http___en.wikipedia.org_wiki_The_Lost_Weekend__film__4.xml
1.1 2.1 2.2 3.1 4.1 4.2 5.1 6.1 7.1 8.1 9.1 10.1 11.1 12.1 13.1 14.1 15.1 16.1 17.1 18.1 19.1 20.1 21.1 22.1 23.1 24.1 25.1 26.1 27.1 28.1 29.1 30.1 31.1 32.1 33.1 34.1 35.1 36.1 37.1
Изгубеният уикенд Изгубеният уикенд (на английски: The Lost Weekend) е черно-бял американски драматичен филм от 1945 година на режисьора Били Уайлдър създаден по едноименния роман на Чарлс Р. Джаксън. Сюжет[редактиране | редактиране на кода] Дон Бирнам, писател в криза, жертва на алкохола поради малкото си литературни успехи, отдалечава от себе си брат си и жената която го обича (Хелен). Опитва да се самоубие, но Хелен не се предава. Актьори[редактиране | редактиране на кода] - Хауърд да Силва в ролята на циничния барман - Франк Фейлън в ролята на санитаря - Рей Миланд в ролята на алкохолизирания писател Дон Бирнъм - Джейн Уайман в ролята на Хелън - приятелката на Дон - Филип Тери Награди[редактиране | редактиране на кода] „Оскар” ’45[редактиране | редактиране на кода] - най-добър филм - най-добра режисура (Били Уайлдър) - най-добър сценарий (Били Уайлдър и Чарлс Бракет) - най-добра главна мъжка роля Рей Миланд - номинация за операторско майсторство в черно-бял филм - номинация за най-добър монтаж (Дуейн Харисън) - номинация за най-добра музика (Миклос Роцса) „Златен глобус” '46[редактиране | редактиране на кода] - най-добър филм - най-добра режисура Били Уайлдър - най-добра главна мъжка роля Рей Миланд. Кан ’46[редактиране | редактиране на кода] - Голямата награда на фестивала (Били Уайлдър) - най-добра главна мъжка роля Рей Миланд. - Филми от 1945 година - Американски драматични филми - Филм ноар - Черно-бели филми - Носители на Оскар за най-добър филм - Филми носители на Оскар за най-добра режисура - Филми носители на Оскар за най-добър адаптиран сценарий - Носители на Златен глобус за най-добър филм - Филми носители на Златен глобус за най-добра режисура - Филми носители на Златна палма - Филми на Били Уайлдър
1.1 2.1 3.1 3.2 3.3 4.1 5.1 6.1 6.2 6.3 6.4 6.5 6.6 6.7 6.8 6.9 6.10 7.1 7.2 7.3 7.4 7.5 7.6 7.7 7.8 8.1 8.2 8.3 8.4 8.5 8.6 8.7 8.8 8.9 8.10 8.11 9.1 9.2 9.3 9.4 9.5 9.6 9.7 9.8 9.9 9.10 10.1 10.2 10.3 10.4 10.5 10.6 10.7 11.1 11.2 11.3 11.4 11.5 11.6 11.7 11.8 11.9 11.10 12.1 12.2 12.3 12.4 12.5 12.6 12.7 12.8 12.9 12.10 12.11 12.12 13.1 13.2 13.3 13.4 13.5 13.6 13.7 13.8 14.1 14.2 14.3 14.4 14.5 15.1 16.1 17.1 18.1 19.1 20.1 21.1 22.1 23.1 24.1 25.1 26.1 27.1 28.1 28.2 28.3 29.1 30.1 31.1 32.1 33.1 34.1 35.1 36.1 36.2 36.3 37.1 38.1 39.1 40.1 41.1 42.1 43.1 44.1 45.1 46.1 47.1 47.2 47.3 47.4 47.5 47.6 47.7 47.8 47.9 47.10 48.1 49.1 49.2 50.1 50.2 50.3 51.1 51.2 51.3 51.4 51.5 52.1 53.1 54.1 55.1 56.1 57.1 58.1 59.1 60.1 61.1 62.1 63.1 64.1 65.1 66.1 67.1 68.1 69.1 70.1 71.1 72.1 73.1 74.1 75.1 76.1
The Lost Weekend (film) - For other uses, see: The Lost Weekend The Lost Weekend is a 1945 Academy Award winning American drama film directed by Billy Wilder and starring Ray Milland and Jane Wyman. The film was based on a novel of the same title by Charles R. Jackson about a writer who drinks heavily. In 2011, it was added to the National Film Registry of the Library of Congress. [edit] Plot The film recounts the life of an alcoholic New York writer, Don Birnam, over the last half of a six year period, and in particular on a weekend alcoholic binge. A shot of the Manhattan skyline to an apartment, with a whiskey bottle hung outside a window by a thin rope. Don and his brother Wick are packing for a weekend vacation. Wick believes that Don, a recovering alcoholic, has been on the wagon for ten days. After Don's girlfriend Helen St. James arrives to wish them bon voyage, she lets it slip that she has two tickets to a Barbirolli concert, but is going alone. Don urges his brother to go with her and says they'll take a later train for their weekend trip. Wick, having disposed of his brother's hidden supply of drink, becomes suspicious of why he is being hustled out. Don angrily demands time to gather his thoughts alone. Wick reluctantly agrees