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Viale del tramonto

Titolo originale: Sunset Boulevard
  • 1950
  • T
  • 1h 50min
VALUTAZIONE IMDb
8,4/10
250.439
LA TUA VALUTAZIONE
POPOLARITÀ
1748
96
Viale del tramonto (1950)
A screenwriter develops a dangerous relationship with a faded film star determined to make a triumphant return.
Riproduci trailer1: 30
5 video
99+ foto
Dark ComedyFilm NoirPsychological DramaShowbiz DramaTragedyDrama

Uno sceneggiatore viene assunto per rivedere il copione di una vecchia diva del cinema muto, ma si ritrova coinvolto in una relazione pericolosa.Uno sceneggiatore viene assunto per rivedere il copione di una vecchia diva del cinema muto, ma si ritrova coinvolto in una relazione pericolosa.Uno sceneggiatore viene assunto per rivedere il copione di una vecchia diva del cinema muto, ma si ritrova coinvolto in una relazione pericolosa.

  • Regia
    • Billy Wilder
  • Sceneggiatura
    • Charles Brackett
    • Billy Wilder
    • D.M. Marshman Jr.
  • Star
    • William Holden
    • Gloria Swanson
    • Erich von Stroheim
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    8,4/10
    250.439
    LA TUA VALUTAZIONE
    POPOLARITÀ
    1748
    96
    • Regia
      • Billy Wilder
    • Sceneggiatura
      • Charles Brackett
      • Billy Wilder
      • D.M. Marshman Jr.
    • Star
      • William Holden
      • Gloria Swanson
      • Erich von Stroheim
    • 789Recensioni degli utenti
    • 223Recensioni della critica
    • 94Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
  • Film più votato #62
    • Vincitore di 3 Oscar
      • 21 vittorie e 20 candidature totali

    Video5

    Official Trailer
    Trailer 1:30
    Official Trailer
    Sunset Blvd.
    Trailer 3:14
    Sunset Blvd.
    Sunset Blvd.
    Trailer 3:14
    Sunset Blvd.
    25 Movies That Make Us Love L.A.
    Clip 1:34
    25 Movies That Make Us Love L.A.
    'Sunset Blvd.' | Annivesary Mashup
    Clip 1:36
    'Sunset Blvd.' | Annivesary Mashup
    Sunset Boulevard: Centennial Collection
    Clip 1:25
    Sunset Boulevard: Centennial Collection

    Foto165

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    + 158
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    Interpreti principali77

    Modifica
    William Holden
    William Holden
    • Joe Gillis
    Gloria Swanson
    Gloria Swanson
    • Norma Desmond
    Erich von Stroheim
    Erich von Stroheim
    • Max Von Mayerling
    Nancy Olson
    Nancy Olson
    • Betty Schaefer
    Fred Clark
    Fred Clark
    • Sheldrake
    Lloyd Gough
    Lloyd Gough
    • Morino
    Jack Webb
    Jack Webb
    • Artie Green
    Franklyn Farnum
    Franklyn Farnum
    • Undertaker
    Larry J. Blake
    Larry J. Blake
    • 1st Finance Man
    • (as Larry Blake)
    Charles Dayton
    • 2nd Finance Man
    Cecil B. DeMille
    Cecil B. DeMille
    • Cecil B. DeMille
    Hedda Hopper
    Hedda Hopper
    • Hedda Hopper
    Buster Keaton
    Buster Keaton
    • Buster Keaton
    Anna Q. Nilsson
    Anna Q. Nilsson
    • Anna Q. Nilsson
    H.B. Warner
    H.B. Warner
    • H. B. Warner
    Ray Evans
    • Ray Evans
    Jay Livingston
    • Jay Livingston
    Fred Aldrich
    Fred Aldrich
    • Cop Who Drags Joe's Body from Pool
    • (non citato nei titoli originali)
    • Regia
      • Billy Wilder
    • Sceneggiatura
      • Charles Brackett
      • Billy Wilder
      • D.M. Marshman Jr.
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti789

    8,4250.4K
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    Riepilogo

    Reviewers say 'Sunset Boulevard' is celebrated for its dark portrayal of Hollywood's ruthless nature and the tragic fall of silent film stars. Gloria Swanson and William Holden deliver standout performances, exploring themes of ambition and industry disregard. The film is praised for its sharp dialogue, atmospheric cinematography, and Wilder's direction, though some find certain subplots less engaging. Overall, it remains a poignant critique of Hollywood's darker side.
    Generato dall’IA a partire dal testo delle recensioni degli utenti

    Recensioni in evidenza

    9FilmOtaku

    Another Billy Wilder masterpiece

    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
    10preppy-3

    A true Hollywood horror story

    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".
    didi-5

    very special look at Hollywood

    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.
    10Don-102

    The Hollywood Myth FOREVER Shattered !!!

