The question I always end up asking myself after viewing a Billy Wilder film is whether he is a better director or writer. The Lost Weekend (1945) is a fitting case that he is equally brilliant in both departments. The screenplay, adapted from Charles R. Jackson’s novel, tells the harsh story of a man crippled and destroyed by alcoholism, over the course of a four-day bender. Wilder utilizes both words and pictures to convey the tragic truth behind Don Birnam’s (Ray Millard) ugly addiction. The screenplay is written and adapted with an honest outlook on the character, so much so that we do not sympathize with him. On the other hand, Wilder’s direction utilizes several forms of cinema: expressionism, noir and documentary filmmaking, all of which help to create the visual struggles that Don is going through.
Never have I seen a more brutal and authentic view of a character’s deterioration and descent into despair. Don is conniving and deceitful in his quest for alcohol. In the opening scene of the film, we meet Don, his brother, Wick and his girlfriend, Helen, as the brothers are packing for a weekend getaway. We learn of Don’s problem and sympathize with him for a moment, believing that this weekend is what he needs to overcome his addiction. However, shortly after, we find out he is not willing to try to beat his problem, as a bottle of whisky hangs from outside the window. This opening scene establishes the overall tone and motives of despair and deceit brilliantly. From this moment on it doesn’t get any prettier, Don leaves his only chance of redemption (refugee with the people who want to help him) and embarks on his ‘Lost Weekend’.
From here on out, it is a downward spiral into a drunken hell for Don Birnam. Each scene escalates in desolation, in which Don will do anything to get his hands on a bottle. He steals, injures himself and hallucinates throughout the weekend until it all accumulates into a living hell for Don in the famous bat and mouse scene. A brilliantly directed scene, Don is initially intrigued by the lone mouse that appears from his wall, as Wilder cross cuts between a close up of Don and the mouse, establishing a connection between the two. Suddenly, the music dramatically escalates and a Dracula-esque bat emerges and swoops around the room, terrorizing Don until it attacks the innocent mouse. Don screams horrifically as blood flows down the wall, it’s a terrifying scene and a gripping metaphor for Don’s state of mind.
Whilst the majority of films made during classical Hollywood featured alcohol in a less serious manner, it’s refreshing to see a film made in that era with a different message, addressing a serious problem that affects a lot of people. It’s interesting to note that the film was made partly for Raymond Chandler, who fell back into alcoholism after a stressful time working with Wilder on Double Indemnity (1944).
A Film History Magazine 
Reblogged this on Charles Barkham and commented:
I wrote this article for OnThisDayInFilm, celebrating the great Lost Weekend.
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