to go and reassures Helen he has found Don's hidden supply of alcohol and points out Don is broke. After they leave, Don frantically tries to find alcohol he has hidden. The cleaning lady arrives for work, but Don cons her out of her wages and sends her away. Don takes the money he swindled to Nat's Bar on Third Avenue, based on the legendary P. J. Clarke's, and gets drunk, missing the train he is meant to catch. Wick, effectively rejecting his brother, intends to leave without him, though Helen is wary of leaving Don alone for four days. She is very busy with her work at Time magazine. As Wick is leaving the building, he urges Helen to give herself a chance by dropping Don. Helen waits. Don sneaks into his apartment to avoid her so he can drink. He quickly hides the cheap whiskey he has bought, in addition to the many drinks at the bar. The following morning he finds a message from Helen pinned to his front door, urging him to call her. Later at the bar, owner Nat voices his distaste for how Don treats Helen and another girl who hangs out at the bar. Don recounts to Nat how he met Helen three years earlier at the Metropolitan Opera after a matinee performance of La Traviata. As he is checking his coat, he slides a pint of rye in his raincoat pocket. During the performance, he becomes agitated during "Libiamo ne' lieti calici", the "drinking song" in the first act. He cannot think of anything but the alcohol in the hands of the players and the bottle of rye in his pocket. He abruptly leaves the performance, and upon collecting his coat is presented with a woman's leopardskin coat. He becomes irritated that he can't get his own coat and is forced to wait until the only person remaining in the area, is the woman with his hat and coat. He is incredibly rude to her, but he makes a quick recovery with his manners and she invites him to a party. He declines, but as shifts his coat off his arm, the flask falls out of his pocket and smashes on the sidewalk. He tells a lie that it's for a friend, and asks if he can still go along to the cocktail party. He tells the bartender he chose not to drink that night... for her. Their relationship becomes serious. One day he is due to meet Helen's parents, visiting from Toledo, Ohio, whom he overhears discussing his character flaws in the hotel lobby. Overpowered by anxiety, he escapes into the phone booth as Helen arrives and, while clandestinely observing her, calls and asks her to go ahead with lunch without him. This incident caused his return to drinking. Later, after Wick attempts to cover for Don's absence by telling Helen that Don is in Philadelphia, Don emerges from hiding and confesses his alcohol problem to Helen. He recognizes himself as two people: 'Don the writer' and 'Don the drunk', who is dependent on his brother. Don explains that he dropped out of college, identified earlier as Cornell, because he was convinced he was already a Hemingway, a "great writer." As he began to doubt his writing talent, he found solace in drink. Don says he can only develop writing ideas while drunk, but he forgets them when sober. Don suggests Helen drop him, but his words only strengthen Helen's resolve to help Don. The story returns to the present. Don cannot find a hidden bottle of whiskey, but discovers the name of a bar he has not visited before on a pack of matches. In order to pay his bill at Harry & Joe's, he steals a woman's handbag, takes it into the men's room, and manages to extract enough money to pay his bill. The woman, though, has recognized the theft, and he is identified as the culprit. He admits he has taken her money. The woman takes pity on him in his drunken state and does not press charges. He is told not to return and thrown out. The next day, Saturday, Don's phone rings repeatedly. Don supposes it is Helen, but ignores it. Later, he tries and fails to pawn his typewriter, since all the Third Avenue pawnshops are closed because of Yom Kippur. Returning exhausted to the bar, Nat refuses to serve him. Don visits Gloria, another habitué of