Sunset Blvd.

( 9 )

Overview

Billy Wilder's Sunset Boulevard ranks among the most scathing satires of Hollywood and the cruel fickleness of movie fandom. The story begins at the end as the body of Joe Gillis William Holden is fished out of a Hollywood swimming pool. From The Great Beyond, Joe details the circumstances of his untimely demise originally, the film contained a lengthy prologue wherein the late Mr. Gillis told his tale to his fellow corpses in the city morgue, but this elicited such laughter during the preview that Wilder changed...
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Overview

Billy Wilder's Sunset Boulevard ranks among the most scathing satires of Hollywood and the cruel fickleness of movie fandom. The story begins at the end as the body of Joe Gillis William Holden is fished out of a Hollywood swimming pool. From The Great Beyond, Joe details the circumstances of his untimely demise originally, the film contained a lengthy prologue wherein the late Mr. Gillis told his tale to his fellow corpses in the city morgue, but this elicited such laughter during the preview that Wilder changed it. Hotly pursued by repo men, impoverished, indebted "boy wonder" screenwriter Gillis ducks into the garage of an apparently abandoned Sunset Boulevard mansion. Wandering into the spooky place, Joe encounters its owner, imperious silent star Norma Desmond Gloria Swanson. Upon learning Joe's profession, Norma inveigles him into helping her with a comeback script that she's been working on for years. Joe realizes that the script is hopeless, but the money is good and he has nowhere else to go. Soon the cynical and opportunistic Joe becomes Norma's kept man. While they continue collaborating, Norma's loyal and protective chauffeur Max Von Mayerling played by legendary filmmaker Erich von Stroheim contemptuously watches from a distance. More melodramatic than funny, the screenplay by Wilder and Charles Brackett began life as a comedy about a has-been silent movie actress and the ambitious screenwriter who leeches off her. Wilder originally offered the film to Mae West, Mary Pickford and Pola Negri. Montgomery Clift was the first choice for the part of opportunistic screenwriter Joe Gillis, but he refused, citing as "disgusting" the notion of a 25-year-old man being kept by a 50-year-old woman. Andrew Lloyd Webber's long-running musical version has served as a tour-de-force for contemporary actresses ranging from Glenn Close to Betty Buckley to Diahann Carroll.
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Special Features

Never-before-released deleted scene-The Paramount Don't Want Me Blues Sunset Boulevard: The Beginning Sunset Boulevard: A Look Back The Noir Side of Sunset Boulevard Sunset Boulevard Becomes a Classic Galleries Theatrical Trailer HD
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Editorial Reviews

All Movie Guide - Lucia Bozzola
Tackling the kind of movie "that never quite worked," Billy Wilder made one of greatest films about Hollywood. In his pungent satire of the industry's sordidness, Wilder turned Hollywood history back on itself, with the presence of silent film star Gloria Swanson as aging silent diva Norma Desmond and great silent director Erich von Stroheim as her butler eloquently commenting on the ephemerality of fame. Her writer/gigolo Joe Gillis incarnated corruptly desperate young Hollywood, dismissing forgotten greats like Buster Keaton as "waxworks" while imagining that he can escape unscathed from Norma's fantasy world. Shot in ultra-noir black-and-white in a 1920s Hollywood mansion, the looming ceilings, overstuffed rooms, and oblique lighting rendered Norma's environment alluringly sinister in its deteriorating decadence, while Joe's famous "entrance" -- floating face-down dead in Norma's pool while recounting his story in voiceover -- caustically upended narrative conventions. Greeted with raves, Sunset Boulevard became Swanson's cinematic triumph; William Holden's performance as Joe (replacing Montgomery Clift) reignited his own stardom. Despite offending the movie moguls, Wilder was rewarded with eleven Oscar nominations, including Best Picture, Actor, and Actress. Along with wins for Art Direction and Franz Waxman's score, Wilder, Charles Brackett and D.M. Marshman, Jr. took a Screenplay prize. Adapted as a musical by Andrew Lloyd Webber.
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Product Details

  • Release Date: 1/1/2013
  • UPC: 883929301379
  • Original Release: 1950
  • Source: Paramount Catalog
  • Presentation: Black & White
  • Language: English, Français, Español, Portugais
  • Time: 1:50:00
  • Format: Blu-ray
  • Sales rank: 12,649

