Whiskey, Darling

An old-school aesthetic emanates from every scene in Danilo Proh’s irreverent short Whiskey, Darling. This short comedy echoes its protagonist in feeling a little out of step with modern sensibilities, but provides some really fun moments despite its awkwardness.

Functioning alcoholic Harry (Peter Stephen Wolmarans) lacks purpose in is life – until his beloved car vanishes from his drive. What follows is a delusional tour of his city and his psyche, confronting mysterious women, his doctor and a mechanic who each leave a unique impression as he finds greater meaning in his quest.

Whiskey Darling is a fascinating short oddity of a film. It’s effortlessly stylish, provides plenty of laughs and connects Harry’s story and character on an emotional level. Yet as a story is meandering and without conviction, failing to make grander points with the tale of an oddball on a personal odyssey the way the likes of The Big Lebowski have succeeded. Whatever its failings, it is certainly entertaining – perhaps the most important thing.

The nature of the film’s contradictions is perhaps best summed up in the performance of Peter Stephen Wolmarans in the lead role of Harry. At times he summons the accursed ghost of Tommy Wiseau – particularly in an unfortunate proclamation of “I did nottt!”. Wolmarans is awkward and stunted, failing to convince with his lines or immerse into the carefree role. And yet despite this his presence is warm and enjoyable, and he makes the character’s journey affable. Audiences will connect with the character and root for the bizarre, drunken journey to find his desired conclusion. Wolmarans succeeds in the comedic moments – a highlight being his response to a man bursting out of his closet. And also has solid enough chemistry with scene partners such as Alessandro Bonaiti as asshole Doctor John. Harry really makes the film what it is – for better and worst, unsettling the plot itself but seamlessly in tune with the ambiance.

Danilo Proh manages to capture a sense that this is a story out of time. It’s as if the film takes place with a filter of Harry’s view of the world imbued over the events, with a crisp, 70s tint aligning perfectly with his throwback suede jacket. A drunken fantasy? Maybe. But Proh’s ability to add style to the screen is for real. The aforementioned closet scene is a brilliant piece of comedic direction, but more sensual moments such as those between Harry and Susanna are allowed time to breath – allowing the audience a chance to see a softer and thoughtful side of the lead.

Much like whiskey itself, there is a lot of class about Whiskey, Darling, but a lot of messiness is involved as well. The film is clunky and meandering, getting a little too aimless in its worst moments where one loses sight of the point of the film (even where that point is, well, pointlessness). But a fun (if flawed) leading performance, genuine laughs and a fantastically realised style push this closer to Black Label.