As a movie buff with over three decades of film-watching under my belt, let me tell you that “Sunset Boulevard” is a cinematic gem that deserves a spot in every cinephile’s collection. This masterpiece is a must-see for anyone who appreciates the art of storytelling and the complexity of human nature.
I recently attended a showing of “Sunset Boulevard” at Jane Pickens Theater in Newport, R.I., my local historic theater. To my delight, this classic film demonstrated an enduring brilliance that left me astounded. The script was incredibly well-written, and it resonated strikingly with our contemporary culture. The character of Norma Desmond could easily be found among today’s Hollywood figures. It’s no surprise that the theater was packed during my screening, with a number of young people in attendance as well.
Initially, I thought I was about to watch a cheesy camp classic at the theater, but instead, I found myself lauding it as a cinematic tour de force. The script, masterfully penned by Billy Wilder, Charles Brackett, and D. M. Marshman Jr., was lean and devoid of any unnecessary elements. The story revolves around Norma Desmond, a once-famous silent movie star who has been banished to the shadows, living in a dilapidated mansion on Sunset Boulevard and yearning for a second chance at stardom. (Gloria Swanson portrays this character brilliantly.)
William Holden’s character, Joe Gillis, accidentally wanders into her realm; he is significantly younger and evading car repossession. In search of a safe haven for his valuable vehicle, he discovers what appears to be an abandoned mansion. Unbeknownst to him, this becomes the starting point of a series of events where the struggling writer is inadvertently drawn into revising her comeback project, the seemingly outdated “Salome.” Over time, their relationship evolves, and he finds himself serving as her companion rather than just a writer.
Sunset Boulevard remains just as impactful today as it did upon its initial release in 1950, thanks to Billy Wilder’s captivating direction and scriptwriting. Furthermore, numerous elements within the story contribute to a sense of genuine authenticity when it comes to the gothic narrative.
The character of Norma Desmond is believed to have been modeled after real-life silent film star Norma Talmadge, with her name derived from silent film actress Mabel Normand and director William Desmond Taylor. The latter’s unsolved murder in 1922 may have influenced the carnival-like atmosphere surrounding Norma’s arrest. Sunset Boulevard opens with Joe’s lifeless body floating face-down in a pool, suggesting that Taylor’s sensationalized demise may have inspired this dramatic scene.
In the role of Norma’s devoted butler, Max von Mayerling, Erich von Stroheim carries an emotional depth rooted in his genuine past as a director in silent films. In the film “Sunset“, the revelation that he discovered Norma as a budding actress and directed her early in her career comes as quite a surprise. Notably, he was also her first husband among her three, maintaining an enduring affection for her despite their careers’ descent. They seem trapped in a time capsule dedicated to Norma’s fame, which feels authentic because von Stroheim and Swanson portray characters that bear strong resemblance to themselves.
In this story reminiscent of “The Picture of Dorian Gray,” Norma displays her old movies on a large screen in her lavish living room, which is adorned with countless frames featuring her likeness (they’re everywhere!). Among these films shown is von Stroheim’s “Queen Kelly,” a silent movie he directed Swanson in 1928 – just one of many intriguing details that connect “Sunset” to actual history.
Among the bridge-playing figures resembling waxworks are silent film legends Buster Keaton, H.B. Warner, and Anna Q. Nilsson. Interestingly, the movie set where Norma interacts with director Cecil B. DeMille on his Samson and Delilah production is a genuine one he was actively working on. As Norma prepares for what she believes to be her return to films, many of the beauty routines she undergoes seem strikingly similar to those we practice today.
In addition to the timeless portrayal of Norma Desmond by Gloria Swanson, her acting skills shine brightly and are immortalized on the silver screen. A revered actress who transitioned seamlessly from silent films to “talkies,” Swanson infused the role with dramatic flair, making her long, talon-like fingernails an iconic part of the character. The performance could have veered into camp territory, but Swanson skillfully avoided that pitfall, even as she teetered on the brink. This unforgettable performance earned her the 1951 Golden Globe for Best Actress (a role many believe should have also won her an Oscar). When she delivered the famous line, “I am big. It’s the pictures that got small,” I was completely convinced. Yet, Swanson also showcased Norma’s charm, brilliantly embodying Charlie Chaplin’s “Little Tramp.” Her performance was truly a masterclass in acting.
Sunset Boulevard provides a bleak perspective on the lives of silent film stars, who often owned lavish homes lining the actual Sunset Boulevard. This classic drama is renowned for its powerful storytelling, consistently ranking among the top 20 best American films ever produced. In Sunset, Joe collaborates secretly with aspiring screenwriter Betty (Nancy Olson), who is engaged to his successful director friend, Artie (Jack Webb). As they grow closer, Betty develops feelings for Joe, but he chooses to sacrifice their relationship out of kindness, acknowledging that she would be better suited with Artie. This selfless act triggers a confession about his financial dealings, which ultimately prompts him to depart from Norma, thereby sealing his destiny.
In several aspects, “Sunset Boulevard” appears as a straightforward story. Yet, similar to Ernest Hemingway’s works, the simplicity in its narrative doesn’t diminish the profound effect it delivers. Additionally, through another brilliant touch, the film subtly hints at Joe’s destiny with the deceased monkey at the start, which is later buried near the pool that Joe appreciates (and eventually meets his end in) so deeply.
In the climactic moment, Norma makes her way down her impressive staircase, convinced she’s acting out a scene from her disastrous screenplay, a ruse thought up by Max to coerce her into descending for arrest. As she speaks the poignant phrase, “I’m ready for my closeup, Mr. De Mille,” the camera captures Norma in a chilling, masterfully acted scene by Swanson that lingers hauntingly in our memories.
Similar to reviewing various timeless cinematic masterpieces akin to ‘Sunset Boulevard’, I’ll be doing the same for the holiday season. Just as I do during these festive times, I often find myself immersed in numerous classic films that we cherish most. If you haven’t caught ‘Sunset Boulevard’ yet, let me strongly encourage you to watch it. For writers, this film is a must-see!
Stay tuned for other films I’ll be reviewing in the coming weeks for your holiday viewing.
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2024-12-04 19:15