kind of, McGann playing against the type. Go read it!)
And this is where we get to Uncle Monty and Withnail’s ultimate betrayal. Robinson is not shy about basing Monty off Zeffirelli, and it’s clear why. The whole Monty episode is tragic, and Robinson gives the character a lot of sympathy; arguably, more that most people would give to a character based on their assaulter. In a way, the main villain in the Uncle Monty episode is Withnail, who orchestrated the whole thing for his personal gain. (*4)
The final implication is that Marwood is an easy target of this abuse because of his looks, his vulnerability, and his naivety. This is hardly a new thing to say about the film, so let me go back to what makes me confused about it: this is Robinson recollecting his twenties and what happened to him. No, it is not completely autobiographical in details, but it tends to be in spirit. Far away from toning down any of those elements, Robinson goes in: he emphasizes Marwood’s beauty and vulnerability to a gazey point. Obviously, everybody deals with the assault in their own way, but this gazey emphasis is made to work very deliberately. Could it be because:
When Uncle Monty strikes, it is more unsettling because you were made to play along.
??? This is what makes the whole thing so fucked up. Well done, Robinson. Well done.
tl;dr: “Withnail and I” portrays its most disturbing episode (based on real events) not through open condemnation but through careful examination. And that makes it even more unsettling.
Additional ramblings about Withnail, Marwood and Zeffirelli:
gamechangershow
2087
blakekathryn
kianamaiart
amandla
