Sunset Boulevard (film)

Background

The street known as Sunset Boulevard has been associated with Hollywood film production since 1911, when the town's first film studio opened there. The film workers lived modestly in the growing neighborhood, but during the 1920s, profits and salaries rose to unprecedented levels. With the advent of the star system, luxurious homes noted for their often incongruous grandeur were built in the area.

As a young man living in Berlin in the 1920s, Billy Wilder was interested in American culture, with much of his interest fueled by the country's films. In the late 1940s, many of the grand Hollywood houses remained, and Wilder, then a Los Angeles resident, found them to be a part of his everyday world. Many former stars from the silent era still lived in them, although most were no longer involved in the film business. Wilder wondered how they spent their time now that "the parade had passed them by" and began imagining the story of a star who had lost her celebrity and box-office appeal.^[4]

The character of Norma Desmond mirrors aspects of the twilight years of several real-life faded silent-film stars, such as the reclusive existence of Mary Pickford and the mental disorders of Mae Murray and Clara Bow. It is usually regarded as a fictional composite inspired by several different people, not just a thinly disguised portrait of one in particular. Nevertheless, some commentators have tried to identify specific models. One asserts that Norma Talmadge is "the obvious if unacknowledged source of Norma Desmond, the grotesque, predatory silent movie queen" of the film.^[5] The most common analysis of the character's name is that it is a combination of the names of silent film actress Mabel Normand and director William Desmond Taylor, a close friend of Normand's who was murdered in 1922 in a never-solved case sensationalized by the press.^[6]

Writing

Gloria Swanson and Billy Wilder

Wilder and Brackett began working on a script in 1948, but the result did not completely satisfy them. In August 1948, D. M. Marshman Jr., formerly a writer for Life, was hired to help develop the storyline after Wilder and Brackett were impressed by a critique he provided of their film The Emperor Waltz (1948).

In an effort to keep the full details of the story from Paramount Pictures and avoid the restrictive censorship of the Breen Code, they submitted the script a few pages at a time. The Breen Office insisted certain lines be rewritten, such as Gillis's "I'm up that creek and I need a job," which became "I'm over a barrel. I need a job." Paramount executives thought Wilder was adapting a story called A Can of Beans (which did not exist) and allowed him relative freedom to proceed as he saw fit. Only the first third of the script was written when filming began in early May 1949, and Wilder was unsure how the film would end.^[6]

The script contains many references to Hollywood and screenwriters, with Joe Gillis making most of the cynical comments. He sums up his film-writing career with the remark: "The last one I wrote was about Okies in the dust bowl. You'd never know, because when it reached the screen, the whole thing played on a torpedo boat." In another exchange, Betty comments to Gillis: "I'd always heard that you had some talent." He replies: "That was last year. This year I'm trying to make a living."^[3]

The fusion of writer-director Billy Wilder's biting humor and the classic elements of film noir make for a strange kind of comedy, as well as a strange kind of film noir. There are no belly laughs here, but there are certainly strangled giggles: at the pet chimp's midnight funeral, at Joe's discomfited acquiescence to the role of gigolo; at Norma's Mack Sennett-style "entertainments" for her uneasy lover; and at the ritualized solemnity of Norma's "waxworks" card parties, which feature such former luminaries as Buster Keaton as Norma's has-been cronies.^[7]

Several of Desmond's lines, such as, "All right Mr. DeMille, I'm ready for my close-up," and "I am big, it's the pictures that got small!" are often quoted. Much of the film's wit is delivered through Norma Desmond's deadpan comments, which are often followed by sarcastic retorts from Gillis. Desmond appears to not hear some of these comments, as she is absorbed by her own thoughts and in denial, so some of Gillis's lines are heard only by the audience, with Wilder blurring the line between the events and Gillis's narration. Gillis's response to Desmond's cry that "the pictures got small" is a muttered reply, "I knew something was wrong with them". Wilder often varies the structure, with Desmond taking Gillis's comments seriously and replying in kind. For example, when the two discuss the overwrought script on which Desmond has been working, Gillis observes, "They'll love it in Pomona."^[8] "They'll love it everyplace," replies Desmond firmly.^[3]

