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Although this movie was made 8 years before I was, I saw it for the first time yesterday and I was blown away! I have spent my life missing what has just become one of my favorite movies of all time.

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.

Not a romanticised view of Tinseltown at all, this Billy Wilder movie was more or less ignored on release - the year that All About Eve took all the awards and the kudos. It is a bitter pill to swallow since it takes a kick at Hollywood's guts and has one of the bleakest endings in the whole of cinema.

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.

I have yet to see a Billy Wilder film that I haven't loved, and Sunset Boulevard is definitely one of those films. It's interesting to watch the film during different times in one's life – when I was a child watching this film, I thought the story was good and that Norma Desmond (Swanson) was a pretty scary lady. In my teens/college years, I appreciated it as a certified classic and for its commentary on Hollywood. Now, in my late 20's and early 30's I found it to have a different impact on me – I was saddened by Desmond's mental illness, and when she makes her final descent down her staircase and utters her famous line as the camera pans the faces of the people around her, so full of pity, and the care her butler/ex-husband takes to make sure she's happy for maybe the last time in her life made more of an impact on me than any other time in the 20-odd times I've seen this film. There are only a small handful of central characters in Sunset Boulevard and they are so richly written that this film will remain timeless. There are not a lot of `dated' themes in this film – the circle of life that is Hollywood isn't going to be much more evolved in 2050 than it was in 1950. If you haven't seen this film, watch it because there is something for just about anyone in this film.

--Shelly

Every time I go to L.A., which isn't too often, I look at these palm-bemused, once smart stucco facades, and wonder if a Norma Desmond from a later era might be hiding from the world inside them, buttressed by cable TV (AMC or TCM, no doubt), a poodle named FiFi or Sir Francis, walk-in closets full of leopard-print Capri pants that haven't fit in decades, and a world class liquor cabinet that has seen heads of state under the table on a good night. It is because of Sunset Blvd., for certain, that my mind could ever go there. It is one of the most indelible films you will ever see.

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.

Hack screenwriter Joe Gillis (William Holden) accidentally falls in with faded screen legend Norma Desmond (Gloria Swanson). She lives in a crumbling old mansion with her butler Max (Erich von Stroheim). She refuses to believe that she's no longer remembered and will never make another movie. She gets Gillis to stay with her and rewrite "Salome" which she thinks will be her comeback. Gillis has no other choice and things slowly get out of hand.

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".