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Purchase Sunset Blvd. (1950) Movie Online and Download - Billy Wilder 🎥
Drama, Film-Noir
IMDB rating:
Billy Wilder
William Holden as Joseph C. 'Joe' Gillis
Gloria Swanson as Norma Desmond
Erich von Stroheim as Max Von Mayerling
Nancy Olson as Betty Schaefer
Fred Clark as Sheldrake
Lloyd Gough as Morino
Jack Webb as Artie Green
Franklyn Farnum as Undertaker - Chimp's Funeral
Larry J. Blake as First Finance Man (as Larry Blake)
Charles Dayton as Second Finance Man
Hedda Hopper as Herself
Buster Keaton as Himself - Bridge Player
Anna Q. Nilsson as Herself - Bridge Player
H.B. Warner as Himself - Bridge Player
Storyline: The story, set in '50s Hollywood, focuses on Norma Desmond, a silent-screen goddess whose pathetic belief in her own indestructibility has turned her into a demented recluse. The crumbling Sunset Boulevard mansion where she lives with only her butler, Max who was once her director and husband has become her self-contained world. Norma dreams of a comeback to pictures and she begins a relationship with Joe Gillis, a small-time writer who becomes her lover, that will soon end with murder and total madness.
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Alright Mr. DeMille, I'm ready for my close-up.
It is among the best and most tragic exit lines in film. And it also leads directly to the best conclusion (I feel) in movies in terms of proper cinematography: the clouding of the focus as Norma Desmond descends the staircase into her madness. Rarely does a film end so satisfactorily and perfectly.

SUNSET BLVD. was not the first film to look at the uncertainties of cinematic success and fame. A STAR IS BORN had done so in the in 1937. It showed how as a star is nurtured by the system to great fame, another prominent star descends into oblivion and death. So why (if the story theme was not new) was SUNSET BLVD. such a tremendous hit and classic from it's first appearance in 1950? It boiled down to this: the personal poison of the great fame of the silent screen star Norma was not mirrored precisely in the fall of say Norman Main (although their two first names bear an uncanny resemblance). Norman had always had a drinking problem which he never controlled. Norma was not into that - she was always into a healthy physical lifestyle (except for smoking), but the effect of her publicity and the fan mail pushed her egomania to great heights. It made her so egocentric that she can only think of the people around her in her immediate cycle as the greatest representatives of all those millions of unseen fans - the wonderful people out there in the dark. They are there for her adoration only. Norman Main, in comparison, did find a measure of happiness in Vicki Lester, whom he discovered and helped to find her true potential. He was more selfless, to the point (as it turned out) of self-destruction. Not really like Norma Desmond. To her people are there to serve Gods and Goddesses called stars.

One might also notice that Joe Gillis is not Vicki Lester. Joe and Vicki were both ambitious, but Joe really wasn't as interested in Norma (aside from giving him room, board, and a temporary job), as Vicki was in Norman. There was a mutual attraction there (Norman was not incredibly older than Vicki, as opposed to Norma's older age compared to Joe's). Joe also had his girlfriend/collaborator Betty Schaeffer. Vicki had no other lover on the outside - it was only Norman. That is why, when he commits suicide, Vicki goes into seclusion.

There is a triangular figure in SUNSET BLVD. for Norma, in her butler Max Von Mayerling. He had been her first director and husband, and he is also (in his over-devotion to her) feeding her ego by writing hundreds of fan letters to her to keep her emotionally happy. It is a sign of her insanity that she never notices that the letters are written by the same hand.

Wilder had used Eric Von Stroheim in FIVE GRAVES TO CAIRO as Rommel, so he knew what it was like working with him. Supposedly when Von Stroheim was being directed by Billy Wilder he wanted to throw in various tics and sexual habits for Max (like his carefully washing Norma's underclothes) which Wilder managed to push aside. Von Stroheim's performance (one of his greatest) was not harmed by these cuts, although one wonders what his performance would have seemed like if they had been retained. But by reducing the neurotic behavior of Max (to just his pathetic need to be near Norma to support her) it keeps us concentrating on Norma's psychosis - where it should be.

