I’m stepping out of the format for this blog to participate in a blogathon for Once Upon a Screen. Aurora has invited us to post in any way we would like on a Billy Wilder film. I was lucky in that no one had yet selected Wilder’s first Oscar winning project, “The Lost Weekend”. Maybe the reason that it had not been chosen yet is that unlike “Double Indemnity” which came out the year before, “The Lost Weekend” has not aged well. It does not fit into a well loved genre like “Double Indemnity” and “Sunset Blvd.”, it is not a beloved comedy featuring another Jack Lemmon performance, and it is as straight forward a drama as you might expect from any other film maker rather than Wilder. There are some very nice elements to it but it but it is also over the top and melodramatic and it sells out at the end, these are not characteristics of a Wilder film.
The previous film that Wilder wrote and directed was the film noir featuring Barbara Stanwyck and Fred MacMurray. At the end of that picture, both of the protagonists are dead and the film is bleak. In “The Lost Weekend” we are shown how miserable and devastating alcoholism can be. Ray Milland gets to act his ass off because there are sequences that are truly harrowing. When the end comes, and the gun is in his hand and the bullets are in the gun, Wilder pulls back and and gives us an exit from the bleakness. Maybe that’s how the book that this is based on ends, I don’t know, I never read it, but it sure feels like an ending that would come from studio notes rather than following naturally from what we spent the earlier hundred minutes contemplating.
Wilder appears to have chosen the book to make a movie out of because he wanted to work on the topic of alcoholism after having worked with Raymond Chandler on “Double Indemnity.” Alcoholism is the subject of this film but it is not the vague drinking done by most film characters in the forties. Boogie drinks to forget Ingrid Bergman, that’s sad but romantic. There is nothing vaguely romantic about the way Don Birnam drinks. He is compulsive and he is a mean drunk. He is not a genial soul who is released from his limitations by drink. The rye that he is fond of is cheap and it’s purpose is intoxication and it releases a man with monstrous tendencies. When drunk, he ignores two different women who are flinging themselves at him. When lacking funds to pay for a drink he loses any sense of self respect, begging, stealing and generally being an ass to others. Sometimes he can wax poetic in a state of inebriation, but he can never remember how to put the word together again when he is sober. As a writer, the blank page mocks his lack of sober creativity.
The problem with the film is that it is so melodramatic. Don sweats out his time as he waits for the next drink. He visualizes singers on stage as dancing versions of the top coat he left in the cloakroom that has his bottle in it. He raises his voice and bugs out his eyes so often that you would think he would get sick from doing that, those facial gestures would become a cause rather than a symptom of his illness. Don has a girlfriend who is trying to help him and a brother who is an enabler at first and then a proponent of tough love. Each of them has over the top moments in which their acting styles seem unnatural. Part of this is the times. Actors were less naturalistic at this point and combined with the subject matter it feels like it is too much. There is almost no subtlety in any of the performances.
Milland practically crawls through the scenes where he is trying to find an open pawnbroker to dump his typewriter to get cash for another drink. Maybe it is accurate and for the times acceptable, but the fact that all the pawn shops were closed for Yom Kippur felt like an artifact from a different age. When he is reduced to “borrowing” from a woman’s handbag, we are not sympathetic, we want this bum to get slammed hard. That he does get some comeuppance turns out to be another throwback. This is admittedly the first film to deal with this topic in a serious manner, and the idea of the DTs is scary. When trapped in the alcohol wing of Bellevue, Don gets a second hand look at what is coming for him. The screaming thrashing patient in the corner foreshadows but does so so obviously that it takes away some drama. When Don’s turn finally shows up, it is a horrifying vision undercut by a creaky visual effect of a flying bat. When the bat strikes however, then the movie takes on the real dark tone it has been working so hard to deserve.
There are some great choices by Wilder in terms of storytelling technique. The tight close up on the moisture rings from his different drinks shows us the passage of time without requiring more than a single shot. In another visual shot using a glass of alcohol, we are pulled below its smooth surface into the world of intoxication. There is a beautiful moment in cinematography when the liquid in a hidden bottle refracts some light and reveals itself to a frantic Don who has blacked out on where he hid the bottle in the first place. The story is constructed of a couple of bookends that take place in what would then have been the present, but much of the exposition occurs in a long segment that is essentially an extended flashback. This is the part where the film is most like a Billy Wilder picture.
