It should first be said that The Big Lebowski is based on
the series of Philip Marlowe novels, rather than any particular book. The only
real connection between the plots of The Big Sleep and The Big Lebowski is that
the Dude and Marlowe are both followed, but for different reasons. The
explanation that the "fellow shamus" gives to the Dude is taken from
The Little Sister. The sequence where the Dude is drugged, thrown into the
road, and ends up in front of the Chief of Police in Malibu is straight out of
Farewell My Lovely.
The Big Lebowski also owes more than a little to Dashiell
Hammett's novel and film, The Maltese Falcon; but then Chandler used Sam Spade
as his model for Philip Marlowe. Both PIs were played to smouldering effect by Humphrey Bogart in
the 1940s. As much as the Dude is meant to be the stoner Marlowe, making a
number of erroneous deductions during the course of the film, he is as much the
stoner Bogart, retaining the same acerbic wit and stubborn refusal to give a straight
answer to any question. And you know what they say about not Bogarting that
joint.
By the same token, Withnail and I are the drunk Holmes and
Watson. There is Withnail, the rude, high-functioning, borderline sociopath,
with a love for acting and the overly dramatic. Then there is "I"
(Peter: Withnail refers to him as such when they're at Monty's). He is Boswell
to Withnail's Johnson, faithfully recording his friend's slow decent into psychosis.
The pair go off into the English countryside, a feature of
many a Holmes adventure, especially The Hound of the Baskervilles. At Crow Crag
(the cottage in which they stay), the most dangerous beast to affront Withnail
& I is the farmer's randy bull. Although, of course, the randy bull foreshadows
the appearance of Monty in the night. Like Monty, the bull ignores Withnail,
going straight for Peter. With his unwanted amorous attentions, Monty is the real
hound here.
With a quick blast of All Along the Watchtower, Withnail
& I leave the London of 1969 for a Cumbria that could be 1869 if not for
the farmer's tractor. There are rambles out on the moor and encounters with
local types in the public house. Like the Dude, Withnail & I make a number
of dubious deductions along the way. That Jake is out to get them. That Monty
breaking in at night is Jake coming to kill them. The proper way to cook a
chicken. Peter's paranoia that Withnail is planning to sell him out to Monty,
however, is well founded, leading to a final showdown with the hound in the
dead of night. The beast is slain with several shots to the heart, and Withnail
& I return to the capital and Camden, just on the other side of Regent's
Park from 221B Baker Street.
Now, I'm not for one moment suggesting that Bruce Robinson,
in writing Withnail & I, deliberately set out to write a comedy based on the
adventures of Holmes and Watson. The high-functioning detective and his
faithful companion is a common trope in thriller writing. It has been used time
and again by crime writers since the time the Holmes stories were first published.
Conan-Doyle modeled Holmes closely on Edgar Allen Poe's detective, Dupin, and
his bespoke biographer, who unlike Watson remains nameless. The Dude has
Walter, even Sam Spade has Miles Archer, at least until the end of the first
act. The only real lone wolf is Philip Marlowe, steadfastly singular and alone,
telling it like it is, straight from the horse's mouth, rather than through an
intermediary. I think that's the reason why I love Marlowe best of all.
Few films end as poignantly as Withnail & I, with
Withnail quoting Hamlet in the rain (Act II, Scene II, 278-292). The poignancy
is redoubled if you're familiar with the lines and know that Withnail's rendition
is far from perfect. He misses out bits of the speech and muddles others.
Withnail has ambitions to play the Dane, but understudying Konstantin is
probably a stretch for him at this point.
As Watson leaves 221B Baker Street to marry Mary Morstan at
the end of The Sign of Four, so Peter leaves London to play the lead in a play
up north. As Withnail stands, misquoting Shakespeare in the rain, you fear for
him, because you know he will most likely end up as one of the "wankers on
the site" that he derided at the beginning of the film. Much as we enjoy
watching his antics, Withnail is not Marlowe: Neither is he Holmes. There will be no be no bee hives, or retirement to the Sussex downs for Withnail. Only oblivion awaits.
Yep was just thinking the same myself and then found your blog searching for anyone else’s who thought the same. Even the attire of withnail is Edwardian and the house is actually quite grand albeit much faded.
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