Un scénariste est engagé pour retravailler le texte d'une ancienne vedette du cinéma muet qui espère un retour triomphant avec ce rôle. De cette collaboration naquit une dangereuse relation ... Tout lireUn scénariste est engagé pour retravailler le texte d'une ancienne vedette du cinéma muet qui espère un retour triomphant avec ce rôle. De cette collaboration naquit une dangereuse relation amoureuse.Un scénariste est engagé pour retravailler le texte d'une ancienne vedette du cinéma muet qui espère un retour triomphant avec ce rôle. De cette collaboration naquit une dangereuse relation amoureuse.
- Réalisation
- Scénario
- Casting principal
- Récompensé par 3 Oscars
- 21 victoires et 20 nominations au total
- 1st Finance Man
- (as Larry Blake)
- Cop Who Drags Joe's Body from Pool
- (non crédité)
Résumé
Avis à la une
The acting was superb, the storyline riveting and the characters were people you could care about. Max was my personal favorite. There was a quiet, tragic dignity to him. I expected something to be revealed about him but was not prepared for the truth.
I've always liked William Holden but my experience with Gloria Swanson was limited to her brief role in "Airport 75". I will now look for more movies by her. What an expressive face.
It was fun to try to recognize some of the old time actors that were portraying themselves.
An all around excellent movie. One I truly regret having waited this long to see. But it is definitely a case of better late than never.
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
This film is great for many reasons, not the least of which is because it is Hollywood's first look back at itself. In the milieu of this film, the silent era is only 22 years behind us. The people left behind by the rush to sound can still palpably TASTE the fame, the accolade, that particular past being not so very dim and distant. The sadness of their lives was real, and at that point in history, all around, if hidden. Way more has been made of the supposed "savagery" of this film vis a vis the faded star than I think exists now, or ever did. The often cynical Wilder is deeply in touch with the tragic here, as much as the grotesque.
A VERY cynical view of Hollywood--especially for 1950. It shows what Hollywood does to people like Norma--it makes them stars, tells them that they're great and dump them coldly when they're no longer needed. It also takes swipes at directors, agents, screenwriters, even entire studios! It has a tight quick script, is appropriately filmed in gloomy black and white and is masterfully directed by Billy Wilder. Everybody thought this was a bad idea when it was being made. It was believed to be too cold and vicious for the public. Also Holden was warned it would ruin his career by playing a younger man kept by an older woman. But it turned out great and is now rightfully considered a classic.
The acting is almost all good. I never thought Nancy Olson was that good. Her character is too pure and sweet to be believable. Everybody else is right on target though. Holden is just great in his role. You see the pity, anger and helplessness on his face when he realizes Norma is falling in love with him--and he's trapped. von Stroheim was equally good as Max who encourages Norma's delusions. Swanson however is just magnificent! She has a very showy role and could have overplayed it--but she doesn't. She's mad for sure--but you only see it peeking through every once in a while. When she loses it completely at the end it's frightening. If she had played it like that all through the movie it never would have worked. How she lost the Oscar that year to Judy Holliday for "Born Yesterday" is beyond me. This is a must see and a true Hollywood classic but VERY cold and cynical. A 10 all the way.
"I am big--it's the pictures that got small". "All right Mr. deMille--I'm ready for my closeup".
Joe Gillis, a struggling writer, finds himself in the drive of a Hollywood palazzo when he wants somewhere to hide his car. The house belongs to Norma Desmond, who 'used to be big' in pictures, and Joe gets drawn to Norma and drawn into her weird world of flickering shadows.
The acting honours in this movie go squarely to Gloria Swanson, herself a 'star of yesteryear' as Norma, who is superb as the actress living in the past. Not that she plays Norma as exclusively tragic(the scene where she impersonates Chaplin is priceless) but perhaps no one could get to grips with the demands of this part better. William Holden plays Joe, his breakthrough role, and he does the part very well, while Erich von Stroheim plays faded Hollywood director Max von Mayerling (naturally a reflection of himself), and newcomer Nancy Olson plays Betty, a girl too nice to become submerged just yet in dreamland's poison.
The script is its moments of OTT-ness, but it is never less than interesting and draws in the viewer to the point when you are with Norma when she visits her old studio and talks of the joy of coming home; you are with Joe and Nancy as they fall in love among the cardboard settings of movie sets; and you are in the hall with Hedda Hopper watching Norma's last descent into madness.
The musical version which appeared in the 1990s had the heart and soul of this movie in mind, and was an excellent tribute to it.
Le saviez-vous
- AnecdotesUnlike 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.
- GaffesWhen 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.
- Citations
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.
- Crédits fousThe Paramount logo appears as a transparency over the opening shot. The words "Sunset Blvd." are shown stenciled on the curb of that street.
- ConnexionsEdited into Les Amoureux du cinéma (1987)
- Bandes originalesThe 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
Meilleurs choix
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- El ocaso de una vida
- Lieux de tournage
- 10060 Sunset Blvd, Los Angeles, Californie, États-Unis(Norma Desmond's driveway gate)
- Société de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 1 752 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 299 645 $US
- Week-end de sortie aux États-Unis et au Canada
- 169 067 $US
- 13 mai 2018
- Montant brut mondial
- 310 954 $US
- Durée1 heure 50 minutes
- Couleur
- Rapport de forme
- 1.37 : 1