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Sunset Blvd. (1950)

8.5
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Ratings: 8.5/10 from 115,092 users  
Reviews: 415 user | 182 critic

A hack screenwriter writes a screenplay for a former silent-film star who has faded into Hollywood obscurity.

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Title: Sunset Blvd. (1950)

Sunset Blvd. (1950) on IMDb 8.5/10

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Top 250 #46 | Won 3 Oscars. Another 18 wins & 14 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Lloyd Gough ...
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Franklyn Farnum ...
Larry J. Blake ...
1st Finance Man (as Larry Blake)
Charles Dayton ...
2nd Finance Man
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Cecil B. DeMille (as Cecil B. De Mille)
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Buster Keaton
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Anna Q. Nilsson
...
H. B. Warner
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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. Written by alfiehitchie

Plot Summary | Plot Synopsis

Taglines:

A Hollywood Story See more »

Genres:

Drama | Film-Noir

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

25 August 1950 (Australia)  »

Also Known As:

A Can of Beans  »

Box Office

Budget:

$1,752,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

| (cut)

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The directions made by the Paramount guard for Norma and Joe to go meet Cecil B. DeMille on "Stage 18" is accurate: this stage, one of the largest on the Paramount lot, was known for years as "The DeMille Stage," and now is called "The Star Trek Stage", as all the "Trek" movies and some scenes from the TV shows have shot there (the TV series, from Star Trek: The Next Generation (1987) onward had their main sets right across the studio street on Stages 8 and 9, which are right below the second-floor office occupied by Betty Schaefer in Sunset Blvd. (1950). Those offices later became the home of the "Star Trek" art department.) See more »

Goofs

Norma tells Joe that she's bought a "revolver," but the gun is not a revolver. See more »

Quotes

[first lines]
Joe Gillis: Yes, this is Sunset Blvd., Los Angeles, California. It's about 5 0'clock in the morning. That's the homicide squad, complete with detectives and newspaper men.
See more »

Crazy Credits

The Paramount logo appears as a transparency over the opening shot. The words "Sunset Blvd." are shown stenciled on the curb of that street. See more »

Connections

Referenced in Smash: The Dress Rehearsal (2013) See more »

Soundtracks

Buttons and Bows
(1948) (uncredited)
Music and Lyrics by Jay Livingston and Ray Evans
Played and sung by guests at Artie's Party
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
They Don't Make 'Em Like This Anymore
2 July 2004 | by (NYC) – See all my reviews

This is such a great film on so many levels I can't really settle on where to begin. It is so beautifully shot (in that stark black/white that only nitrate negative could achieve), has a witty, clever and extremely well-written script, features some of the best acting in film's history, acrobatically balances the main plot/subplots with expert precision, contains some of the best characters on celluloid, has many true-to-life parallels (Swanson's career/real life cameos/DeMille's involvement/etc) and is peppered with such great dialogue/narration that today's film writers should take note. If that weren't enough, there's even a cameo by silent film great Buster Keaton (among others).

One of the most appealing aspects of this film is how, in the story, an aging, forgotten star is trying to recapture a bygone era (the silent film era). What's interesting is that now, so many years later, we're looking back at her looking back. To present day viewers, Gloria Swanson of the 1950's is a long forgotten lost gem and to experience her own longing for the 1920's is especially captivating (and a little chilling, I might add). I don't think this film could have had that same effect when it debuted and maybe this added dimension holds so much more appeal for today's audiences. We all know that nothing lasts forever, but we don't often consider the abandoned participants; much like the veterans of a past war.

In response to the famous Swanson line (while watching one of her silent films): "...we didn't need dialogue; we had faces", I'd like to also add that they "didn't need movies; they had films."

They truly don't make them like this anymore. 10/10


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Aging or the arrival of sound? Erniesam
What Insulting , Sexist Drivel! bjs3
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