Film writer Richard Corliss describes Sunset Boulevard as "the definitive Hollywood horror movie", noting that almost everything in the script is "ghoulish". He remarks that the story is narrated by a dead man whom Norma Desmond first mistakes for an undertaker, while most of the film takes place "in an old, dark house that only opens its doors to the living dead". He compares von Stroheim's character Max with the concealed Erik, the eponymous central character in The Phantom of the Opera, and Norma Desmond with Dracula, noting that, as she seduces Joe Gillis, the camera tactfully withdraws with "the traditional directorial attitude taken towards Dracula's jugular seductions". He writes that the narrative contains an excess of "cheap sarcasm", but ultimately congratulates the writers for attributing this dialogue to Joe Gillis, who was in any case presented as little more than a hack writer.^[9]

Wilder preferred to leave analysis of his screenplays and films to others. When asked if Sunset Boulevard was a black comedy, he replied: "No, just a picture".^[10]

The film refers to real films such as Gone with the Wind and real people such as D. W. Griffith, Rudolph Valentino, Douglas Fairbanks, John Gilbert, Tyrone Power, Alan Ladd, Adolphe Menjou, Bebe Daniels, Betty Hutton, and Barbara Stanwyck, among others, along with the Black Dahlia murder case. Norma Desmond declares admiration for Greta Garbo.^[3]

Casting

Wilder considered many actors for the lead roles, but chose Swanson and Holden.

According to Brackett, Wilder and he never considered anyone except Gloria Swanson for the role of Norma Desmond. Wilder, however, had a different recollection. He recalled first wanting Mae West and Marlon Brando for the leads, but never approached either with an offer. He contacted Pola Negri by telephone, but had a difficult time understanding her heavy Polish accent. They also asked Norma Shearer if she would portray Norma Desmond, but she rejected the role due to both her retirement and distaste for it. They were considering Fred MacMurray to play opposite her as Joe. The filmmakers approached Greta Garbo, but she expressed no interest. Wilder and Brackett then visited Mary Pickford, but before even discussing the plot with her, Wilder realized she would consider a role involving an affair with a man half her age an insult, so they departed. They had considered pairing Montgomery Clift with her.^[11]

According to Wilder, he asked George Cukor for advice, and he suggested Swanson, one of the most feted actresses of the silent-screen era, known for her beauty, talent, and extravagant lifestyle. At the peak of her career in 1925, she was said to have received 10,000 fan letters in a single week, and from 1920 until the early 1930s, she lived on Sunset Boulevard in an elaborate Italianate palace. In many ways, she resembled the Norma Desmond character, and like her, had been unable to make a smooth transition into talking pictures. The similarities ended there. Swanson accepted the end of her film career, and in the early 1930s moved to New York City, where she worked in radio, and from the mid-1940s, in television and on the New York stage. Though Swanson was not seeking a comeback, she was intrigued when Wilder discussed the role with her.^[4]

Swanson was chagrined at the notion of submitting to a screen test, saying she had "made 20 films for Paramount. Why do they want me to audition?" Her reaction was echoed in the screenplay when Norma Desmond declares, "Without me there wouldn't be any Paramount." In her memoir, Swanson recalled asking Cukor if it was unreasonable to refuse the screen test. He replied that since Norma Desmond was the role for which she would be remembered, "If they ask you to do ten screen tests, do ten screen tests, or I will personally shoot you." His enthusiasm convinced Swanson to participate,^[12] and she signed a contract for $50,000.^[13] In a 1975 interview, Wilder recalled Swanson's reaction with the observation, "There was a lot of Norma in her, you know."^[14]

Wilder harks back to Swanson's silent film career when Norma shows Joe the film Queen Kelly, an earlier Gloria Swanson film directed by Erich Von Stroheim. Queen Kelly wasn’t released in the United States for over 50 years^[15] after Swanson walked off the set.^[12]

Montgomery Clift was signed to play Joe Gillis for $5,000 per week for a guaranteed 12 weeks, but just before the start of filming, he withdrew from the project, claiming his role of a young man involved with an older woman was too close to the one he had played in The Heiress, in which he felt he had been unconvincing. An infuriated Wilder responded, "If he's any kind of actor, he could be convincing making love to any woman."^[16] Clift himself having an affair with a much older woman (the singer Libby Holman) was suggested as his real reason for withdrawing from the film.^[17][18]

Forced to consider the available Paramount stars, Wilder and Brackett focused on William Holden, who had made an impressive debut a decade earlier in Golden Boy (1939). Following an appearance in Our Town (1940), he served in the military in World War II, and his return to the screen afterward had been moderately successful. He was enthusiastic about the script and eager to accept the role. He did not know that his salary was $39,000 less than that offered to Clift.^[19]

Erich von Stroheim, a leading film director of the 1920s who had directed Swanson, was signed to play Max, Norma's faithful servant, protector, and former husband. For the role of Betty Schaefer, Wilder wanted a newcomer who could project a wholesome and ordinary image to contrast with Swanson's flamboyant and obsessive Desmond. He chose Nancy Olson, who had recently been considered for the role of Delilah in Cecil B. DeMille's Samson and Delilah.^[6]

DeMille, often credited as the person most responsible for making Swanson a star, plays himself, and was filmed on the set of Samson and Delilah at Paramount Studios. He calls Norma "young fella" as he had called Swanson.

