Crepúsculo dos Deuses

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.

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.

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

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".

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