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The Lost weekend : [screenplay]

A would-be writer's dissatisfaction with his life leads him on a three-day binge. This film gives an uncompromising look at the devastating effects of alcoholism.

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alternateName

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  • "Lost weekend (Motion picture)"@en
  • "United States Steel Corporation presents The Theatre Guild on the Air"@en
  • "Lost weekend"@pl
  • "Lost Weekend"
  • "Lost week-end"@en
  • "The lost weekend"@it

author

contributor

creator

description

http://schema.org/description

  • "A would-be writer's dissatisfaction with his life leads him on a three-day binge. This film gives an uncompromising look at the devastating effects of alcoholism."@en
  • "Don, an alcoholic, is unable to resist the lure of the bottle as he goes on a self-destructive binge. He uses various strategies to evade the watchful eye of his brother, Wick, and his sweetheart, Helen, in hiding his bottles with animal cunning. They have followed his debauch through a series of epidodes which includes his unblushing importunities of a bartender, begging for drinks; a horribly humiliating encounter when he is caught stealing money from a woman's purse; a racking walk along New York's Third Avenue, trying to pawn a typewriter for some cash; and a staggeringly ugly experience in the Bellevue alcoholic ward where he goes through a bout of delirium tremens."@en
  • "Manhattan 1936, East Side. Don Birnam trinkt. Und der Schriftsteller hat längst jenen Punkt erreicht, an dem "ein Drink zu viel ist und hundert nicht genügen". Seit dem letzten Absturz kaum wieder auf den Beinen, widersetzt er sich erfolgreich allen Versuchen seines Bruders Wick, ihn zu einem langen Wochenende auf dem Land zu überreden, und bleibt fünf Tage in der gemeinsamen Wohnung allein. Dort nimmt das Schicksal seinen Lauf: Don trinkt, beschafft sich Geld, verliert es, besorgt sich neues, landet auf der Alkoholstation, trinkt weiter. Schwankend zwischen Euphorie und Verzweiflung, Selbsterkenntnis und Selbsttäuschung, Inspiration und Panik, glasklarem Denken und tiefer Umnachtung, fällt Don zunehmend ins Delirium. CHARLES JACKSON wurde 1903 in Summit, New Jersey, geboren. Er wuchs in Arcadia, New York, auf. Sein Debüt Das verlorene Wochenende erschien 1944, wurde sofort ein Bestseller und 1946 von Billy Wilder verfilmt mit Ray Milland und Jane Wyman in den Hauptrollen. Der Film erhielt vier Oscars. Charles Jacksons Ruhm verblich rasch, und er starb 1968 an einer Überdosis Seconal (Secobarbital) im Chelsea Hotel in New York City. The Lost Weekend wurde mit grossem Erfolg im vergangenen Jahr bei Vintage neu aufgelegt. BETTINA ABARBANELL, 1961 in Hamburg geboren, arbeitet seit vielen Jahren als Literaturübersetzerin in Potsdam. Sie hat ausser Elizabeth Taylor u.a. von Jonathan Franzen Die Korrekturen und (zusammen mit Eike Schönfeld) Freiheit, die meisten Werke von Denis Johnson sowie Der grosse Gatsby von F. Scott Fitzgerald übersetzt. 2014 wird sie auf der Frankfurter Buchmesse mit dem Übersetzerpreis der Heinrich Maria Ledig-Rowohlt-Stiftung ausgezeichnet. RAINER MORITZ, geboren 1958, Leiter des Literaturhauses Hamburg. Essayist, Literaturkritiker und Autor zahlreicher Publikationen."
  • "It is 1936, and on the East side of Manhattan, a would-be writer named Don Birnam decides to have a drink. And then another, and then another, until he's in the midst of what becomes a five-day binge.-Back cover."
  • ""I'm not a drinker--I'm a drunk." These words, and the serious message behind them, were still potent enough in 1945 to shock audiences flocking to The Lost Weekend. The speaker is Don Birnam (Ray Milland), a handsome, talented, articulate alcoholic. The writing team of producer Charles Brackett and director Billy Wilder pull no punches in their depiction of Birnam's massive weekend bender, a tailspin that finds him reeling from his favorite watering hole to Bellevue Hospital. Location shooting in New York helps the street-level atmosphere, especially a sequence in which Birnam, a budding writer, tries to hock his typewriter for booze money. He desperately staggers past shuttered storefronts--it's Yom Kippur, and the pawnshops are closed. Milland, previously known as a lightweight leading man (he'd starred in Wilder's hilarious The Major and the Minor three years earlier), burrows convincingly under the skin of the character, whether waxing poetic about the escape of drinking or screaming his lungs out in the D.T.'s sequence. Wilder, having just made the ultra-noir Double Indemnity, brought a new kind of frankness and darkness to Hollywood's treatment of a social problem. At first the film may have seemed too bold; Paramount Pictures nearly killed the release of the picture after it tested poorly with preview audiences. But once in release, The Lost Weekend became a substantial hit, and won four Oscars: for picture, director, screenplay, and actor."@en
  • "It is 1936, and on the East Side of Manhattan, a would-be writer named Don Birnam decides to have a drink. And then another, and then another, until he's in the midst of what becomes a five-day binge. The Lost Weekend moves with unstoppable speed, propelled by a heartbreaking but unflinching truth. It catapulted Charles Jackson to fame, and endures as an acute study of the ravages of alcoholism, as well as an unforgettable parable of the condition of the modern man."@en
  • "The classic tale of one man's struggle with alcoholism, this revolutionary novel remains Charles Jackson's best-known book'a daring autobiographical work that paved the way for contemporary addiction literature. It is 1936, and on the East Side of Manhattan, a would-be writer named Don Birnam decides to have a drink. And then another, and then another, until he's in the midst of what becomes a five-day binge. The Lost Weekend moves with unstoppable speed, propelled by a heartbreaking but unflinching truth. It catapulted Charles Jackson to fame, and endures as an acute study of the ravages of alcoholism, as well as an unforgettable parable of the condition of the modern man."@en