Norma is the driving force to the end, pulling the wires that manipulate Max, Joe, Betty, even (out of a sense of pity) Cecil B. DeMille and his production staff (example: the light man "Hogeye"). Even with the "waxwork" friends who crop up for cards, Norma seems to be in control (they all congregate to see her - the richest among them). Even with people who are supposedly independent (the funeral home people who cater to her burying her pet monkey; the salesman on commission who urges Joe to buy the vicuña coat) she manages to keep this control. She is the central sun/"Star" in this galaxy - and cannot brook any deviation. The rejection of the ungrateful Joe can only be appeased physically by his death, and emotionally by her mind clouding that failure and it's aftermath from her memory. From the start of the film, with all her egocentricity at work, only a psychic slap in the face was missing to complete the tragedy. Then she was finally ready for that close-up.
THE film that speaks Old Hollywood!
The film industry obviously did not know what had hit it when Billy Wilder's masterpiece was released in 1950. Fifty years later, such mastery in craftmanship still shows by still being fresh and alive, evident from the first of the unforgettable reels when William Holden's character, an unknown writer, is lying face down and dead in the pool of an extremely possessive star of the silent screen.

Although not my favourite of Billy Wilder's works, ("Witness for the Prosecution" is my own special favourite), this was not actually the first time he had stirred Hollywood. "The Lost Weekend", a film more scarce in its circulation but just as brilliant, had five years before almost lost a release because the type of slap-in-the-face reality was something audiences were unused to. And it eventually went on to be the best picture of 1945. However, by casting light on an industry still even seen today as the perfection of life, the Paramount studios caused an uproar from coast to coast.

One of the more interesting contenders at the Oscars "Sunset" had that year was "All About Eve". The Bette Davis/Anne Baxter film did eventually take the coveted prize best picture prize, but it is obvious that "Eve" too runs along pretty similar lines, but instead of shattering the myth about the golden days of the silver screen which went for the throat, the 20th Century Fox executives gave it a gentler shape by provocatively going after the theatre.

Haunting music and even the black and white cinematography made me feel I was in for a special ride as the opening credits rolled. William Holden was in one of his best roles. This movie unfortunately made Gloria Swanson be better remembered by us as the tragic aging movie queen of the silent era, who was one of the many actors and actresses who phased out as the sound picture experiments became a sensation. Featured also are Erich von Stroheim as the first husband turned servant and Nancy Olsen as the young girl writing collaborator. All four received Academy Award nominations, though none won. Cecil B. De Mille, one of the great directors of the silent era puts in an appearance on the featured Paramount lot as himself.

The screen play, as in all great Billy Wilder movies, is gripping and fiercely brilliant. Just some of the emotions captured on film, and some of the darker imagery has made it one of the best films of the 1950s, and one of the best movies in Hollywood history. "Singin' In the Rain" may have made it better known to us with the use of colour, dance and song, but it did not even go anywhere near "Sunset" despite the bitter sweet sensation the musical gem leaves.

Deservedly so, this cinematic genius is first rate.

Rating: 10/10
Living In The Past
The advent of the talkies created possibly the biggest-ever upheaval in the history of Hollywood and the impact it had on the careers of a large number of the industry's popular stars at that time was enormous. Many whose voices seemed unacceptable because they were incompatible with their image or because of a heavy foreign accent, found themselves out of work as did others who were simply unable to adapt to the demands of the new era. Billy Wilder's "Sunset Boulevard" provides a fascinating insight into some of the more ruthless and unpleasant facets of the Hollywood system in a style that's witty, cynical and realistic and also features a number of actors whose careers were profoundly affected by the arrival of the talkies.

Joe Gillis (William Holden), a struggling Hollywood screenwriter with more debts than he can handle becomes involved in a high-speed chase when he tries to avoid the attentions of a couple of guys who are intent on repossessing his car. When one of his tyres blows out, he swiftly turns into the driveway of a run down mansion and successfully evades his pursuers. After parking his vehicle in the garage, he's surprised that the occupants of the mansion seem to be expecting him. It soon transpires that they'd assumed that he was the mortician who was due to deliver a coffin in which the lady of the house's dead chimpanzee was to be buried. Joe recognises the lady as Norma Desmond (Gloria Swanson) a former silent movie star.

