Rumor has it that Gloria Swanson was absolutely devastated that she didn't win the Oscar for Sunset Boulevard. 1950 was an unusually tough year for competitors, with the statuette eventually going to Judy Holiday for Born Yesterday.
Admittedly, Gloria is fantastic in this film - she's able to send up herself, while also scandalizing the business she was product of - but the acting chops must really go to William Holden, who provides the willful self-loathing thread that ties much of this noirish and twisted tale together.
Director by Billy Wilder, Sunset Boulevard represents classic movie making at its peak. Set in Los Angeles, it's a dark, twisted, cynical tale of love, deceit, and opportunism. The film is all about Hollywood behind the scenes and how screenwriters, directors, and actors will sell themselves out for fame and fortune at a moments notice.
Spiritual and emotional emptiness, and the price of fame, greed, narcissism, and ambition is at the heart of this devilishly stylistic film, with the somber mood beginning almost immediately when a dead man is found floating facedown in a swimming pool.
The man is hack screenwriter Joe Gillis (a very sexy William Holden). All we know is that Joe was at the run-down mansion of deluded former silent-film star Norma Desmond (Gloria Swanson). Through Joe's voice over narrative it soon becomes clear that he was somehow involved with the wealthy Norma.
Down on his luck, three months behind on his rent, and with his car about to be repossessed, Joe accidentally stumbles upon Norma's faded mansion while trying to escape the police. Norma initially mistakes Joe for a coffin-maker for her deceased pet monkey, but once she figures out that he's a screenwriter, she gets him to read one of the scripts she's been working on.
Norma is an insane and faded silent-film star, who is hoping against hope to make a comeback. She's bitterly resentful of the price the "talkies" have taken on her career, so now she soaks in her own misguided and imagined greatness, in profile with the flickering projector lighting her outline in the dark.
Joe is initially hesitant to help the glamorous woman, and then asks $500 a week for his writing services. But slowly we come to realize the contract is actually the other way around. In preparing for her return comeback, Norma quickly turns Joe into a pawn - or more to the point, a slave.
Joe becomes a virtual prisoner in her rundown mansion; the moment he leaves, she slits her wrists, forcing him to come back. With minimal resistance, Joe allows himself to settle into the life of a kept man, as Norma desperately showers him with gifts and fine clothing. The house butler, Max von Meyerling (Erich von Stroheim), grimly looks on, tending to Norma's demanding whims and tolerating Joe's disruptive presence.
Joe wobbles back and forth between heedless acceptance of his strange companionship with Norma and his half-hearted pursuit of a career. He sneaks away to collaborate on a project with Betty (Nancy Olson), a Paramount script reader who is engaged to Joe's best friend. Betty is gradually falling in love with Joe, but when Norma finds out, that he's been sneaking out to meet wit her, all hell breaks loose.
The self-loathing motif is rampant throughout Sunset Boulevard. Max completely does away with his self-respect, Joe hates himself for his unwillingness to commit to a career or love, and seems to sell himself out for money and clothes almost immediately, and Betty despises herself for falling in love with Joe while she's engaged to another.
Norma, despite her haughtiness, is the most blatant case of self-disgust. When she isn't raving about her greatness, she comes across as a frightened and tortured soul a sad and lonely woman, who is not only remarkably self-delusional, but is also trying to grasp one last chance at happiness. She thinks so little of her current 50-year-old self that she no longer acknowledges the present.
Sunset Boulevard is a must see movie for cinema buffs. There are lots of treasures to be had here, including Nancy Olson's strangely under appreciated performance as Betty, whose misguided love for Joe spirals the film to its grisly conclusion. There's also the hilarious appearance of a skinny and madly grinning Jack Webb as a happy-go-lucky assistant director, and viewers will get a kick out of the excessive exuberance that Norma displays when she towels down a hunky and hairy-chested Joe at poolside.
The funniest scene in the movie is when Norma rolls on top of Joe while he is reclining on a couch, and then does an imitation of Charlie Chaplin in order to cheer him up; the scene is an uproarious mixture of the sad, the funny, and the pathetic.
Billy Wilder's accomplished direction is full of wide shots that capture the depressing set and brave close-ups of our anti-heroes. But in the end, Sunset Boulevard stands out, as one of the finest examples of the frenzied circus of obsession, fixation, and greed that is oftentimes symbolizes Hollywood. Mike Leonard September 05.