Cast & Crew

Performance Credits
William Holden Joe Gillis
Gloria Swanson Norma Desmond
Erich Von Stroheim Max Von Mayerling
Nancy Olson Betty Schaefer
Fred Clark Sheldrake
Lloyd Gough Morino
Franklin Farnum The Undertaker
Larry Blake Finance Man
Charles Dayton Finance Man
Cecil B. DeMille Himself
Creighton Hale
Arthur Lane
John Miller Hog Eye
Billy Sheehan 2nd Assistant Director
Archie Twitchell
Jack Webb Artie Green
Sidney Skolsky Himself
Eddie Dew Assistant Coroner
Tommy Ivo Boy
Kenneth Gibson Salesman
Ruth Clifford Sheldrake's Secretary
Bert Moorhouse Gordon Cole
E. Mason Hopper Doctor/Courtier
Virginia Randolph Courtier
Al Ferguson Phone Standby
Stan Johnson 1st Assistant Director
Julia Faye Hisham
Gertrude Astor Courtier
Frank O'Connor Courtier
Ralph Montgomery First Prop Man
Eva Novak Courtier
Bernice Mosk Herself
Gertrude Messenger Hair Dresser
John Cortay Young Policeman
Robert E. O'Connor Jonesy
Gerry Ganzer Connie
Joel Allen Second Prop Man
Ottola Nesmith Woman
Jay Morley Fat Man
Howard Negley Captain of Police
Ken Christy Captain of Homicide
Len Hendry Police Sergeant
Howard Joslin Police Lieutenant
Emmett E. Smith Man
Yvette Vickers
Technical Credits
Billy Wilder Director, Screenwriter
Charles Brackett Producer, Screenwriter
Charles C. Coleman Jr. Asst. Director
Sam Comer Set Decoration/Design
John Cope Sound/Sound Designer
Hans Dreier Art Director
Farciot Edouart Special Effects
Ray Evans Songwriter
Doane Harrison Editor
Edith Head Costumes/Costume Designer
Gordon Jennigns Special Effects
Harry Lindgren Sound/Sound Designer
Jay Livingston Songwriter
D.M. Marshman Jr. Screenwriter
John Meehan Art Director
Ray Moyer Set Decoration/Design
Arthur P. Schmidt Editor
John F. Seitz Cinematographer
Carl Silvera Makeup
Richard Strauss Score Composer
Franz Waxman Score Composer
Wally Westmore Makeup
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Customer Reviews

Average Rating 5
( 9 )
Rating Distribution

5 Star

(7)

4 Star

(2)

3 Star

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Sort by: Showing all of 9 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    If you hate Black and White--buy this...

    ...give it 5 minutes and you'll soon forget...one of the best movies about Hollywood, life, ambition and the true cost of all. An astounding movie to be made in any era, I predict before your popcorn cools you'll be immersed in Hollywood that could just as easily be the Hollywood of "Entourage". Just don't miss the beginning for it sets up the entire film.

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  • Anonymous

    Posted October 1, 2010

    Hollywood's Unsavory Autobiography

    There isn't much that hasn't already been said about the greatness of this film. I am personally most impressed that a film like this could have even been made in 1950. This is The Autobiography of the Hollywood golden era, and it does not paint a pretty picture. While certainly humorous and very entertaining, this film presents a scathing commentary on the film industry and the depths to which people will sink to "make it" in tinseltown. Most surprising to me is that Billy Wilder somehow convinced real Hollywood icons like Gloria Swanson, Erich von Stroheim, Buster Keaton, and many others to participate in this production that must have so eerily mirrored their own lives. How do you get a forgotten diva from the silent era to play the part of a forgetten diva from the silent era? I can just see Billy Wilder calling up old leading ladies from yonder years, "Hey, I'm doing a film about a pathetic, forgotten star from the silent era, and I think you would be great for the part...." I wonder how many times he got slapped in the face by the Mary Pickford and Clara Bow types that he courted for this part? It was certainly courageous for Swanson to jump onboard, and, as we know, her work here is so great that she should have gotten ten Oscars (for whatever they are really worth). Erich Von Stroheim is great too in a part that he must have realized mirrored his own career (and not in a pretty way either). See it once. See it twice, and then see it again. It improves on repeat viewings. Also, don't skip the special features on the DVD. The "making of" featurette is very nice and there is a cool Hollywood "map" that gives little tidbits about the different locales seen in the movie.