Norma's friends who come to play bridge with her, described in the script as "the waxworks", were Swanson's contemporaries Buster Keaton, Anna Q. Nilsson, and H. B. Warner, who like DeMille, played themselves. Hedda Hopper also played herself, reporting on Norma Desmond's downfall in the film's final scenes.^[6]

Cinematography and design

The film's dark, shadowy black-and-white, film noir cinematography was the work of John F. Seitz. Wilder had worked with him on several projects before, and trusted his judgment, allowing him to make his own decisions. Seitz recalled asking Wilder what he required for the pet chimpanzee's funeral scene. Wilder replied, "you know, just your standard monkey funeral shot." For some interior shots, Seitz sprinkled dust in front of the camera before filming to suggest "mustiness," a trick he had also used for Double Indemnity (1944).^[20]

The film had the option to be shot on colour, however it was shot on black and white to be more reflective of the noir genre. (The term noir is French for dark.)^[21]

Wilder was adamant that the corpse of Joe Gillis be seen from the bottom of the pool, but creating the effect was difficult. The camera was placed inside a specially constructed box and lowered under water, but the result disappointed Wilder, who insisted on further experiments. The shot was finally achieved by placing a mirror on the bottom of the pool and filming Holden's reflection from above with the distorted image of the policemen standing around the pool and forming a backdrop.^[6]

Film historian Tom Stempel writes, "In both Double Indemnity and Sunset Boulevard, Seitz does something that has always impressed me. Both are films noir, and he finesses the fact that both are set in the sunniest of locales, Los Angeles... he brings together the light and the dark in the same film without any seams showing... he brings together the realistic lighting of Joe Gillis out in the real world with the gothic look of Norma Desmond's mansion. Again with no seams showing."^[6]

Edith Head designed the costumes. Wilder, Head, and Swanson agreed that Norma Desmond would have kept somewhat up-to-date with fashion trends, so Head designed costumes closely resembling the Dior look of the mid-1940s. Embellishments were added to personalize them and reflect Norma Desmond's taste.^[22]

Swanson recalled in her biography that the costumes were only "a trifle outdated, a trifle exotic."^[12] Head later described her assignment as "the most challenging of my career," and explained her approach with the comment, "Because Norma Desmond was an actress who had become lost in her own imagination, I tried to make her look like she was always impersonating someone." Head later said she relied on Swanson's expertise because "she was creating a past that she knew and I didn't."^[6] Head also designed the costumes for William Holden and the minor characters, but for authenticity, Wilder instructed Von Stroheim and Nancy Olson to wear their own clothing.

The overstated decadence of Norma Desmond's home was created by set designer Hans Dreier, whose career extended back to the silent era. He had also been commissioned to complete the interior design for the homes of movie stars, including the house of Mae West. William Haines, an interior designer and former actor, later refuted criticism of Dreier's set design with the observation, "Bebe Daniels, Norma Shearer, and Pola Negri all had homes with ugly interiors like that."^[6]

The bed in the shape of a boat in which Norma Desmond slept was actually owned by the dancer Gaby Deslys, who died in 1920. It had originally been bought by the Universal prop department at auction after Deslys's death. The bed appeared in The Phantom of the Opera (1925) starring Lon Chaney.

Wilder also made use of authentic locales. Joe Gillis's apartment is in the Alto Nido, a real apartment block in central Hollywood that was often populated by struggling writers. The scenes of Gillis and Betty Schaefer on Paramount's back lot were filmed on the actual back lot, and the interior of Schwab's Drug Store was carefully recreated for several scenes. The exterior scenes of the Desmond house were filmed at a house on Wilshire Boulevard built during the 1920s by the millionaire William O. Jenkins. Jenkins and his family lived in it for just one year, then left it abandoned for more than a decade, which earned it the nickname, the "Phantom House".^[23] By 1949, it was owned by the former wife of J. Paul Getty. The house was later featured in Nicholas Ray's Rebel Without a Cause (1955). It was demolished by the Gettys in 1957 to allow construction of an office building .^[24][25]

