FILMS PORTRAYING ALCOHOL AND DRUG USE AS CENTRAL THEME
Russell L Curtis, Jr. Ph.D.
Department of Sociology
University of Houston
713-743-3951
rcurtis@uh.edu
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IMPORTANT: this is for research; not for quotation or general distribution
This film list covers releases of U.S. films, 1930 to present, whose primary
content and thematic concentration are alcohol and drug use. The emphases are the
changes in perspectives, constructed meanings and themes over the time period.
The following changes can be noted. First, there was a decrease in the
demonization and assigned immorality of users that was replaced by therapeutic
interpretations. Second, there was the appearance of a more receptive attitude of the
comedic “just say yes” films of Cheech and Chong beginning in 1978 to a “just say no”
ideology by the mid-1980’s.
Third, systems become central themes, especially during the 1990’s. This was a
shift from the trials of individual users to the meanings for families and for legal and
political institutions. Fourth, “recovery” processes (AA, treatment) begin in the 1950’s
and are commonly present after 1980. Fifth, there is a growing “cynicism,” paralleling
other themes in our society, that is manifested in recent films in the critiques of legal
officials (DEA, police, etc.) and the structures that shape use and distribution (e.g.
“Traffic,” “Drugstore Cowboy, “Blow”). Starting in the 1980’s, and six, the films shifted
from a predominant emphasis on alcohol to drugs and, seven, drugs and drug gangs
become depicted as an African-American phenomenon.
Films Made and Distributed in the United States on Alcoholism, Drugs, &/or Recovery
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1935: “Marijuana - Assassin of Youth.” In the mold of "Reefer Madness" this
campy "I Told You So" expose shows what can--and will--happen when a girl
smokes weed: her life goes down the tubes! Hilarious exploitation scare film
showing good girls turning into fiends after smoking wacky weed. Some versions
had the moonlight nude scenes cut. A.K.A. "Assassin of Youth." Luana Walters
stars. 74 min.
1936: “Marihuana: Weed with Roots in Hell. “ Film by Dwain Esper who
exploited mental illness, v.d. and more during the 1930’s. Poster promises
“weird orgies,” “wild parties,” and “unleashed passions.” Showed nudity as part
of the “expose.” Cast contains no one who was ever noted before or heard from
again. Part of “Hollyweird” period.
1937: “The Cocaine Fiends” (also “The Pace That Kills”). A strident, scarethem-off film, like “Reefer Madness,” below. An brother and sister go to the big
city. The sister is introduced to cocaine under the guise of “headache powder”
by a member of the mob. The young girl and her brother, both innocents to big
city and drug using lives, become addicted. Heavily moralizing. Like earlier
films, evil powers are imputed to the drug.
1938: “Reefer Madness,” with an unknown cast! It’s strident, moralizing tone
has made it a cult, comedic favorite. It represents the “moralization” of drugs and
alcohol that typified the era. Never heard of anyone in the cast, then or later.
Heavily moralizing; evil powers are attributed to the drug.
1945: “The Lost Weekend” (Ray Milland). Early articulation of an
uncontrollable, self-destructive, alcoholic binge. An innovative depiction of
alcoholic isolation, secrecy (e.g. hidden bottles), demons, and frenzy. The wife
(Jane Wyman) is a classic female enabler and the ending offers nearly a magic
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cure based on sudden insight and self-will. The Director, Billy Wilder, anticipated
the “disease concept” in the drunkenness and blackouts that follow the first drink.
1947: “Smash-Up: The Story of a Woman” with Susan Hayward (see below)
as a nightclub singer whose life and marriage and placed on hold while she
invests in her husband’s career. Her life descends into alcoholism as his career
takes off. Rather a gender reversal of “A Star is Born” with the primary character
descending to a true alcoholic “bottom.”
1951: Night into Morning.” Small-town professor loses family in fire, becomes
out-of-control and self-destructive (suicidal) alcoholic. No specific treatments
noted. Attribution is to the tragedy and not to a weakness or moral condition.
