Sunset Boulevard
is a multi award winning 1950 melodrama which turns the camera on Hollywood and tells the
story of a faded silent movie star’s relationship with an ambitious but
unsuccessful young writer. Nominated for eleven Oscars it is often regarded as
one of the greatest films ever made and appears on numerous Top 10 lists. In
1989 it was selected as one of the first films to be preserved in the National
Film Registry and today, over sixty years after its release it continues to stand
up thanks to its excellent writing, direction, performances and Noir sensibility.
Joe Gills (William Holden) is a struggling writer in search
of a job. He has little success and with debt collectors on his tail he drives
into the seemingly abandoned driveway of an old Sunset Boulevard mansion. He
soon discovers that the decrepit house is in fact occupied by a former movie
star called Norma Desmond (Gloria Swanson) and her mysterious butler Max (Erich
von Stroheim). After initially being mistaken for an undertaker, Joe announces
himself as a screenwriter and the former star puts him to work rewriting her
screenplay with the hope that it will rekindle her career. Desmond, it soon
turns out, is living in a delusion and cannot grasp that her time has been and
gone while Joe uses his time in the house to further his career.
Sunset Boulevard
looks great and I loved the ending but it took me a long time to get into. I
was fascinated by the behind the scenes look at Hollywood and the story is certainly wonderful
but for some reason I wasn’t able to ride along with the movie. Despite this it
is obvious to see why it’s considered such a classic and I’m glad that I
finally got to see it. I watch more silent and golden age movies than anyone I
know and was able to appreciate the story, era and guest appearances. The movie
is littered with references to both the silent era and golden age in which it
is set and names such as D.W Griffith, Rudolph Valentino, John Gilbert and
Mabel Nomad are remarked upon. This gives the movie an air of authenticity and
helps the audience to imagine Norma Desmond in her heyday, working with
directors such as Griffith and DeMille and playing tennis with Pearl White or
Greta Garbo. There are also notable cameos from the likes of Cecil B. DeMille,
H.B. Warner and one of my favourite screen actors Buster Keaton who appear as
themselves. I was totally convinced by Desmond’s history and the fact that
Gloria Swanson was herself a former silent star who had indeed worked with the
names above only added to the realism.
Many of the scenes are shot within Desmond’s mansion, a
typically plush house built at the height of her fame in the 1920s. It looks
exactly as you’d imagine and matches what little I’ve seen of the insides of
the likes of Chaplin and Keaton’s houses. I think it must have had some
influence on the design of the house in The Artist too. The house is filled with photos of Desmond in her prime and
relics of her career now long behind her. The walls and in particular bars over
the door help to give the house the feeling of a prison and this becomes
important late on. The lack of locks also somehow adds to the prison feel and
creates a creepy atmosphere where no one can escape the attention of others.
The bars, shadow and femme fetale as well as one of the best voiceovers I’ve
heard put the film firmly in the Noir genre. Joe Gills ends up a tortured man,
torn between love and a certain way of life while Norma Desmond is cooped up in
her house, convinced she is still a star. Both central characters it turns out,
have quite sad lives. The dramatic and beautiful lighting mark Sunset Boulevard out as one of the most attractive films I've seen recently.
Madness and difficulty in adjusting to reality are at the
centre of the plot and are very well executed. The final scenes were my
favourite and were tremendously well shot and acted. It was nice to see von Stroheim
‘behind’ the camera in these scenes too. Another facet of the plot is the
narcissistic nature of Hollywood,
an industry that eats away at you, taking everything you’ve got before spitting
you back out and leaving you to rot. There are many areas of the film making
process which were explored and the walks around the Paramount
lot and look inside movie sets were some of my favourite scenes. I love to see
the process behind a movie and there are plenty of opportunities to see that
here. Although made within the Hollywood studio system the film isn’t afraid to
show Hollywood
at its worst. The film is very clever in its depiction of what the industry
does to those on the outside, both those trying to get in and those trying to
get back in.
The performances are all quite excellent. At first I thought
that Gloria Swanson’s over the top and overly dramatic performance was out of
keeping with the movie but in reality it is spot on. For her the whole world is
a stage and she keeps up her performance within a performance throughout. The
character is always acting for the cameras even though they stopped rolling
twenty years earlier. Swanson is terrific and projects subtle frailties in
amongst her confidence, bravado and fantasy. William Holden is great too and although
already on his way, the movie propelled him towards stardom. He is tormented
and ashamed by the way he is being ‘kept’ but is also slightly conniving and
happy to keep the charade going for as long as he can. Erich von Stroheim is
fantastic as the creepy and mysterious butler. One is never quite sure as to
where his intentions lie but the film ekes out some interesting detail in his
character which causes surprise. Nancy Olson has perhaps the least to do of the
central quartet but like the other three received an Oscar nomination for her
role. She is solid and her wide eyed enthusiasm for being in the movies makes
her probably the most relatable character.
I personally don’t rate Sunset
Boulevard as highly as perhaps most other people would but I’m so glad to
have it in movie history. It’s fascinating for its depiction of two Hollywood eras and it brings together an incredible cast
in a great tale of madness and jealousy. It’s a real gem and I’m sure will
continue to be remembered fondly for the next sixty years.
8/10
Titbits
- The role of Norma Desmond was offered to Mae West and Mary Pickford before Gloria Swanson took it.
- The Desmond Mansion wasn't actually situated on Sunset but was actually on Wiltshire Boulevard. It was once occupied by Jean Paul Getty and torn down in 1957. An office block now stands in its place. The fee for renting the property was to build a swimming pool, the one that features so prominently in the film itself.
- "All right, Mr DeMille. I'm ready for my close up" is one of the most famous lines in cinema history and is ranked 7th on the AFI's top movie quotes.
- As a practical joke Director Billy Wilder didn't yell cut in the Holden-Olson kissing scene and let the two continue for minutes. It was eventually Holden's wife who happened to be on the set who yelled 'Cut!'
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