When Norma discovers that Joe's a writer, she seeks his opinion of a script she'd written for her comeback movie ("Salome") and then hires him to edit her work. In his financial circumstances the offer of this lucrative job is too good to refuse and at her request, he agrees to stay at her mansion to complete the task. Joe recognises that Norma is a delusional has-been who lives in the past and discovers that the fan mail she receives every week is actually written by her devoted butler, Max (Erich von Stroheim). The very wealthy Norma buys Joe expensive new suits and coats and together they watch her old movies a few times each week. Even more bizarrely, on New Year's Eve, she holds a party at which there's an orchestra but no other guests! Joe feels he needs to escape from Norma who's obviously fallen in love with him and so goes to a friend's party instead.

Artie Green (Jack Webb) agrees for Joe to stay over at his place and Joe soon gets into conversation with Artie's girlfriend, Betty Schaefer (Nancy Olsen). Joe already knew Betty who worked as a script reader for Paramount and the two of them subsequently start to work together on one of Joe's unfinished scripts. When Norma discovers what's going on, she becomes incensed and determined to bring their association to an end.

The most striking feature of "Sunset Boulevard" is its sharp dialogue and numerous quotable lines which vary from the purely witty to the deeply sardonic. The fact that these lines are delivered by a screenwriter and a particularly flamboyant retired actress makes their exchanges seem perfectly credible as both characters would naturally have developed a way with words during their careers.

The film's opening scene in which Joe is seen dead and face down in Norma's swimming pool is brilliantly shot and the off-beat device of having a dead man narrating the story is typical of the cynicism and dark humour that runs through everything that follows. At this point, when objectively talking about himself, Joe in typical style remarks "the poor dope. He always wanted a pool. Well, in the end, he got himself a pool".

The casting of Gloria Swanson and Erich von Stroheim who both had careers in silent movies, invests the events depicted with a great deal of realism as do the cameos in which Cecil B DeMille, Hedda Hopper, Buster Keaton and others are featured. Shots of Paramount studios and Schwab's Drugstore and the inclusion of an excerpt from "Queen Kelly" (1929) in which Swanson starred and von Stroheim directed also blur the lines between fiction and reality and add greater authenticity to the whole production.

"Sunset Boulevard" focuses on some of the more unglamourous aspects of Hollywood and must've made uncomfortable viewing for some people in the industry at that time. Its blend of biting humour and tragedy is very effective and the performances of its exceptional cast are consistently good from start to finish.
"...we didnd't need to talk, we had faces!"
Gloria Swanson was the definitive choice for the role of Nora Desmond in this classic story of an excentric aging silent screen star determined to make a come back. William Holden plays the out-of-luck young writer who sees the filthy rich Swanson as his meal ticket. Under the pretence of writing Swanson's come back script, Holden becomes the pretty boy giggolo to the psychotic older lady.

Billy Wilder pulled out all of his tricks for this eye-candy of a movie. Re-makes don't come close to this original gem, and for God's sake stay away from the awful Andrew Lloyd Webber play! There is no substitute for the real McCoy; this original movie is the winner hands down!*****
The ghosts of Hollywood's ravaged past...
Hack screenwriter chances upon mansion of a faded Hollywood silent screen star who 'hires' him to ghost-write her return project "Salome", but who really wants him for her lover. Poor Norma Desmond: she's 50 years old and over the hill! Literate, but queasy black comedy has a great script and majestic performances, but creeps its way to the depressingly inevitable. The palpable aroma of vintage cigarettes and the smell of rosy perfume hanging in the air permeates this incredible Billy Wilder film; yet, the deeper it crawls into its dark corner, the more repulsive it all seems. It can easily be called a masterpiece, but is it an entertaining movie? Great to see Hollywood circa 1950, with Schwab's Drug Store still there, but it's sad to think that even in 1950, stars were being discarded, replaced by the new and the younger, and even a star like Norma Desmond couldn't get a picture made. Thank goodness she had those oil wells in Bakersfield ("Pumping...pumping."). There's a lesson to be learned from the film: invest! *** from ****
Dead in street...
SUNSET BOULEVARD will always be inextricably linked to ALL ABOUT EVE. They both came out the same year; they both star legendary actresses playing legendary actresses; they both are cynical, sometimes savage in their estimation of show business. And, of course, they are both great films.