This was the first of three “message” pictures in a row to be named Best Picture. It was startling for its time but now seems somewhat tame in it’s approach. There are dark themes in the story that fit the mold of some of Wilder’s great non-comedies, but there is that heartwarming sellout at the end. Most people will be glad for the ray of hope, but people who saw Joe Gillis floating in the pool at the start of one film, and Tyrone Power stabbed by Marlene Dietrich at the end of another, will wonder why Ray Milland’s brains were not on the bathroom mirror.
Pingback: THE BILLY WILDER BLOGATHON is here! « Once upon a screen…
One of the few Wilder movies where once was enough.
I enjoyed revisting it but it has been a long time so it was easier to take.Good film, just dated.
Great review. While it was mediocre film in terms of plot, Wilder’s choices as director were smart–like the moisture rings–as you deftly pointed out. 🙂
There were several points like this, but the film is still a little creaky. I forgot to mention the theramin music. This was it’s first use in movies and it made it sound like a horror film at times.
Pingback: Happy Birthday Billy! The BILLY WILDER BLOGATHON is here… – Outspoken and Freckled
I’m blown away by the entires to the blogathon so far and this one is among them! Fantastic write-up on this hard-to-watch movie. It is devastating and I happen to think Wilder made the perfect choices throughout, many of which you mention, but also by choosing to make this melodramatic. There’s no way to watch this in-your-face telling of the downfall into alcoholism without cringing and I would think that was the intent.
Again, great write-up and addition to the blogathon. Many thanks!
Thanks, Aurora for letting me participate in the blogathon. This was challenging since I had to acquire it in a format that was usable. My only copy before this is a VHS, I recorded off broadcast TV in 1985. I like the film but it had flaws from my point of view. It also had some great choices. Thanks for reading, I will try to by to all the other posters on the blogathon over the next few weeks.
I agree that this hasn’t aged as well as some of Wilder’s other classics, but there’s still something about it that I love. I like the way Wilder had the conviction to make Milland unlikeable, especially when he steals from the handbag.Wilder was a master at using just a few well-placed props to tell a backstory, and the rings from the glasses is one of my favourites.
I really liked the glass bit. Also, that bat going after the mouse in the wall was gruesome, at least after the flying part. Thanks for commenting, I hope to see your comments on the other writers posts on Wilder as well.
His first Oscar winning project, I was unaware of this. The premise sounds intriguing, even though the movie hasn’t aged well as you say. I ought to check it out.
Even though it is a bit dated, it is still an essential. Like some of today’s best picture winners, it was important for the moment but it fades in relevance as time goes on.
Hi … I’m a fellow contributor to the Billy Wilder blogathon. I was really looking forward to an article about The Lost Weekend. I liked your post very much. You bring up some pertinent issues with The Lost Weekend as far as melodrama, but I guess I’m just a melodramatic girl! I have loved this movie since I was a kid, which is probably why I have a hard time being objective, you know what I mean? Anyway, to answer your question about the book, the movie ending was indeed Hollywood, and nothing like the book. The end of the book is really chilling. Don goes through the hell of the weekend, with all of the good intentions of kicking the bottle — but as he gets to feel better, he doesn’t really think it was all that bad, was it? No harm in a few drinks … Oh my gosh, a very real and disturbing ending.
That sounds like the ending Wilder would have chosen if he could. Thanks for the info and the other comments on the post. I’ll look for your post soon. Melodrama has its place, when you like something, you like it. I like a lot of this movie but some things just stick out.
I’ve just caught a couple Billy Wilder films recently and can’t wait to see more! Looking forward to seeing “Double Indemnity” and “Sunset Blvd.” later this year hopefully. This one sounds great as well, Richard!
Those are two of his three best ( I like Some Like It Hot as well). As always Ruth, thanks for coming by, I hope to see a post on your site when you get to those two.
I have to disagree when you say that this movie is too melodramatic. It’s realistic, and it serves a bit like a moral guidance: don’t drink, kids!
I think the biggest triumph in this movie is Ray Milland in a very different role. If you see him in Wilder’s The Major and the Minor, from 1942, it’s hard to believe that the angelic soldier could become a devil-like alcoholic.
Don’t forget to read my contribution to the blogathon! 🙂
There is definitely a message, but the therimin music and the overwrought dt’s make it seem more theatrical than real to me. On my way to your post now.
Pingback: The Last Starfighter | 30 Years On: 1984 a Great Year for Movies