During my first year at university we studied Shakespeare in
the context of Intertextuality, with the presented argument being that all
works of fiction can be tied to Shakespeare’s Hamlet when looked at thematically. This often unconscious form of plagiarism
was identified to us in order to try and help signify the universal nature of
the play, as it is within mankind’s unforgiving realisation of mortality in
which we find universality within ourselves.
Throughout this blog I wish to try and discover the assets of Shakespeare which correlate most with the predicaments of the present. As a starting point, I thought I would look at my favourite film Withnail and I, and how it utilises the existence of Hamlet in order to help emphasise the tragedy of a man incapable of turning life into art:
Throughout this blog I wish to try and discover the assets of Shakespeare which correlate most with the predicaments of the present. As a starting point, I thought I would look at my favourite film Withnail and I, and how it utilises the existence of Hamlet in order to help emphasise the tragedy of a man incapable of turning life into art:
The film follows two failing actors living in the sunset of
the psychedelic era; but the reality of change which the 60’s uprising had
promised is absent, and we are introduced to the two men as they begin to acknowledge
the empty decadence their indulgent lifestyle is beginning to lead them too. Both
seek the grandeur and glory in which the media has promised them – images of
fame and romanticised insight in which the artist is claimed by – but instead
find such a paradise to be lost in their culture, with the hell of their own
predicament growing increasingly fatal.
In light of this situation, the two flee to the north, in hope that Cumbria can prove capable of rejuvenating their souls. But the trip fails, as they discover such properties of nature to be another fictitious lie within the landscape of England; with nothing but encumbering circumstance waiting for them amongst the rain sodden fields. They return home to Camden, where after one last self-sacrifice to madness, they accept that the social revolution is over, where nothing was lost but themselves.
The greatest tie to Shakespeare’s Hamlet is the character Withnail, who even confesses to desiring to one day to play the Dane himself. But where the real tragedy lies is within the potential of his character: Throughout the film we see him at his worst, portrayed as little more than a man whose actions revolve entirely around self-indulgence and destruction. But where his character finds redemption amongst the audience is in the end, when left abandoned by his friend. With nothing more than the rain as his companion, Withnail stands alone in Regents Park and recites Hamlet; an act which proves to be the only true demonstration of both his character and his talent.
In light of this situation, the two flee to the north, in hope that Cumbria can prove capable of rejuvenating their souls. But the trip fails, as they discover such properties of nature to be another fictitious lie within the landscape of England; with nothing but encumbering circumstance waiting for them amongst the rain sodden fields. They return home to Camden, where after one last self-sacrifice to madness, they accept that the social revolution is over, where nothing was lost but themselves.
The greatest tie to Shakespeare’s Hamlet is the character Withnail, who even confesses to desiring to one day to play the Dane himself. But where the real tragedy lies is within the potential of his character: Throughout the film we see him at his worst, portrayed as little more than a man whose actions revolve entirely around self-indulgence and destruction. But where his character finds redemption amongst the audience is in the end, when left abandoned by his friend. With nothing more than the rain as his companion, Withnail stands alone in Regents Park and recites Hamlet; an act which proves to be the only true demonstration of both his character and his talent.
The film was written by Bruce Robinson, who reports the work
to be a heavily autobiographical account of his time as a failing actor. Through
the films creation, Robinson was able to transform his life into art, subsequently
making his trial of torment into one of Britain’s most popular cult films. But
for Withnail, a character entirely constructed around Robinson’s close friend
at the time, such a feat proved impossible. He never escaped mediocrity, and
forever resided amongst the category of the unknown until time rid him of the
stage.