But they are very different stylistically and philosophically. A primary difference is that EVE is about a survivor. Bette Davis' Margo Channing in EVE accepts, perhaps grudgingly, that change is inevitable. Either she adapts to reality, or she loses all. That is what makes Margo more than just "a great star, a true star." Margo's rival, Eve Harrington, may someday end up like BOULEVARD's Norma Desmond, but Margo Channing never will.

But if EVE is about life, SUNSET BOULEVARD is about death. Even their titles suggest this: "Eve" being the first bearer of life and "sunset" being the approaching night. In BOULEVARD, Gloria Swanson's Norma Desmond is to some extent already dead by the time the film starts, locked away in a haunted house, coming out only for the funeral of her pet monkey. She is bound by reputation and profession to a type of film-making that is long dead and nearly forgotten. Her life, like her career, is based on illusions of life.

The prevailing interpretation of SUNSET BOULEVARD assumes that Norma is one of Hollywood's victims; that the town and the industry turned its back on her when she was no longer a star, her career sabotaged by the coming of sound in motion pictures. I don't buy that. The film clearly shows us that at age 50 Norma is still vibrant, still beautiful, still energetic and eager to make movies. Plus, she is filthy rich. This is not a woman who would walk away from movie making because she is afraid of her own voice. Indeed, her voice is magnificent; sultry, insinuating and theatrical. I don't think Norma went mad because Hollywood turned its back on her, rather Hollywood turned its back on her because she went mad.

I don't think we are getting the full story here. Something may have drove Norma mad, but it wasn't talking pictures. Indeed, she may have been unstable all along, but I think there is something in her past that destroyed her, and I suspect that involves Max (Erich von Stroheim). In his "Great Movies" essay, Roger Ebert suggests that the love between Norma and Max, her ex-husband/ex-director/butler, is the heart of the story; that it's Max's love of Norma that validates her continued existence. I don't see that. I suspect that Max is less a servant than a caretaker or even a jailer. Max (like Joe Gillis, Norma's erstwhile boytoy) may be trapped in Norma's web, but it is a web of his own making. He appears subservient, but he is the one in control, he perpetuates her delusions and enables her madness. I even suspect that he only allows Joe into the situation because he knows that Joe is weak and no real threat to his power; and that he suspects that it will help placate Norma by feeding her fantasy of a comeback. There is more than adoration that cements the relationship between Max and Norma; perhaps guilt, jealousy, desperation -- who knows? All I know is that it is best kept as a subtext, a part of the film's impenetrable mystery. The less we understand Norma, the more intriguing she is.

However, if I were to be so bold as to make one major change in SUNSET BOULEVARD, it would be to replace William Holden as Joe Gillis. I respect Holden as an actor, but his screen persona has always been one of strength and -- if not integrity -- confidence; he is not one who plays vulnerable with any conviction. Plus, he doesn't play the part of Gillis with any gentle shadings. The "romance" between Norma and Joe is the least convincing aspect of the film. Joe treats her with barely concealed contempt and a bit of occasional pity, which makes it hard to believe that a self-absorbed diva would even tolerate him, let alone make him the house pet. The role of Joe was originally intended for Montgomery Clift, an actor with a proven ability to appear passive, even as he plays sinister. His work in THE HEIRESS and A PLACE IN THE SUN illustrate this point. I see Joe Gillis, not as a bored hanger-on, but as sycophant who is in awe of Norma, even as he exploits her, and therefore he doesn't realize that he actually is the one who is being used (sort of a younger version of Max). I think Joe should be someone who is cunning, but naive about his own limits, not someone who is already bitter, corrupt and cynical as the story begins.

Maybe I am wrong, but I get the feeling that Holden was very uncomfortable playing the part of, well, a mistress, and especially one kept by such an older woman. Perhaps his manhood was threatened and that uneasiness shows. Clift, or an equally rakish young actor like, say, Farley Granger or Robert Wagner, would enliven the story and make the romance with the perpetually needy Norma more credible. I don't think it is enough that the film shows that Norma enjoys manipulating Joe, I think it has to also be implied that to a certain extent Joe loves being manipulated. The relationship is after all a romance and to be credible as long-term there has to be the spark that it is mutually enjoyable. Holden's interpretation that Joe is just doing it for the money just doesn't ring true. While a pairing of the aging diva with an ambitious -- and yes, probably gay -- younger man is practically a show business institution.

