movie film review | chris tookey

Lost Weekend

Paramount Pictures - all rights reserved
  Lost Weekend   Review
Tookey's Rating
7 /10
Average Rating
9.50 /10
Ray Milland , Jane Wyman, Philip Terry
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Directed by: Billy Wilder
Written by: Charles Brackett, Billy Wilder from Brackett's novel

Released: 1945
Genre: DRAMA
Origin: US
Length: 101

PRO Reviews

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"The plight of the alcoholic may not seem one of the most important of world's problems, but there are plenty of people who have encountered it, and here it is presented not only with surprising force understanding, but with expert cinematic skill... Were anyone but Ray Milland playing this part it might easily have turned out an utterly unsympathetic character... yet... Milland has illuminated the presentation of such a character with countless bits of expression, voice and gesture that convince as both outer and inner truth."
(James Shelley Hamilton , New Movies)
"There are times when the observer suffers almost as does the screen character, and the final fadeout left this spectator exhausted. In addition, I was parched, and forthwith hiked from the Paramount projection room to Lucey's across the street, where I promptly downed several double shots of bourbon, happy in the realization that, unlike Jackson's protagonist, I wasn't a rye man, so that it can't happen here"
(Herb Sterne)
"I undershtand that liquor interesh; innerish; intereshtsh are rather worried about thish film. Thatsh tough."
(James Agee)
"Packed with drama.. Okay for those who like their drama neat!"
(Daily Mirror)
"A new kind of dramatic triangle - boy, girl and bottle... Wilder keeps a businesslike eye upon entertainment values... The film is rich in cinematic ingenuities."
"Most to be admired are its impressions of bare dreadful truth: the real crowds in the real streets as the hero-victim lugs his typewriter to the pawnshop, the trains screaming overhead, the awful night as he makes his escape from the alcoholics' ward."
(Dilys Powell)
"The director's first study in moral deformity, and, all things considered, probably his finest achievement. It is free alike from his habitual melodramatic contrivance and excess, and from a masochistic immersion in the hero's weakness. It approaches as close as Wilder has ever come to compassion." (Joel Greenberg, Film Journal
(Australia), 1957)

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