
Sunset
Boulevard
is such a wonderful masterpiece of a movie and one of my favorite films of all
time. It was released as Hollywood was experiencing yet another one of its many
transitional moments. After the end of World War II, the movie business focused
more on darker themes and more downbeat subject matter. This is the period of
film noir, after all, and Sunset Boulevard certainly does
demonstrate some of the key traits of film noir. The year of its release was
also about twenty-two years or so since "talking pictures" had taken
over as the dominant approach to filmmaking, and Sunset Boulevard takes
on the subject of what happened to the stars of that era who didn't (or
couldn't or weren't allowed to) make the transition from silent films to
talkies. It's quite the tale of what happens when Old Hollywood clashes with
New Hollywood.
Normal
Desmond (played by Gloria Swanson in one of the most famous and magnificent performances
ever committed to film) was a huge star in the silent era. However, she never
made the transition to talking pictures, and she resents how the industry has left
her behind. She lives alone in a huge mansion on Sunset Boulevard, which was,
incidentally, the street for the location of the first film studio in
Hollywood, with just her one servant, Max (famed director Erich von Stroheim
showing he has acting chops too). A failed or failing Hollywood screenwriter
named Joe Gillis (William Holden in a breakout role) accidentally interrupts
their years-long solitude and becomes intertwined in Norma's plans for a return
to movies. (Don't you dare call it a comeback. In the words of L.L. Cool J,
she's been here for years.)
What
follows is certainly film noir, but it’s also a rather bitter indictment of the
film industry. It’s also a drama and a crime film and, at times, a very dark
comedy. The performances are all top-notch. You have to wonder how anyone could
mix genres so smoothly, but director and co-writer Billy Wilder was certainly
capable. He even managed to take the oddest approach to voice-over narrative –
having a corpse tell the story of what happened to him during the previous six
months that led to his murder – and make it somehow make sense.
There's
so much wonderful movie trivia associated with this film. Both von Stroheim and
Cecil B. DeMille (who appears as himself in the film) really did direct Swanson
during the silent era. In fact, the film that Norma and Joe watch is Queen
Kelly (1928-29), a Stroheim-helmed film that was considered a box office
flop upon its initial release. DeMille actually did call Swanson "young
fellow" as a term of endearment back when they were making their earlier
films, and she was prone to calling him "chief." Wilder did film on
the actual Paramount Studios, and yes, that's the gate that you would enter
from Melrose Avenue (although there's a much bigger gate now that you have to
go through first). Schwab's is still in Hollywood (albeit in a somewhat
different location), and many an aspiring actor tried their best to be
discovered there the way that Lana Turner allegedly was. The mansion itself is
the old Jenkins-Getty mansion – yes, THAT Getty – and the pool was to appear on
film again a few years later in a pivotal scene in Rebel Without a Cause
(1955).
The
film pays homage to the silent era with lots of references and appearances by
stars of that period in Hollywood. The so-called Waxworks who play bridge with
Norma are all famous silent screen performers: Anna Q. Nilsson, H.B. Warner,
and the great Buster Keaton, none of whom were particularly active in
filmmaking at the time, certainly not at the level of their fame during the silent
era. The film also features lots of references to other actors from the era,
such as Rudolph Valentino and Wallace Reid. They even manage to get references
to such contemporary stars as Tyrone Power, Alan Ladd, and Betty Hutton into a
scene involving a pitch meeting. Hedda Hopper, who also plays herself in the
film, was a failed actress herself (just don't say that to her face) who became
one of the most famous gossip columnists in Hollywood.
Sunset
Boulevard
also features some of the most famous and most quoted lines in movie history:
- "Audiences
don't know somebody sits down and writes a picture; they think the actors make
it up as they go along."
- "We didn't
need dialogue. We had faces!"
- “They’ll love it
in Pomona.” “They’ll love it everywhere.”
- “No one ever
leaves a star. That’s what makes one a star.”
- "The
stars are ageless, aren't they?"
- "All
right, Mr. DeMille, I'm ready for my close-up."
I
know that this film is a particular favorite of gay viewers, and those lines
are at the ready for almost any occasion, but what movie lover doesn’t know
these lines? It’s not restricted to those who view the film for its camp
elements (although it certainly has those as well).
I
have always found it interesting that the film reveals how much the transition
to sound pictures affected performers, but not really anyone else. DeMille is
still directing, the security guard at the Paramount gate is still the same,
and the crew and supporting players seem to all be still active, don't they?
It's a nice touch that during the scene in the movie studio, Norma's nemesis,
the microphone, hits the feathers on her hat as it sails by. It's also quite
intriguing that Wilder and co-writers Charles Brackett and D.M. Marshman Jr.
chose to have the central performer be an actress rather than an actor. Perhaps
they were commenting on the way that Hollywood treated/treats women as they age
in the film industry. The montage showing Norma going through her beauty
treatment preparations for a return to film would directly support that idea. Would
a male actor need or want to undergo such scrutiny?
The
film also comments upon issues of love and devotion. Max, Norma’s faithful
servant, was a promising young director who gave up his career to be with the
woman he married (before she divorced him for a second husband) and now keeps
her distracted with fan mail that he sends to her. Joe begins to fall in love
with Betty (Nancy Olson), the script reader who has aspirations to become a
screenwriter herself, but he breaks her heart by telling her that he’s devoted
to Norma and to being a kept man. There’s a lot of pain in these characters,
and even with the darkness associated with their often-selfish behavior, it’s
tough not to sympathize with them.
I’d
be remiss if I didn’t mention one of my favorite aspects of the film, its
production design. Norma Desmond’s mansion is spectacular. It’s filled with
just what you’d expect someone from the silent era to include, like a tile
dance floor because Valentino said that was better than using wood for the
floor. Norma is also surrounded by pictures and portraits of herself, indications
of just how narcissistic she is as well as how big a star she was, and watching
her own films on her very own movie screen just cements that impression. Many
years ago, I saw the stage production of the musical version of Sunset
Boulevard (in Los Angeles before it made it to New York for its
Broadway premiere), and the set received a standing ovation when it was revealed.
It just perfectly recreated what we had seen in the film. The Oscar for art direction
that the film received was well deserved.
Sunset
Boulevard
was nominated for eleven Academy Awards, winning three (Best Story and
Screenplay, Best Black-and-White Art Direction, and Best Scoring of a Dramatic
or Comedy Picture). All four of the principal actors were nominated for their
performances, but sadly, none of them won. It was quite the year for Hollywood,
what with All About Eve, Born Yesterday, Father of the Bride,
King Solomon’s Mines, Caged, and so many more classics up for awards
consideration. The three awards for Sunset Boulevard was second
only to the six won by All About Eve. The film was among the first group
of films selected for preservation in the National Film Registry by the Library
of Congress' National Film Preservation Board. It's regularly cited as one of
the greatest films of all time and deservedly so.
Oscar
Wins:
Best Story and Screenplay, Best Black-and-White Art Direction, and Best Scoring
of a Dramatic or Comedy Picture
Other
Oscar Nominations:
Best Picture, Best Director (Billy Wilder), Best Actress (Gloria Swanson), Best
Actor (William Holden), Best Supporting Actress (Nancy Olson), Best Supporting Actor
(Erich von Stroheim), Best Black-and-White Cinematography, and Best Film
Editing