Sunset Boulevard was a groundbreaking film. It shows how the film industry moves quickly leaving to waste former stars and former glory only to move on with new technologies leaving groups of people alienated, disillusioned, and with only memories left to think about. Norma Desmond is the personification of the transition from the Silent era to the sound era. Just like the "wax works" that Joe Gillis alludes to in the film. Buster Keaton makes a brief appearance in the film. Keaton is still regarded as a great film director, but his career never reached the giddy heights of the 1920's again. Neither did Gloria Swanson's. She worked in TV and lived into old age and died in New York City. The film was released in 1950. It is still considered one of the best films about the dark side of fame and Hollywood. Sunset Boulevard is a film noir that was directed by Billy Wilder. It stars the aforementioned Gloria Swanson as Norma Desmond and William Holden in a career defining film as the screenwriter Joe Gillis. Erich von Stroheim plays the butler.
The film centers around Joe Gillis and Norma Desomond. Gilis is a down on his luck screenwriter who is desperate to find money to pay his rent and car payment. In an accident he stumbles upon Norma Desmond and her macabre existence with her butler, her giant house, and wealthy lifestyle. All is not well, however. Norma still lives in a fantasy World where she is still famous. Still sought after for big pictures like when she was young. The conflict between Norma who is increasingly unstable and Joe who is conniving to use Norma and still find success as a screenwriter is what drives the action of the film. It all plays until a dramatic ending that ends up with Joe shot three times and floating in a swimming pool.
The film has been called the best film noir ever made. Sunset Boulevard is one of the few films that shows the life of a screenwriter. William Holden is exceptional as Joe Gillis. He hits every line of dialogue with genuine inflection. At the time William Holden was up and coming so he could identify well with the struggles of young writers, directors, and actors. Gillis is hapless and naive. He willingly goes into the deal with Norma and doesn't see himself losing the deal. He can't bring himself to accept his status. And Norma is just as stubborn. She sees herself as the center of the World. She still thinks she's a huge star that can command box office like she did when she was hot. Joe and Norma are memorable characters. They will go down as one of the greatest couples in film history. Forever remembered in a film just as a great.
I was totally taken in with the character of Norma Desmond. I felt sympathy for her lonely, forgotten existence. I kept asking myself, did Joe really have it that bad? All the suits, the big house, etc, etc. Why pass it all up? Looks like he struck it rich. But then again this is a Hollywood story. And in Hollywood everyone thinks their going to be famous. The next big thing. And Joe is just as naive to think that he's got what it takes to be the next big writer. He is long on ambition and short on reality.
I liked Holden in this film. He reminded me of Bob Hope. He is steadfast, good looking, with always a witty comeback in his dialogue which he delivers with snobby self confidence. It is a similar character that Holden became known for. Throughout the 1950's Holden played the smart, handsome, playboy who had the World by the tail. Love is a Many Splendored thing, The World of Suzie Wong, Sabrina, and Paris When it Sizzles. All great films that show how great an actor William Holden was. Like Norma Desmond, Holden faded and tragically died before he grew old and was lauded with honorary awards. It's too bad he didn't see the day. He deserved some form of recognition.
Sunset Boulevard is a film noir. It is very dark with a lot of play with shadows and macabre settings. The Mansion is festooned with tapestries, a dark staircase, and a chandelier. It reeks of 1920's extravagance. And it is so well done. Not a bad shot, not a bad edit. The editing is a little dated. The newspapers flying over one another at the beginning is rarely used nowadays. But in 1950 it worked well. It evokes the same technique used in films like Citizen Kane.
The shots of Norma Desmond show her glamour. As she slowly deteriorates into madness we got shot after shot of her becoming less and less glamorous. In the phone scene where Betty is getting harassed by Norma, there is an excellent use of deep focus. It shows Joe silently opening a door. Then walking in, grabbing the phone, and telling Betty to come to the Mansion. It ignites the tension in the third act and starts the film towards it's wild, sad ending.
The film is laden with meanings that could be over analyzed. Technology versus labor? The old versus the new. The young against the aging. The great wave up against the establishment. The film shows the dark side of Hollywood and is a message for every aspiring screenwriter; Hollywood is a business and it will chew you up and spit you out. As William Goldman says in his iconic book Adventures in the Screentrade; Hollywood is a gold rush business. Very rarely does anyone last for more then a decade. Sunset Boulevard is a testament to that message. Norma a fading star. Joe a struggling writer. Why does anyone want to be in pictures after all?
If your looking for a happy ending this film is one to avoid. It is similar to Citizen Kane or Casablanca. Its in black and white. There is no up ending. And its message is dark and disturbing. After all the books I've read about screenwriting and the struggles that go into even breaking into the film industry I've become immune to the negativity. I try not to think about all that much. Sunset Boulevard is a film that confronts you with what you fear. You will remain anonymous or you will fade from memory, the machine that is Hollywood devouring you and laying waste to your sanity and sense of reality.
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