Ray Milland (see “Lost Weekend” above) gives good performance.
1951: “Come Fill the Cup.” News reporter (James Cagney) is sacked for
drinking. Later gets straight and hires 3 former alcoholics on his staff while still
living with his friend Charley who is an alcoholic. Helps a young man through
D.T.’s. Good film on the path of alcoholism. Also with Raymond Massey, Jackie
Gleason and Gig Young. Film reflects A.A. precepts: permanent illness and the
need to help others in order to stay sober.
------------------------------- ----------------------Note: with “Come Back Little Sheba” and “Something to Live For” in 1952
came the first extensive introduction of A.A. in the way of “12 th Step Calls,”
meetings, slogans, prayers and birthday celebrations.
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1952: “Come Back Little Sheba.” Tremendous film depicting a Dr., active in
A.A., who has blamed his drinking and diversion from his career on his long
suffering wife (Shirley Booth). Doc gets jealous and abusive with his wife, ending
up drunk and physically violent. Path breaking. Tremendous acting.
1952: “Something to Live For.” An actress is guided by an Alcoholics
Anonymous member to control her alcoholism and her feelings of rejection
Ray Milland in another film on debilitating alcoholism. An early reference to A.A.
Along with “Come Back Little Sheba” of the same year.
1954: “The Country Girl.” Story about an alcoholic entertainer’s (Bing Crosby)
attempt to overcome his addiction to booze, make a professional comeback, and
save his relationship with his long suffering wife (Grace Kelly). This is remade for
television in 1982 with Faye Dunaway and Dick Van Dyke.
1955: “The Man with the Golden Arm,” Tame by today’s standards, this was
an extraordinarily path breaking narrative about a musician’s (Frank Sinatra)
addiction to heroin. Frankie Machine (Sinatra) is a drummer with a crippled wife.
He recovers sweating it out by himself; a type of “heroic” individual effort.
1955: “I’ll Cry Tomorrow.” The life of Broadway's Lillian Roth, who sank into
alcoholism and then recovered:. Academy Award Nominations: 4, including
Best Actress--Susan Hayward. Richard Conte is the caddish husband; Eddie
Albert is the A.A. volunteer who lifts her up. Recovers in A.A.
1956: “The Bottom of the Bottle.” Story an two brothers, one an alcoholic and
ex-offender who embarrasses his sober brother, and leaves for Mexico to
escape. Great old time cast: Van Johnson, Joseph Cotton & Ruth Roman.
1957: “Monkey on My Back,” the story of welterweight boxing champion,
Barney Ross (Cameron Mitchell) whose ring career is interrupted by W.W.II
during which he contracted malaria, became addicted to morphine & hits a low
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bottom upon return. Graphically depicted, Ross later sued for defamation of
character.
1958: “Voice in the Mirror.” An artist takes to drink after the death of his
daughter. Resists interventions by wife and doctor. Finds the strength he needs
to stay on the wagon with the help of a fellow alcoholic. Male AA-Like person.
Great cast: Richard Egan, Walter Matthau, Julie London.
1958: “Too Much, Too Soon.” Dorothy Malone as Diana Barrymore who stays
away from her alcoholic father during his lifetime only to turn to excessive
drinking and numerous marriages and suicide attempts. Treatment center. A
“moral” ending with Barrymore in recovery. This is an early portrayal of children
and their experiences in alcoholic/drug abusing family settings.
1962: “The Days of Wine and Roses.” Academy award winner with Jack
Lemmon and Lee Remick, articulating the addictive plunges into alcoholism and
mutual, interpersonal risks of husband and wife use as one drags the other to the
bottom. Brief introduction to AA by a visiting member.
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Note: Starting in the mid-1960’s, the films shift from alcohol abuse/addiction
drug excesses – both use and sale. This is a gradual, not an immediate or total
shift (e.g. “Payday”) but the change in genre of substances portrayed is evident.