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  • Anonymous

    Posted October 1, 2010

    Wilder's Masterpiece.

    After the Academy Award-winning "The Lost Weekend", released in 1945, Billy Wilder and his collaborator Charles Brackett held such exalted positions at Paramount that they were able to begin production on a film without giving the studio a copy of the script. All that Paramount executives knew about the project was the working title, "A Can of Beans", and the terrific-sounding plots Wilder spun at the story conferences. Little did the studio honchos know that Wilder's stories had absolutely nothing to do with the movie he was actually shooting. Wilder went to such lengths to protect his privacy he locked the script up every night before leaving the studio. The characters in "Sunset Blvd." are the faded, psychotic silent movie-queen, Norma Desmond, played viciously without regard for sympathy by Gloria Swanson, and the younger writer Joe Gillis (William Holden) whom she traps. Both are washouts, she a morbific and ageing movie idol, now forgotten and completely passé, and he a self-admitted failure who cannot write a worthwhile script. He makes one fruitless attempt to sell a bad script before succumbing to the humiliation of being her kept man, and later makes one last stab at writing a story, with a young studio reader, a hopeful girl (Nancy Olsen), but that too, is doomed. The film is a great story of Hollywood rooted in the locations and people of the industry. Charles Brackett and Billy Wilder's Oscar-winning script makes reference to real studios, places and stars. We see Cecil B. DeMille working on the set of his film "Samson and Delilah". Norma's ghost-like bridge guests (silent stars Buster Keaton, Anna Q. Nilsson and H.B. Warner), are classified by Joe as "the waxworks". In the role of Max von Mayerling, Norma's butler-chauffeur and former director-husband, Wilder cast Eric von Stroheim. Like Max, von Stroheim was once a major film director, whose career also ended with the silents. In the film we see clips from Gloria Swanson's "Queen Kelly" (1928) which the star also produced and von Stroheim directed. In the film, Wilder finds striking ways to make the verbal and visual high points coincide. When Norma and Joe screen some of her silent classics (actually a clip from "Queen Kelly"), she rises, announces the sureness of her return to the spotlight and is caught by the projector beam as she turns imperiously to Joe. In another example, Joe's brief narration of how he ended up dead in Norma's pool is highlighted with the famous shot looking up at him from the bottom of the pool. We hear his explanation while we see him floating face down, the reporters lined around the edge, their flashbulbs popping. "Sunset Blvd." was a world-wide success, with critics far removed from Hollywood seeing an exact self-portrait, and those closer to home applauding a story on Hollywood's workday fringe. It brought the American 'film noir' to its peak. Also in 1950, John Huston cut up a poor anti-hero in "The Asphalt Jungle" Elia Kazan examined a raw-nerved underworld in "Panic in the Streets" Joseph Losey probed the prejudice against poor Mexican-Americans in "The Lawless" and Jules Dassin, exiled in London as one of the 'Unfriendly Ten', sketched the pestilence behind professional sport in "Night and the City". [filmfactsman]

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  • Anonymous

    Posted October 1, 2010

    The last breath of hollywoods ''Golden Era''

    All we need is the first glimpse of Norma Desmond played by a then middle aged Gloria Swanson (perfect casting) in a setting once certainly considered both opulent and decadent. Shot in black and white, scenes in this movie take on an eerie almost scary atmosphere. Norma Desmond gives us a look at what Hollywood was like during the golden years. As the film progresses we begin to feel almost sorry for the pathetic has-been aging movie queen. More sadly we realize that Norma lived in a fantasy and never accepted her has-been stardom falling out of the sky.

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  • Anonymous

    Posted November 9, 2008

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    Posted February 6, 2010

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    Posted July 23, 2009

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  • Anonymous

    Posted February 23, 2010

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  • Anonymous

    Posted November 16, 2008

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Sort by: Showing all of 9 Customer Reviews