Release Date: October 5th, 1945 (London premiere)
Directed by: Billy Wilder
Written by: Charles Brackett, Billy Wilder
Based on: The Lost Weekend by Charles R. Jackson
Music by: Miklos Rozsa
Cast: Ray Milland, Jane Wyman, Phillip Terry, Howard Da Silva, Doris Dowling
Paramount Pictures, 101 Minutes
“It shrinks my liver, doesn’t it, Nat? It pickles my kidneys, yeah. But what it does it do to the mind? It tosses the sandbags overboard so the balloon can soar. Suddenly I’m above the ordinary. I’m competent. Extremely competent! I’m walking a tightrope over Niagara Falls. I’m one of the great ones. I’m Michaelangelo, molding the beard of Moses. I’m Van Gogh painting pure sunlight. I’m Horowitz, playing the Emperor Concerto. I’m John Barrymore before the movies got him by the throat. I’m Jesse James and his two brothers, all three of them. I’m W. Shakespeare. And out there it’s not Third Avenue any longer, it’s the Nile, Nat. The Nile and down into the barge of Cleopatra.” – Don Birnam
I watched The Lost Weekend, as it has been highly praised by a lot of the books I’ve read on film-noir. It also won four Academy Awards including Best Picture. I think the thing that really sold it to me, though, was that it is a noir directed by Billy Wilder, the man behind Double Indemnity and Sunset Boulevard. It also stars the great Ray Milland, who won an Academy Award for this role.
Now this isn’t a standard noir. It doesn’t feature criminals, innocent guys in over their head or a femme fatale. What it does feature is a remarkable actor playing a drunk writer, fighting his personal demons, trying to salvage his relationship with the love of his life and trying to get back to work without the demon bottle’s stranglehold over his very being.
The main reason why this film works so well is Milland’s performance. But I also have to give credit to some of the other players like Howard Da Silva and Phillip Terry. But it is Jane Wyman that really delights and who actually makes the romantic scenes flourish. She plays exceptionally well off of Milland and truly feels like his equal in the film.
I obviously can’t discount Billy Wilder’s direction. The man was a maestro behind the camera and he gave us a pretty fine tuned and fabulous looking motion picture.
While this is far from my favorite film-noir and it is only third on my list of Billy Wilder’s noir outings, it is still a solid movie that’s entertaining and a bit heartbreaking to watch at times, as Milland wears self-destruction so well.
Pairs well with: other film-noir pictures by Billy Wilder or starring Ray Milland.