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1967: “The Trip.” This film is, itself, a “trip.” Peter Fonda is a TV executive on
an acid odyssey (before LSD was illegal!) with Dennis Hopper as a hippie drug
dealer & Bruce Dern as a guru drug-wise counselor. Some of the musicians
played with Hendrix. Also Peter Bogdonovich and Susan Strasberg. Heady.
1971: “The Panic in Needle Park.” Psychic perils of the addict, especially trust,
selfishness and self-absorption in drug-centered relationships. The graphic
shooting-up scenes led to a delay in the film’s distribution after some cosmetic
changes were made. (Al Pacino – 1st starring role, Raul Julia, Kitty Winn.)
1972: “Superfly.” Tremendously innovative film for 1972; “Priest” (aka
Superfly, Ron O’Neal) is a coke dealer in Harlem who desires to make a one
million dollar score, leave and start clean. Tremendous music score by Curtis
Mayfield. (Note: “Superfly TNT,” 1973, deals more with international intrigue;
“Return of Superfly, 1990, depicts, again, drug dealing and wars – below).
1972: “Payday.” With Rip Torn playing a country and western, “outlaw” singer,
Maury Dann who, behind the “aw shucks,” on-stage presence, is a mean-spirited,
hell raiser with an obsessive demand for pills, alcohol and women. Story covers
the substance use and abuse and destructions over a day and a half; imputed to
many “outlaw” singers, especially Waylon Jennings.
1972: “Cisco Pike.” With Kris Kristopherson as a rock star fallen on bad times
who is black mailed by a corrupt cop (Gene Hackman) to sell marijuana. Harry
Dean Stanton plays the friend. (Also with Karen Black and Roscoe Lee Browne.)
1978. “Up in Smoke.” A romancing and comedic applause for smoking weed
by Cheech and Chong. Truly a statement of “just say yes” before 1980’s
reversals of opinion. Considered their best film.
1978: “Who’ll Stop the Rain: With Nick Nolte; Returning U.S. Vietnam Vets
are engaged in smuggling operations. Plays up to the cynical renderings of the
Vietnam war and fondness for the “60’s imagery.” Cynical overtones. System
failures and individual tragedies. Male AA person attempts to help.
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1980. “Cheech and Chong’s Next Movie.” An inferior romp compared to “Up
in Smoke.” Continuity of the personal “mess’ of those on marijuana, etc. Very
definitely, no treatment center or AA member in this film!!
1981: “Only When I Laugh.” A actress, Georgia (Marsha Mason) has
completed three months in a treatment center and faces the challenge of
repairing her relationship with her daughter, Polly (Kristy McNichol). Film traces
her crises that challenge her young sobriety. Treatment. Program. Family.
1981. “Cheech and Chong’s Nice Dreams.” Another “weed comedy”: they
own an ice cream truck that fronts for a grass trade. Also: Peewee Herman.
1982. “I’m Dancing as Fast as I Can.” TV producer, Barbara Gordon’s (Jill
Clayburgh) addiction to valium. She recovers in an institutional setting after
several failed attempts to recover by herself. No formal A.A. To the best of my
knowledge, this is the only general-distribution film focused on substance abuse
that is centered on pill addictions. Clayburgh is excellent.
1983. “Scarface.” A Cuban refugee (Al Pacino) builds a powerful cocaine
distribution empire. Cynical treatment of drug sanctions and attitudes in the U.S.
that long precedes those of “Traffic,” below.
1983. “Tender Mercies.” Story of “Mac Sledge” (Robert Duvall, Best Actor),
former star country singer, lost in the bottle, who recovers and through the nonjudgmental health of a new wife (Tess Harper). He stays sober despite the death
of his child and post-divorce conflicts. No group or individual therapy indicated.
1984: “Under the Volcano.” Story of an extremely depressed ex-British
consulate member (Albert Finney) who destroys himself with alcohol Set in
Mexico, 1939, during the “Day of the Dead.” Academy Award nom. – Finney.