Nat's Bar, whom he had half-seriously propositioned at the bar and who has admitted being attracted to him. She is now angry over the dates he has broken with her, but after he kisses her in desperation, she yields and hands over a little money. He then falls down the stairs and is knocked unconscious. Coming around in the alcoholics' ward of a hospital on Sunday, he is confronted by 'Bim' Nolan who mockingly recounts the histories of other patients at "Hangover Plaza." Bim allows that admissions to the ward were more numerous during prohibition and offers Don a solution to counteract the effects of the DTs, which Don refuses. During the night, on his second attempt and wearing a stolen coat over his pajamas, Don succeeds in escaping from the ward while the staff are occupied with a more disturbed and violent patient. Meanwhile, Helen sleeps on the stairs outside his apartment. Don always ignores his milk and newspaper deliveries. When the milkman arrives, he is careful not to wake her. However, Helen is awoken by Don's landlady. She assumes Don is on one of his benders and tells Helen she would be better off if he were dead. Elsewhere, as a liquor store is opening for the day, Don snatches a cheap bottle of whiskey from an assistant clerk. He returns home and ignores the ringing phone. Later, while inebriated, he imagines a mouse appearing out of a crack in the wall and a bat flying around his living room. The bat attacks the mouse. Bim had explained earlier that alcoholics usually imagine seeing small animals rather than "pink elephants." Helen returns, alerted by a call from Don's landlady who can hear his screams. Finding him in a delirious state, she vows to look after him and spends the night for reasons of propriety on Don's couch. In the morning, Tuesday, Don leaves his apartment in a hurry. Helen learns that Don has pawned her coat—the one that brought them together—for a gun. Once more, Helen returns to Don's apartment. He is eager to get rid of her, though she asks him to lend her his raincoat. Don claims their relationship is at an end. Helen, via a reflection in a mirror, spots the gun concealed in the bathroom wash basin and offers him drink as a distraction. Quickly, she is able to retrieve the gun, but Don wrenches it away from her. She reiterates her love for him. As Helen tries to persuade Don to quit drinking, the door buzzer sounds. Don answers, and Nat enters to return the typewriter Don lost at Gloria's home the night he fell. After Helen persuades him that "Don the writer" and "Don the drunk" are the same person, Don finally commits to writing his novel The Bottle, dedicated to Helen, which will recount the events of the weekend. He drops a cigarette into a glass of whiskey rather than drink it. He recalls that while packing for his lost weekend his mind was on a bottle suspended just outside his window, he ponders, over a reversal of the opening shot, how many other people in New York City are in the same position as he. [edit] Cast - Ray Milland as Don Birnam - Jane Wyman as Helen St. James - Phillip Terry as Wick Birnam - Howard Da Silva as Nat - Doris Dowling as Gloria - Frank Faylen as 'Bim' Nolan - Mary Young as Mrs. Deveridge - Anita Sharp-Bolster as Mrs. Foley (as Anita Bolster) - Lillian Fontaine as Mrs. St. James (as Lilian Fontaine) - Frank Orth as Opera Cloak Room Attendant - Lewis L. Russell as Mr. St. James [edit] Production and notable features Wilder was originally drawn to this material after having worked with Raymond Chandler on the screenplay for Double Indemnity. Chandler was a recovering alcoholic at the time, and the stress and tumultuous relationship with Wilder during the collaboration caused him to go back to drinking. Wilder made the film, in part, to try to explain Chandler to himself.[1] The film's musical score was among the first to feature the theremin, which was used to create the pathos of alcoholism.[2] This movie also made famous the "character walking toward the camera as neon signs pass by" camera effect.