Bold, sobering, intelligently written and acted with great skill by Ray Milland.
The Lost Weekend (1945)
Runtime: 1 hr 41 mins
Synopsis: Ray Milland stars as alcoholic writer Don Birnam in Billy Wilder's first unabashedly dramatic film, and one of the first to deal in such painstaking detail with the disease of alcoholism. Don shares an apartment in New York City in the 1940s with his brother Wick (Phillip Terry) who has his... Ray Milland stars as alcoholic writer Don Birnam in Billy Wilder's first unabashedly dramatic film, and one of the first to deal in such painstaking detail with the disease of alcoholism. Don shares an apartment in New York City in the 1940s with his brother Wick (Phillip Terry) who has his hands full trying to deal with his brother's drinking problem. One night, Don encourages his brother to take his girlfriend Helen St. James (Jane Wyman) to hear some music only so that he can be out from under their watchful eyes. Taking the money left for the maid, he goes out to buy some liquor, stashing one bottle in the chandelier. When he goes to the bar the next day, Nat (Howard Da Silva), the owner berates him for treating his girlfriend badly and warns him that he's on a path toward death. Don returns to the apartment to try to work on his novel "The Bottle," but consumed by self-doubt, goes to another bar, and steals a woman's purse to buy a drink. As the weekend wears on, his spiral downward continues apace. Although dated in some respects, the film's unadorned portrait of the relentless torture that is alcoholism still packs a powerful punch thanks to Wilder's sharp script, the deep-focus camerawork of John Seitz, and a career performance by Ray Milland. [More]
Genre: Dramas
Starring: Ray Milland, Jane Wyman, Philip Terry, Howard Da Silva, Doris Dowling
Screenwriter: Charles Brackett
Producer: Charles Brackett
Composer: Victor Young, Miklos Rozsa
DVD Info
Release:
Jun 2, 2001
DVD Features:
- Region 1
- Keep Case
- Full Frame - 1.33
- Single Layer
- Single Side - Single Layer
Audio:
- Dolby Digital Mono - English
Additional Release Material:
- Highlights
- Trailers
- Parental Lock
Text/Photo Galleries:
- Production Notes
- Biographies - 1. Cast & Crew
Reviews
Painfully sincere and uncompromising look at alcoholism for a film released in 1945, with a superb central performance.
What makes the film so gripping is the brilliance with which Wilder uses John F Seitz's camerawork to range from an unvarnished portrait of New York brutally stripped of all glamour.
It is intense, morbid -- and thrilling. Here is an intelligent dissection of one of society's most rampant evils.
It still makes one of the strongest statements about alcoholism, though time has taken away some of its edge.
The changes made in adapting the book to the big screen are instructive: In the novel, Ray Milland's alcoholic Don was a troubled bisexual, but in the movie, he's a writer suffering from a creative block.
A marginally effective Wilder film. Self-important and bloated at times, The Lost Weekend is less meaningful than it wants to be.
A landmark film in terms of Hollywood's treatment of adult subject matter as fair game.
More realistic than sentimentalized Hollywood crowd-pleasers like Harvey, and more accessible than complete downers like Leaving Las Vegas, The Lost Weekend is, to me, the definitive film on the subject of alcoholism.
One of the most justly celebrated 'problem films' of the 1940s.
Milland's DTs are visually frightening and unnerving, because of the odd score set to Theramin that's usually used for B space movies.
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