1984: “Ironweed.” Award winning performances by Jack Nicholson and Meryl
Streep; also with Tom Waits. Frances Phelan (Nicholson) is wandering the
streets of Albany in the Winter of 1938, haunted by his past when he dropped
and killed his baby son years before. No formal treatment or program for any of
these vagabonds.
1986: “Sid and Nancy.” Based on the heroin demise of Sid Vicious (John
Ritchie, played by Gary Oldman), a front man and most infamous member of the
“Sex Pistols,” England’s most famous punk band, and his girlfriend, Nancy
Spungeon (played by Chloe Webb). The film depicts several themes and
perhaps this is not a “drug” movie, per se. But heroin and alcohol are ubiquitous.
1987: “Barfly.” A semi-autobiographical account by Charles Bukowski about
talented, marginal “skid row” type alcoholics at war between self-destruction and
artistic creation. Classic alcoholic roles by Faye Dunaway and Mickey Rourke.
Absolutely no recovery or “moral resolution” in this film.
1987: “Less than Zero.” Poor little rich kids in the dark underside of California I
the 1980’s is a common description. Robert Downey, Jr. (who else!) Huge
cocaine abuse scenes. Treatment options portrayed.
1988: “The Boost.” James Woods is a young, real estate developer whose
expensive life style is destroyed by a downturn of the economy. In adapting, he
turns to cocaine as a “boost.” He cleans up, noting the “program” in one
flashback. But heroin use is resumed and at the end, he is isolated with cocaine.
-----------------------------------------------------------------------------------------------------Note: Starting in the late 1980’s, especially with “Clean and Sober” (1988) and
continuing on with “When a Man Loves a Woman “ (1994) “28 Days” (1998), the
program dynamics of “treatment centers” become articulated in film.
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1988: “Clean and Sober.” Story of the forced treatment of a cocaine addicted
(Michael Keaton) businessman who is still dealing. Morgan Freeman is the
counselor in one of the first films to articulate the contexts of treatment centers.
1988: “Bright Lights, Big City.” Cocaine addiction of “Jamie” (Michael J. Fox)
and the disparity between his public (high powered magazine editor). Heavy
drinking. Everyone leaves him. Advice from an old drunk (Jason Robards). Is a
“Lost Weekend” of the 1980’s, even including the alcohol as well a cocaine.
1989: “Drugstore Cowboy,” The lifestyle of a youthful group of addicts (Matt
Dillon and Kelly Lynch) in the Pacific northwest, maintaining by stealing from
drugstores and by negotiating their lives with the narcotics officers whom they
have known for years. Excellent depiction of a drug group as a subculture. To
me, it was amazing that this film and cast received so little recognition.
1989: “Wired.” Heavily criticized film account of Woodward’s book on the drug
world of the late comedian, John Belushi. Chronicles Belushi’s world of cocaine
(and other) addictions and ultimate tragedy.
1990: “Postcards from the Edge.” Based on Carrie Fisher’s journey through
addiction, the story depicts the addictions and recovery of a daughter (Streep) of
a famous movie star mother (Debby Reynolds, played by Shirley MacLaine) who,
herself, is an alcoholic in total denial. Daughter goes into rehab; AA is
mentioned. Recovery, rather mysteriously, occurs.
-----------------------------------------------------------------------------------------------------Note: Nearly 20 years after the cult classic, “Superfly” (1972), there was a rapid
increase in the numbers of films on Black gangs and drug use/trafficking.
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1990: “Return of Superfly.” Second sequel. Priest returns from Europe to
middle of drug war which he reluctantly enters to help federal agents. Termed a
“black exploitation” film, it emphasizes blacks and inner city drug trafficking.
1990: “King of New York.” Frank, an ultracool crime boss (Christopher
Walken) rejoins his gang (with Laurence Fishburne) upon release from jail.
