A screenwriter develops a dangerous relationship with a faded film star determined to make a triumphant return.A screenwriter develops a dangerous relationship with a faded film star determined to make a triumphant return.A screenwriter develops a dangerous relationship with a faded film star determined to make a triumphant return.
- Director
- Writers
- Stars
- Won 3 Oscars
- 18 wins & 20 nominations total
Videos3
Larry J. Blake
- 1st Finance Manas 1st Finance Man
- (as Larry Blake)
- Director
- Writers
- All cast & crew
- See more cast details at IMDbPro
Storyline
Did you know
- TriviaUnlike the character she played, Gloria Swanson had accepted the fact that the movies didn't want her anymore and had moved to New York, where she worked on radio and, later, television. Although she had long before ruled out the possibility of a movie comeback, she was nevertheless highly intrigued when she got the offer to play the lead.
- GoofsWhen Max is telling Joe about directing Madam's first pictures, there is a bad dub of the word "sixteen". After the Roscoe 'Fatty' Arbuckle trial and the subsequent establishment of the Hays Office to enforce the new Production Code, the producers were concerned that the original age of 14 would be considered child porn and had the line changed in post.
- Quotes
Joe Gillis: Wait a minute, haven't I seen you before? I know your face.
Norma Desmond: Get out! Or shall I call my servant?
Joe Gillis: You're Norma Desmond. You used to be in silent pictures. You used to be big.
Norma Desmond: I *am* big. It's the *pictures* that got small.
- Crazy creditsThe Paramount logo appears as a transparency over the opening shot. The words "Sunset Blvd." are shown stenciled on the curb of that street.
- ConnectionsEdited into Les Amoureux du cinéma (1987)
- SoundtracksThe Paramount-Don't-Want-Me Blues
(1950) (uncredited)
Written by Jay Livingston and Ray Evans
Performed by Jay Livingston and Ray Evans at Artie's party
Top review
Setting the sun on a man in debt
Much has been said, mostly praising the very trivial exposure-of-true-Hollywood-glamour-emptiness aspect of this great movie. However, the movie deals with some interesting personal psychology as well - or perhaps - primarily.
The irony of the Holden character narrowly escaping his harsh creditors only to be much further (morally) indebted in his relationship with Swanson is most funny. He engages in a relationship without true commitment. As the story goes on, he even wants to replace the love he has created with Swanson for the love of a younger woman. The classic fall of the noir male character is elegantly underway.
The Swanson character is not evil. The murder she commits is not committed in cold blood, but as a result of the betrayal and lies of people she thought she could trust. I.e. Holden and the too kind director who does not have the courage to tell her the truth about herself.
When Holden's true intents towards Swanson are revealed the punishment is immediate, but of course, on her part, well over the limit. The development of his character in the movie is, however, more interesting.
I find the "kill-and-be-famous" ending of the movie to be a bit unnecessary even for the cynical story. It is true that a murder would probably be the only way for Wilder to convincingly dust off an old star and lead her back in to the fame light. Thus, however, Wilder chooses to prefer the theme about what leads to personal fame to the theme about betrayal of an indebted man and its consequences. The two themes do hardly float together like blood and water, even in a film noir, at least not in this one. It is great, though.
The irony of the Holden character narrowly escaping his harsh creditors only to be much further (morally) indebted in his relationship with Swanson is most funny. He engages in a relationship without true commitment. As the story goes on, he even wants to replace the love he has created with Swanson for the love of a younger woman. The classic fall of the noir male character is elegantly underway.
The Swanson character is not evil. The murder she commits is not committed in cold blood, but as a result of the betrayal and lies of people she thought she could trust. I.e. Holden and the too kind director who does not have the courage to tell her the truth about herself.
When Holden's true intents towards Swanson are revealed the punishment is immediate, but of course, on her part, well over the limit. The development of his character in the movie is, however, more interesting.
I find the "kill-and-be-famous" ending of the movie to be a bit unnecessary even for the cynical story. It is true that a murder would probably be the only way for Wilder to convincingly dust off an old star and lead her back in to the fame light. Thus, however, Wilder chooses to prefer the theme about what leads to personal fame to the theme about betrayal of an indebted man and its consequences. The two themes do hardly float together like blood and water, even in a film noir, at least not in this one. It is great, though.
helpful•40
- TRULEIGH
- Apr 23, 1999
Details
Box office
- Budget
- $1,752,000 (estimated)
- Gross US & Canada
- $299,645
- Opening weekend US & Canada
- $169,067
- May 13, 2018
- Gross worldwide
- $300,073
- Runtime1 hour 50 minutes
- Color
- Aspect ratio
- 1.37 : 1
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