MARCH 1, 2017 SCREENING: THE LOST WEEKEND (1945)
Well…well…well, here’s an interesting film. The Lost Weekend was one of the first movies to take a serious look at what was pretty much a taboo topic in the 1940s: alcoholism. Before this film, drunken characters in movies were generally played for laughs, but this film attempts to make a serious melodrama about a writer’s struggle with booze. Does it hold up today? Yes and no.
Parts of the film still have the same dramatic punch they had in 1945, whereas other parts of The Lost Weekend come across as dated or silly, and sometimes too heavy-handed. Strangely, the effective drama of the movie and the silly 1940s archetypes can sometimes occur in the same scene. Ray Milland’s performance in the film is quite compelling as a man who dives deeper and deeper into his addiction, and Jane Wyman (best known as Ronald Reagan’s ex-wife) is quite attractive as his co-star but not quite as compelling in this dark, bleak story.
The most memorable parts of The Lost Weekend occur about 2/3rds of the way in, when the character ends up in a “hospital” against his will that is actually a halfway house for addicts. The film goes into full “cautionary tale” mode and introduces a male nurse character that comes across as a bit sadistic and gleeful (and seemingly a closeted gay man) to modern audiences, and he shows the character what his future will be if he doesn’t quit drinking. The Lost Weekend has very effective and chilling scenes about alcoholics suffering from hallucinations (“it’s always small animals” remarks the nurse) and these scenes could be lifted right out of a horror film. The music and lighting make these portions quite horrific even by modern standards (though it pales in comparison to perhaps the best known film on addiction, 2000’s Requiem for a Dream).
The Lost Weekend has a whole subplot about the alcoholic character planning to write a book about his struggle called The Bottle, which made me wonder if any of the story is autobiographical, since The Lost Weekend was adapted from a bestselling book of the same name. In any case, the book ends on a much more somber note, whereas the film had a sort of rushed and tacked on “happy” ending where the character is able to shake off his demons with the help of his one true love. While tacky, I thought it worked for the movie. Amusingly, many of the modern reviews of the movie noted that they could use a drink after seeing the film, or that they had to get drunk to enjoy it.
Perhaps quite telling, The Lost Weekend was the sole “Best Picture” winner I tracked down that has never been released on Blu-Ray. It’s only available on DVD and VHS, which seems to reflect a lack of interest in the film from today’s audiences. While it is definitely a product of its time, and has its flaws, its deserves credit for what it was trying to do, and for much of its artistic qualities.
*** out of ****