Police-gang war. Violent, like “Scarface”; super dedicated, opposing police
include Wesley Snipes and David Caruso. Drug lord movie.
1991: “Naked Lunch.” Based on the life of William S. Burroughs account of
drug abuse, homosexuality, violence and bizarre behaviors. Extreme,
hallucinogenic images. (Peter Weller, Roy Scheider, Judy Davis…)
1991: ”New Jack City.” A powerful story of a black, embattled drug lord (Wesley
Snipes) combating the police and Italian gangs. Has remnants of “The
Godfather,” “The Untouchables,” and “Scarface.” Tough. Influential. Accurate.
1991: “Rush.” In the Texas drug culture of 1975, a rookie undercover narcotics
agent becomes hooked in infiltrating the drug world. Cynical commentary on the
subcultural enmeshments of legal and illegal worlds. Greg Allman is great; so is
Clapton’s music score. (Jennifer Jason Leigh, Jason Patric and Sam Elliot)
1992: Jumpin’ at the Boneyard: Story of an older brother (Tim Roth)
desperately attempting to get his younger, crack addicted brother into rehab.
Takes place in one day in NYC. Low budget but great cast including Roth, Luis
Guzman, and Samuel L. Jackson. Attempts at rehab. No recovery or program.
1992: “The Bad Lieutenant,” With Harvey Keitel as a nameless N.Y. cop,
hopeless addicted to alcohol, drugs, gambling and sex. Hugely cynical view of
“elite deviance” (i.e., here, police crime). Really rough film. It took me a second
viewing to conclude that this was, indeed, centered on alcohol & drugs. No
recovery. No redemption.
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1994: “When A Man Loves a Woman,” Explores the family tensions and
secrecies accompanying the alcoholism of the wife (Meg Ryan) and denial by the
husband (Andy Garcia). She recovers in treatment. He eventually recovers in Al
Anon, one of the few films to depict the latter organization. Good portrayals.
1994: “Sugar Hill,” with Wesley Snipes, Abe Vagoda, and Ernie Wright, story
about two brothers who control the heroin trade in a Harlem neighborhood. Story
traces the childhood events of watching their mother die of a heroin overdose
and their father getting shot. Main characters manage to escape the violence.
1995. “Drunks.” The most comprehensive film made depicting the structure
and dynamics of an A.A. meeting. With Richard Lewis and Faye Dunaway, the
story describes a meetings from beginning to end during which time a program
veteran bolts from the room, drinks during the evening, and then returns to A.A.
1995: “Leaving Las Vegas,” with Nicholas Cage and Elizabeth Shue (Oscar
winner). Important emphasis on the links of alcohol with depression and suicide
and the intentional use of alcohol for ending one’s life. No recovery.
1995: “Clockers.” A great Spike Lee film (in my opinion) about a “clocker” (a
crack dealer operating at any hour) who follows orders and murders a rival. The
older brother initially takes the blame. Great performances by Harvey Keitel and
John Turturro. There is redemption in that justice is served but like other
portrayals of inner-city drug use during this period, there is a realistic
understanding that recovery from use is nearly impossible. Extremely interesting
portrayal of trust and empathy between white police and black dealers by Lee.
1995: “Friday.” Hugely funny portrayal of Craig (Ice Cube) who gets fired on his
day off and spends the day smoking marijuana with his friend, “Smokey” (Chris
Tucker), escaping a dealer whose product Smokey has smoked up instead of
selling, and negotiating the family and neighborhood. All black cast.
1995: “The Basketball Diaries,” the story of the decline of an all star Catholic
high school basketball star, based on the biography of Jim Carroll (Leonardo
DiCaprio). The movie depicts the downward spiral of pills, heroin, and hustling to
survive. The recovery is cold turkey but the end suggests an AA setting.
1996: “Gridlock’d.” A story of two Detroit heroin addicts (Tim Roth and Tupac
Shakur) who are attempting to kick drugs and are met with a wild and frustrating
set of bureaucratic obstructions and misapplications in their attempts to receive
help at a government sponsored treatment facility.
