A frustrated former big-city journalist now stuck working for an Albuquerque newspaper exploits a story about a man trapped in a cave to rekindle his career, but the situation quickly escalates into an out-of-control circus.
Don Birnam, long-time alcoholic, has been "on the wagon" for ten days and seems to be over the worst; but his craving has just become more insidious. Evading a country weekend planned by his brother Wick and girlfriend Helen, he begins a four-day bender. In flashbacks we see past events, all gone wrong because of the bottle. But this bout looks like being his last...one way or the other.Written by
Rod Crawford <firstname.lastname@example.org>
Miklós Rózsa was nominated for his scores for both Spellbound (1945) and this film the same year. A theremin was used in both scores. David O. Selznick threatened legal action against the use of the instrument in "The Lost Weekend" until it was pointed out that the mere use of a particular instrument could not be copyrighted. "Spellbound" won the Oscar, although Rozsa considered "Weekend" the stronger score. See more »
When Don is in Nat's bar taking shots of rye, the number of shots are depicted by the increasing number of wet rings left on the bar each time the shot glass was refilled. Several rings collect on the bar, each remaining as wet as the last. In actuality, being that they were from alcohol, over time the rings left by the first shots would be dried or mostly dried by the time later shots were taken. See more »
You better take this along, Don. It's gonna be cold on the farm.
How many shirts are you taking?
I'm taking five.
Yeah, I told them at the office I might not be back until Tuesday. We'll get there this afternoon. That'll give us all Friday, Saturday, Sunday, Monday. We'll make it a long, wonderful weekend!
It sounds long all right.
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From the first shot of a bottle hanging from a drunk's apartment, we realize we are about to see a clever addict and a weekend of his demented exploits. Ray Milland has an honest face, not unlike Jimmy Stewart's, however, with this character it is only skin-deep. The great thing about his performance and the film as a whole, is that his face will gradually change, becoming dark and chilly, just like Stewart's in IT'S A WONDERFUL LIFE. Stewart had lost his life momentarily. Milland has lost his soul to the bottle and he will stop at nothing to quench his thirst.
This really is a textbook example of the alcoholic's lies and schemes, a precursor to LEAVING LAS VEGAS, although there are people in this film who care about the drinker from the beginning. He just can't stop and we start to lose whatever sympathy we had for him because of how he treats other people. This is a drunk with a sober man wanting to come out, but Wilder's script dives deeply into the unpredictable outcomes of most alcoholics.
LOST WEEKEND was innovative and was almost never released because test audiences could not take the film's realism. The hospital sequence retains its horror, and Milland's withdrawal-induced hallucination of a rat in the wall was like him looking in the mirror. See this movie and you will come away with a completely informed and scary anthology of the antics of a hopeless alcoholic. This is amazing considering it came out of the old Hollywood system.
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