[citation needed] Rights to the film are currently held by Universal Studios, which owns the pre-1950 Paramount sound feature film library via EMKA, Ltd.[citation needed] [edit] Awards and honors In 2011, The Lost Weekend was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.[3] The Registry said the film was "an uncompromising look at the devastating effects of alcoholism" and that it "melded an expressionistic film-noir style with documentary realism to immerse viewers in the harrowing experiences of an aspiring New York writer willing to do almost anything for a drink."[3] [edit] Academy Awards At the 18th Academy Awards in May 1946, The Lost Weekend received seven nominations and won in 4 categories. [edit] Cannes Film Festival This film also shared the 1945 Grand Prix du Festival International du Film at the first Cannes Film Festival and Milland was awarded Best Actor. To date, The Lost Weekend and Marty (1955) are the only films ever to win both the Academy Award for Best Picture and the highest award at the Cannes Film Festival. (Marty received the Palme d'Or (Golden Palm), which, beginning at the 1955 festival, replaced the Grand Prix du Festival International du Film as the highest award.) [edit] American Film Institute The Lost Weekend was nominated for the following AFI's 100 Years... lists: - AFI's 100 Years...100 Movies (1998) - AFI's 100 Years...100 Movie Quotes (2005): - "One drink's too many, and a hundred's not enough." - AFI's 100 Years of Film Scores (2005) - AFI's 100 Years...100 Cheers (2006) - AFI's 100 Years...100 Movies (10th Anniversary Edition) (2007) [edit] Adaptations The Lost Weekend was adapted as a radio play on the January 7, 1946 broadcast of The Screen Guild Theater, starring Ray Milland, Jane Wyman, and Frankie Faylen in their original film roles. On March 10, 1946—three days after winning the Academy Award -- Ray Milland appeared as a guest on a radio broadcast of The Jack Benny Show. In a spoof of The Lost Weekend, Ray and Jack Benny played alcoholic twin brothers. Phil Harris -- who normally played Jack Benny's hard-drinking bandleader on the show—played the brother who tried to convince Ray and Jack to give up liquor. ("Ladies and gentlemen," said an announcer, "the opinions expressed by Mr. Harris are written in the script and are not necessarily his own.") In the alcoholic ward scene, smart-aleck Frank Nelson played the ward attendant who promised Ray and Jack that they would soon start seeing DT visions of strange animals. When the DT visions appeared (with Mel Blanc providing pig squeals, monkey chatters, and other animal sound effects), Ray chased them off. "Ray, they're gone!" Benny shouted. "What did you do?" Milland replied, "I threw my Oscar at them!" [edit] References - ^ "Shadows of Suspense". Double Indemnity Universal Legacy Series DVD (Universal Studios). - ^ "MIKLÓS RÓZSA". International Film Music Critics Association. http://filmmusiccritics.org/ifmca-legends/miklos-rozsa/. - ^ a b "2011 National Film Registry More Than a Box of Chocolates". Library of Congress. December 28, 2011. http://www.loc.gov/today/pr/2011/11-240.html. Retrieved December 28, 2011. [edit] External links - The Lost Weekend at the Internet Movie Database - The Lost Weekend at the TCM Movie Database - The Lost Weekend at AllRovi - The Lost Weekend at Rotten Tomatoes - The Lost Weekend film review at filmsite.org - The Lost Weekend on Screen Guild Theater: January 7, 1946 - 1945 films - 1940s drama films - American drama films - Best Drama Picture Golden Globe winners - Best Picture Academy Award winners - Black-and-white films - Film noir - Films about alcoholism - Films about writers - Films directed by Billy Wilder - Films featuring a Best Actor Academy Award winning performance - Films set in New York City - Films whose director won the Best Director Academy Award - Films whose director won the Best Director Golden Globe - Films whose writer won the Best Adapted Screenplay Academy Award - Palme d'Or winners - Paramount Pictures films - United States National Film Registry films