1997: “Blackout.” Story of actor (Matthew Modine) whose life and career are
blurred and obliterated between “films” and drinking despite a year of sobriety
achieved in AA. Constant enabling and taunting by director and friend, Mickey
(Dennis Hopper). Reality varies between “blackouts” and dreams.
1998, “Fear and Loathing in Las Vegas,” with Johnny Depp. The use of
current, synthesized drugs along with cocaine and other substances is portrayed
in the total alteration of the addict’s perceptions, cognitive structure and value
systems (rationalizations). Story by Hunter Thompson. No recovery here!
1998: “Half Baked.” An adolescent “stoner movie” and throwback to Cheech
and Chong. Kenny (Harland Williams) kills a policeman’s horse (!). Other three
stoner friends try to raise bail by stealing marijuana from a lab. Predictable. Fun.
Cameo roles: Snoop Doggy Dogg, Tommy Chong, and Willie Nelson.
1998: “28 Days” with Sandra Bullock with a previously unsuccessful track record
on recovery. A second film on treatment centers. This one depicts mainstream
A.A. ideology and treatment processes. Mother was an alcoholic. Recovery.
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1998: “Permanent Midnight.” Based on the life of screenwriter, Jerry Stahl
(Ben Stiller), story is the post-rehabilitation telling pf the story of Stahl’s complete
deterioration and current (post-rehab) hopes.
1998: “Another Day in Paradise.” With Two middle aged junkie thieves
(James Woods, Melanie Griffin) mentor two younger drug crime youth, go on a
crime spree. A drug deal goes sour. Cynical view of systemic patterns and the
mesh of shaped individuals who fit the hopeless pursuits.
1998: “Belly.” Set in N.Y., New Jersey and Jamaica, two black boyhood friends
go different directions, one to family and convention and the other to drug
distribution and other crimes. The drug themes are those of criminal distribution
among other criminal enterprises. Appeals to religious, moral redemption at end.
1999: “The Affliction,” with Nick Nolte, Willem Defoe, and James Coburn
(Oscar for his peformance). An intensive, extensive elaboration of the impacts of
parental alcoholism on the long-term, maladaptive behaviors of the children,
especially when the impacts have remained untreated. Excellent film.
1999: “In Too Deep.” Story of a Black undercover agent’s (Omar Epps)
infiltration of a Black gangster’s (LL Cool J) cocaine distribution organization.
The officers are often neutralized by conflicts between personal and professional
roles and the agency heads are often crass in their disregard for lives. Like
“Traffic,” below, heavily cynical.
2000: “Requiem for a Dream.” Ellyn Burstyn. Explores some of the same
themes present in “The Affliction,” above, only here, the son joins the mother and
both shut down. The son dies, the mother reaches a point of ego debilitation.
2000: “Traffic.” Terrific portrayal of the layered economic and social forces that
supply and market drugs and neutralize the “war on drugs.” Questions the legal
effectiveness and morality of official responses to the “drug problem.” Shows
cynicism, systems of use, and widespread police corruption. Also, recovery.
2000: “Blow.” With Johnny Debb. The portrayal of a cocaine dealer and, later,
kingpin and the subsequent outcomes of this particular drug career. Based on
the story of George Jung, scheduled to remain in a federal prison until 2015.
Shows cynicism, systems of use, and widespread police corruption.
2000: “Pollock.” The alcoholically abusive, depressive and artistic genius of
Jackson Pollock (Ed Harris, Oscar nomination), set in 1950’s. Sub-themes:
artistic innovations; manic-depressive disorders. Ends in self-destruction.
2000: “Once in the Life.” Story of two cornered half brothers (one black –
Lawrence Fishburne, one white - Titus Welliver) who are drug dealers in a deal
gone sour. Interaction between the brothers and the invited betraying friend,
Tony “the Tiger,” is terrific.