editor

genre

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  • "Powieść amerykańska"
  • "Powieść amerykańska"@pl
  • "Erzählende Literatur"
  • "Fiction"
  • "Fiction"@en
  • "Electronic books"
  • "Electronic books"@en
  • "Vertalingen (vorm)"
  • "Psychological fiction"
  • "Psychological fiction"@en
  • "Tekstuitgave"
  • "Translations"
  • "Romans (teksten)"
  • "Drama"@en

name

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  • "Giorni perduti : romanzo"
  • "Le poison: roman"
  • "Giorni perduti : romanzo"@it
  • "Le Poison : ("the Lost week-end"), roman traduit de l'américain par Denise Nast"
  • "To chameno Savvatokyriako"
  • "The Lost weekend : [screenplay]"@en
  • "Le Poison (The Lost week-end) : Roman traduit de l'américain par Denise Nast"
  • "Le poison (The lost week-end); roman"
  • "Forspildte dage"@da
  • "Le poison (The lost week-end) : Roman"
  • "Het verloren weekend"
  • "The Lost Weekend"@en
  • "The Lost Weekend"
  • "Das verlorene Wochenende"
  • "The lost week-end"@en
  • "The lost week-end"
  • "The Lost weekend : screen play"@en
  • "Het verloren weekend : roman"
  • "Giorni perduti"
  • "Giorni perduti"@it
  • "The lost Weekend"
  • "Giorni perduti"@es
  • "Días sin huella"@es
  • "Días sin huella"@ca
  • "Días sin huella"
  • "The lost weekend : [screenplay]"@en
  • "Stracony weekend"@pl
  • "The Lost weekend"
  • "The Lost weekend"@en
  • "THE LOST WEEKEND"
  • "Dias sin huella"@es
  • ""The lost weekend""@en
  • ""The lost weekend""
  • "Forspildte dage : (Overs. efter den amerikanske orig. udg. "The lost week-end")"@da
  • "The lost weekend"
  • "The lost weekend"@en
  • "Das verlorene Wochenende : Roman"

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