Admittedly, Gloria is fantastic in this film - she's able to send up herself, while also scandalizing the business she was product of - but the acting chops must really go to William Holden, who provides the willful self-loathing thread that ties much of this noirish and twisted tale together.
Director by Billy Wilder, Sunset Boulevard represents classic movie making at its peak. Set in Los Angeles, it's a dark, twisted, cynical tale of love, deceit, and opportunism. The film is all about Hollywood behind the scenes and how screenwriters, directors, and actors will sell themselves out for fame and fortune at a moments notice.
Spiritual and emotional emptiness, and the price of fame, greed, narcissism, and ambition is at the heart of this devilishly stylistic film, with the somber mood beginning almost immediately when a dead man is found floating facedown in a swimming pool.
The man is hack screenwriter Joe Gillis (a very sexy William Holden). All we know is that Joe was at the run-down mansion of deluded former silent-film star Norma Desmond (Gloria Swanson). Through Joe's voice over narrative it soon becomes clear that he was somehow involved with the wealthy Norma.
Down on his luck, three months behind on his rent, and with his car about to be repossessed, Joe accidentally stumbles upon Norma's faded mansion while trying to escape the police. Norma initially mistakes Joe for a coffin-maker for her deceased pet monkey, but once she figures out that he's a screenwriter, she gets him to read one of the scripts she's been working on.
Norma is an insane and faded silent-film star, who is hoping against hope to make a comeback. She's bitterly resentful of the price the "talkies" have taken on her career, so now she soaks in her own misguided and imagined greatness, in profile with the flickering projector lighting her outline in the dark.
Joe is initially hesitant to help the glamorous woman, and then asks $500 a week for his writing services. But slowly we come to realize the contract is actually the other way around. In preparing for her return comeback, Norma quickly turns Joe into a pawn - or more to the point, a slave.
Joe becomes a virtual prisoner in her rundown mansion; the moment he leaves, she slits her wrists, forcing him to come back. With minimal resistance, Joe allows himself to settle into the life of a kept man, as Norma desperately showers him with gifts and fine clothing. The house butler, Max von Meyerling (Erich von Stroheim), grimly looks on, tending to Norma's demanding whims and tolerating Joe's disruptive presence.
Joe wobbles back and forth between heedless acceptance of his strange companionship with Norma and his half-hearted pursuit of a career. He sneaks away to collaborate on a project with Betty (Nancy Olson), a Paramount script reader who is engaged to Joe's best friend. Betty is gradually falling in love with Joe, but when Norma finds out, that he's been sneaking out to meet wit her, all hell breaks loose.
The self-loathing motif is rampant throughout Sunset Boulevard. Max completely does away with his self-respect, Joe hates himself for his unwillingness to commit to a career or love, and seems to sell himself out for money and clothes almost immediately, and Betty despises herself for falling in love with Joe while she's engaged to another.
Norma, despite her haughtiness, is the most blatant case of self-disgust. When she isn't raving about her greatness, she comes across as a frightened and tortured soul a sad and lonely woman, who is not only remarkably self-delusional, but is also trying to grasp one last chance at happiness. She thinks so little of her current 50-year-old self that she no longer acknowledges the present.
Sunset Boulevard is a must see movie for cinema buffs. There are lots of treasures to be had here, including Nancy Olson's strangely under appreciated performance as Betty, whose misguided love for Joe spirals the film to its grisly conclusion. There's also the hilarious appearance of a skinny and madly grinning Jack Webb as a happy-go-lucky assistant director, and viewers will get a kick out of the excessive exuberance that Norma displays when she towels down a hunky and hairy-chested Joe at poolside.
The funniest scene in the movie is when Norma rolls on top of Joe while he is reclining on a couch, and then does an imitation of Charlie Chaplin in order to cheer him up; the scene is an uproarious mixture of the sad, the funny, and the pathetic.
Billy Wilder's accomplished direction is full of wide shots that capture the depressing set and brave close-ups of our anti-heroes. But in the end, Sunset Boulevard stands out, as one of the finest examples of the frenzied circus of obsession, fixation, and greed that is oftentimes symbolizes Hollywood. Mike Leonard September 05.