2000: “Jesus’ Son.” Story of “Fuckhead,” a series of vignettes of “an unnamed
Midwestern junkie-slash-holy fool from drug dependency and petty crime in the
1970’s to redemption. Reviewed highly as a masterful portrait of a deviant career
that middle class persons may not understand. Short run on Houston’s screens.
2001: “Training Day.” A narcotics, police officer breaks in a rookie (Ethan
Hawke) and subjects the new officer to all of the non-normative and illegal
activities of the narcotics division. Corrupted police. Extensive cynicism.
Redemption as an outcome of revenge.
2002: “The Salton Sea.” A jazz musician and dope dealer of Crystal Meth (Val
Kilmer) goes underground into the world of speed freaks to find the man who
killed his wife. Characterized as both a crime thriller and a moody comedy.
2002: “Empire.” The story of Victor Rosa (John Leguizamo), a Puerto Rican
drug dealer in the Bronx who desires to marshal the funds from his original “drug”
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(a novel synthesis of a heroin mix that he calls “empire”) into a career on Wall
Street. Drug dealing. Betrayal (the “legitimate” stock options turn out to be a
devastating con). Revenge. Definitely no recovery or redemption.
2003: “Spun.” Tremendous cast (John Leguizamo, Brittany Murphy, Mickey
Rourke, Alexis Arquette) in a story about the mania of speed (meth). Characters
engage in self-destructive behaviors and are neither demonized nor
romanticized. Cynical portrayal of two policemen strung out on speed.
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III.
Films cited as “drug” or “alcoholism” films but not centered on these themes.
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IV.
Some Films Made for TV and Presented to U.S. Television Audiences
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1958: “Days of Wine and Roses.”
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1982: “The Life of the Party: The Story of Beatrice”
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1982: “The Country Girl.”
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. 1987: “The Betty Ford Story.”
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1989: “My Name is Bill W.”
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1996: “Rebound – The Legend of Earl ‘The Goat’ Manigault.
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1998: “Gia.”
IV.
Some Foreign (Non-U.S.) Films on Alcohol and Drug Consumption and Life Styles
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1996: “Trainspotting.”
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1999: “My Name is Joe.”
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1963: “The Fire Within.”
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1948: ”Drunken Angel”
1932: “What Price Hollywood?” (Also three versions of “A Star is Born)
1969: “Easy Rider.”
1962: “Long Days Journey into Night”
1972: “Lady Sings the Blues”
1981: “Arthur.”
1987: “River’s Edge.” .
1998: “Down in the Delta.”
“Basquiat.”: 1996
1999: “Go.”
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III.
Some films cited as “drug” or “alcoholism” films but not centered on these themes.
1.
1932: “What Price Hollywood?” Very early, honest portrait of tinsel town by
David O. Selznick with a largely unknown cast. Starlet, found as a working
waitress, makes it to the top while the director her found her descends into
depression and dies of alcoholism. This film anticipates the 1937 version (below)
of “A Start is Born,” the remake (Judy Garland) of “A Star is Born” (1954) and
another version (1976) with Barbra Streisand and Kris Kristopherson.
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1972: “Lady Sings the Blues” Demanding and powerful portrayal of the life
and music of Billie Holiday (Diana Ross). More about music, discrimination,
depression and early childhood trauma than substance abuse, almost viewed
here as a normal outcome of the earlier tragedies, adding more tragedies.
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1962: “Long Days Journey into Night” Drunkenness and narcotics addiction
as part of family politics and the family as a complex, symbolic system as
adapted form O’Neil’s play. Katherine Hepburn
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1969: “Easy Rider.” Powerful film in its cultural influences. Two “hippies”
(Dennis Hopper and Peter Fonda) and one marginal soul (Jack Nicholson)
motorcycle through the nation, ending up in the ultimate of tragedies in an
extreme account of competing lifestyles. Lots of marijuana but many other
themes as well. Very political. Still great after all these years.
4.