    Until 1950, American films were strictly entertainment, some deeper than others. Studio executives were very protective of image and star-making. In essence, everything seemed perfect. Billy Wilder, Charles Brackett, and D.M. Marshman, Jr. created a stunning work of art that splits the Hollywood sign in two and exposed a dream factory for what it really is: a struggle to both gain and keep notoriety in the limelight. "Norma Desmond" and "Joe Gillis" are at opposite ends of this warped Hollywood mindset, with Gillis, played by that most cynical of actors, William Holden trying to pay the rent and Norma (Gloria Swanson) living a lie as a silent queen whose star burned "10,000 midnights ago". How a picture with such a snide look at the industry could come out in 1950 is simply mind-boggling, considering some of the light fodder that came out of Hollywood at the time. It has inspired many modern day disciples such as Altman's THE PLAYER, and Sonnenfeld's GET SHORTY, both of which took their vicious, hilarious parodies to the jugular of the movie capital of the world. SUNSET BLVD is the father of all socially oriented pictures regarding the movies and is by far the best.

    The images of this beautiful black and white powerhouse are fascinating and unforgettable: the dead writer floating in a pool, eyes wide open, looking right at us at the beginning; the eerie pipe organ that plays by the breeze in the middle of one of the most deep and dustiest sets ever; the funeral ceremony of the dead monkey in Norma's courtyard ("That must have been one important chimp. The grandson of King Kong perhaps." says Holden in a delightfully crisp and wise voice-over.) Holden pulls his car into a driveway off of the boulevard that will change his life forever. He is the emblem of the struggle to get notoriety. He has only a few B Movies to his credit. Swanson as Norma Desmond is the symbol of lost fame and has become the talk of legend. What is ironic about her character is that she may be playing herself in an odd way. She WAS an actual silent star whose career went down the tubes after the talkies came about. Her madness combined with Holden's last drop of naiveté combine to give us one of the most electrifying "give and take" between actors I've ever witnessed.

    Both lead parts were passed over by several actors. Holden was eventually forced into it as a contract player. How could you pass on such a script? Even "wax figures" (as Holden calls them) Buster Keaton, H.B. Warner, and Anna Q. Nilsson come to Norma's to play bridge, of course being Hollywood outcasts themselves, after the invention of sound in film. Some of the dialogue takes a swing at actual movies and people (GONE WITH THE WIND, Zanuck, Menjou). This must have brought the house down in Hollywood screening rooms throughout the town. Louis B. Mayer even condemned Billy Wilder for "ruining the industry". The film is sad and darkly humorous depicting the antics of Norma, who is quite insane, and Holden who is going along with what Norma is giving him, but has plans of his own. Another wax figure still alive and kicking in 1950 appears as himself in an important role. Cecil B. Demille, who once directed Norma/Gloria back in the silent heyday, tries to set her straight, telling her pictures have "changed". They had indeed, especially after this searing comment on celebrity status. I wonder if they knew what they were creating while making this gem.

    Scenes are shot right on the lot of Paramount Studios (even the front gate), and Norma's mansion is an unforgettable piece of history and gloom with a floor that "Valentino once danced on." There is so much to discuss, but little to enlighten you on how great SUNSET BLVD is without you seeing it. Just two years later, films began to crop up with the same tainted view of Hollywood, most with varying degrees of deception. SINGIN' IN THE RAIN, one of the all-time entertainments quietly had a nasty taste in its mouth regarding celebrity and the invention of sound movies. Watch these films closely and see the skeletons of the modern Hollywood bash films.

    RATING: 10 of 10
    Petey-10

    Something really special

    Joe Gillis is floating face down in a pool and tells his story.That story tells how he met Norma Desmond, a big star from the silent era who now is forgotten by the people.She's planning a major comeback with a script of Salome.She wants Joe to help her with the movie.The movie's no good, everybody can see that, but Joe still stays around to help her.Soon he realizes that it was a big mistake.Sunset Blvd. (1950) is a masterpiece from the master called Billy Wilder.The actors are really unique.William Holden is superb as Joe Gillis and Gloria Swanson, an actual silent film star, is absolutely brilliant as Norma.Erich von Stroheim does a wonderful job as Max von Mayerling and so does the beautiful Nancy Olson as Betty Schaefer.In cameos you can see people like Cecil B.DeMille and Buster Keaton.The movie is something really special from the beginning till the end.You can't see movies like this these days.Now we don't have directors like Billy Wilder to make them.In his movies everything usually worked.Especially the dialog was something you don't have so often in modern movies.What happened to the great writers? Only a few seem to exist.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Unlike 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.
    • Blooper
      When 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.
    • Citazioni

      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.

    • Curiosità sui crediti
      The Paramount logo appears as a transparency over the opening shot. The words "Sunset Blvd." are shown stenciled on the curb of that street.
    • Connessioni
      Edited into Les Amoureux du cinéma (1987)
    • Colonne sonore
      The 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

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    • How long is Sunset Boulevard?Powered by Alexa
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    • What is the correct title - "Blvd." or "Boulevard"?
    • What is the movie Joe and Norma watch?

    Dettagli

    Modifica
    • Data di uscita
      • 6 marzo 1951 (Italia)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • El ocaso de una vida
    • Luoghi delle riprese
      • 10060 Sunset Blvd, Los Angeles, California, Stati Uniti(Norma Desmond's driveway gate)
    • Azienda produttrice
      • Paramount Pictures
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Budget
      • 1.752.000 USD (previsto)
    • Lordo Stati Uniti e Canada
      • 299.645 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 169.067 USD
      • 13 mag 2018
    • Lordo in tutto il mondo
      • 310.954 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 50 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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