Yet, even with these reservations, it is undeniable that SUNSET BOULEVARD is quite a film. A little bit Hollywood satire, a little bit moralistic fable and whole lot of Gothic melodrama. And Swanson's just-not-quite over the top performance is mesmerizing. It was assumed that BOULEVARD would revitalize Swanson's career. It didn't. But apparently, it didn't matter to her: she dabbled in acting now and again, when the part amused her, but she had better things to do with her life. Swanson played Norma Desmond, but she lived life as Margo Channing.
Greatness Boulevard.
Generally considered as Wilder's peak,it lives up to its reputation.Fifty years later,it remains the best movie about movie world,not only hollywoodian .One hundred times plagiarized,never surpassed. First of all,there 's the Swanson/Von Stroheim couple.He directed her in the famous "Queen Kelly"(another must of the silent movies).Von Stroheim was too ahead of his time,his movies scared the censors ,so he was not allowed to pursue a career that would have been stunning in the talkies.Here he became (supreme downfall),Swanson's butler ,while we see one of his former colleagues,Cecil B. De Mille,playing his own role,still directing.Von Stroheim's character is called "Max von Mayerling" ,probably one of Wilder's private jokes: Stroheim once said he was the son of a lady in waiting of Austrian Empress Elisabeth (Sissi) whose son Rudolph committed suicide in Mayerling!And Wilder was Austrian too. Swanson is impressive too.The comeback myth is the dream of every actor whose star is slowly but inexorably fading.that she continues viewing her old -and real!- triumphs like "Queen Kelly,that she's writing an extravaganza shows that her comeback desire has reached the point of no return and that her only place in this world is the asylum.What Swanson did not achieve in the movie,she did it for real:she really could come back(as Lilian Gish),her performance,particularly in the last scene ,has stood the test of time. Wilder as a scriptwriter outdoes himself here;lines like "I'm still big;it's the pictures that got small" could be pronounced today ! 25 years later,he would try to update "sunset blvd" with "Fedora":the latter suffered by comparison,but it's a very worthwhile work that every fan of this great director should see.
Hollywoods best about Hollywoods worst.
Gloria Swanson, William Holden and Erich von Stroheim star in this Billy Wilder cinematic masterpiece about an aging essentially forgotten silent film star who has delusions about returning to pictures. Made in 1950 this film will capture the viewer each time it is seen. The references to the bygone silent movie era are somehow chilling. Much like when a person walks around ancient Rome or Egypt wondering how something so powerful and advanced could come to an end. Both Swanson and Stroheim were of course giants during the silent film years and their performances is this great movie even seem to show their perhaps real life animosity toward talking films.

Holden as Joe Gillis a rapidly becoming down on his like screen writer who stumbles into Swansons world is fantastic. This is certainly one motion picture that could never and should never be remade or colorized, as the Black and White photography is brilliant. It didn't make AFI's top five of all time and perhaps should have. You can't consider yourself as one of "All those wonderful people out there in the dark" if you've never seen Sunset Blvd.
"I'm ready for my close-up Mr. DeMille"
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.
Four stars!!!!!
Billy Wilder's classic "Sunset Blvd." is a masterpiece about suspense, mystery, and intrigue. I think that Gloria Swanson should've gotten an Oscar for her performance as Norma Desmond. Swanson stole the movie and this is one of the best acting I've ever seen.

Rating: 10/10

William Holden and Nancy Olsen did okay jobs as the supporting characters but it was still good. Wilder also did well with the cinematography and directing in this. From the very beginning with the music and the narration, you know that something's going to be excellent.

The plot was also suspenseful when you have two people like Swanson and Holden working together on opposite sides. The idea of having a "Norma Desmond" in "Sunset Blvd." gave it more mystery and made it more interesting.

In conclusion, everybody should watch this movie at least once in their lifetime!
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