1981: “Arthur.” Cited as a study of “drinking in the movies,” I view this as a story
of an immature, wealthy, playboy who finds himself when his butler – a surrogate
father figure – is ill. But, later, Arthur reverts to the same narcissistic escapades.
5.
1987: “River’s Edge.” Powerful story of the collective paralysis of a group of
slacker following a murder of one of their members. Dennis Hopper and Keanu
Reeves. Much dope intake. Key themes are alienation and purposelessness.
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1998: “Down in the Delta.” story of a young, addicted mother (Alfre Woodard)
who is abusing her children and killing herself in the projects in Chicago. Her
mother sends her to the family’s original home in Mississippi where she recovers
through the love of family. Directed by Maya Angelou.
7.
“Basquiat.”: 1996. Great story about Jean-Michel Basquiat from 19970’s to
1988 as he moved from a street artist to a center of New York’s elite art scene.
Jeffrey Wright as Basquiat and David Bowie as Andy Warhol are superb.
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1999: “Go.” Comedic trip. Drug sting operation. Outrageous misadventures in
LA’s wild underground scene. Not primarily centered on drugs in my view.
IV.
Some Films Made for TV and Presented to U.S. Television Audiences
1.
1958: “Days of Wine and Roses.” The original made-for-TV version starring
Cliff Robertson that was well received and preceded the famous general
distribution film with Jack Lemmon and Lee Remick, noted above.
2.
1982: “The Life of the Party: The Story of Beatrice: Female alcoholic story.
Beatrice (Carol Burnett) compensates for her shyness with drink. Husband
(Lloyd Bridges) leaves in disgust. Beatrice recovers in A.A. Note: After her
daughter’s recovery, Burnett became a great supporter of Houston’s PDAP.
3.
1982: “The Country Girl.” A remake of the 1954 classic that many consider
better than the original. Dick Van Dyke and Faye Dunaway (also, above)
4
. 1987: “The Betty Ford Story.” Excellent and honest account of the substance
abuse of the nation’s first lady. Accurate depiction of the ongoing denial, growing
10
5.
.
7.
IV.
awareness, and intervention, followed by recovery and, later, Betty Ford’s
leadership in constructing a huge treatment enterprise bearing her name.
1989: “My Name is Bill W.” The story of the founders of AA, led by Bill Wilson
(James Wood) and Dr. Robert Smith (James Garner). Excellent portrayals of
the original leaders and the traumas of their drinking lives and their sober years.
1996: “Rebound – The Legend of Earl ‘The Goat’ Manigault. Story of one of
the greatest of New York’s street basketball players who never played in the NBA
because of his addictions to narcotics. He became rehabilitated and returned to
become a youth leader. Now deceased, he has a NY court named after him.
1998: “Gia.” Angelina Jolie in a critically acclaimed HBO Cable film gives a
critically acclaimed portrait of supermodel, Gia Carangi who dies young from
AIDS contracted from drug use with the needle. Faye Dunaway plays the
character who assists the runaway 16 year old in the beginnings of a famous
modeling career.
Some Foreign or International Films on Alcohol and Drug Consumption and Life Styles
1.
1996: “Trainspotting.” Scottish setting of young heroin addicts. While showing
the dire, depressing world of heroin addictions, the characters are “funny, sharp,
well played, and deeply memorable.” (Best 1000 Movies Ever Made, p. 898).
Depicts an illegal subculture of a drug world like “Drugstore Cowboy,” in U.S.
2.
1999: “My Name is Joe.” Scottish setting of a revering alcoholic, Joe,
attempting to put his life back together after years of chaotic drinking. The films
begins with Joe’s self identification in an AA meeting in Scotland.
3.
1963: “The Fire Within.” French. Synopsis: Louis Malle's portrayal of spiritual
and moral decay of the last 48 hours in the life of an ex-alcoholic playboy.
4.
1948: ”Drunken Angel.” Famous Director, Akira Kurosawa, shaped this story of
a gangster aided and treated by an alcoholic physician.