During filming, considerable publicity was given to health-conscious Gloria Swanson's youthful appearance, which made her look the same age as Holden. Wilder insisted that the age difference between the characters be delineated, and instructed makeup supervisor Wally Westmore to make Swanson look older. Swanson argued that a woman of Norma Desmond's age, with her considerable wealth and devotion to self, would not necessarily look old, and suggested Holden be made up to appear younger. Wilder agreed, and Westmore was assigned this task, which allowed Swanson to portray Norma Desmond as more glamorous a figure than Wilder had originally imagined.^[6]

Previews and revision

Wilder and Brackett, nervous about a major screening in Hollywood, held a preview in Evanston, Illinois, in late 1949. The original edit opened with a scene inside a morgue, with the assembled corpses discussing how they came to be there. The story began with the corpse of Joe Gillis recounting his murder to the others. The audience reacted with laughter and seemed unsure whether to view the rest of the film as drama or comedy. After a similar reaction during its second screening in Poughkeepsie, New York, and a third in Great Neck, the morgue opening was replaced by a shorter poolside opening,^[28] using footage filmed on January 5, 1950.^[29]

In Hollywood, Paramount arranged a private screening for the various studio heads and specially invited guests. After viewing the film, Barbara Stanwyck knelt to kiss the hem of Gloria Swanson's skirt. Swanson later remembered looking for Mary Pickford, only to be told, "She can't show herself, Gloria. She's too overcome. We all are." Louis B. Mayer berated Wilder before the crowd of celebrities, saying, "You have disgraced the industry that made and fed you! You should be tarred and feathered and run out of Hollywood!" Upon hearing of Mayer's slight, Wilder strode up to the mogul and retorted with a vulgarity that one biographer said was allegedly because Mayer, who was Jewish, suggested that Wilder, who was also Jewish, would be better off being sent back to Germany, an extraordinary sentiment so soon after the war and the Holocaust, in which Wilder's family perished.^[30][31] The few other criticisms were not so venomous. According to one often-told but recently discredited anecdote,^[32] actress Mae Murray, a contemporary of Swanson, was offended by the film and commented, "None of us floozies was that nuts."^[33] The same quote, with the word "zonked" in place of "nuts," has also been attributed to actress-comedian Marion Davies.

Premiere and box-office receipts

Sunset Boulevard had its official world premiere at Radio City Music Hall on August 10, 1950.^[34] After a seven-week run, Variety magazine reported the film had grossed "around $1,020,000", making it one of that theater's most successful pictures. Variety also noted that, while it was "breaking records in major cities, it is doing below average in ... the sticks." To promote the film, Gloria Swanson traveled by train throughout the United States, visiting 33 cities in a few months. The publicity helped attract people to the cinemas, but in many provincial areas it was considered less than a hit.^[6]

The film earned an estimated $2,350,000 at the U.S. box office in 1950.^[35]

Critical reception

Sunset Boulevard attracted a range of positive reviews from critics. Time described it as a story of "Hollywood at its worst told by Hollywood at its best",^[36] while Boxoffice Review wrote "the picture will keep spectators spellbound."^[37] James Agee, writing for Sight and Sound, praised the film and said Wilder and Brackett were "beautifully equipped to do the cold, exact, adroit, sardonic job they have done." Good Housekeeping described Swanson as a "great lady [who] spans another decade with her magic,"^[6] while Look praised her "brilliant and haunting performance."^[36]

Some critics accurately foresaw the film's lasting appeal. The Hollywood Reporter wrote that future generations would "set themselves the task of analyzing the durability and greatness" of the film, while Commonweal said that in the future "the Library of Congress will be glad to have in its archives a print of Sunset Boulevard."^[6]

The rare negative comments included those from The New Yorker, which described the film as "a pretentious slice of Roquefort", containing only "the germ of a good idea".^[6] Thomas M. Pryor wrote for The New York Times that the plot device of using the dead Joe Gillis as narrator was "completely unworthy of Brackett and Wilder, but happily it does not interfere with the success of Sunset Boulevard".^[38]

In 1999, Roger Ebert praised the acting of Holden and von Stroheim and has described Swanson's as "one of the all time greatest performances." He says Sunset Boulevard "remains the best drama ever made about the movies because it sees through the illusions."^[39] Pauline Kael described the film as "almost too clever, but at its best in its cleverness",^[40] and also wrote that it was common to "hear Billy Wilder called the world's greatest director."^[41] When Wilder died in 2002, obituaries singled out Sunset Boulevard for comment, describing it as one of his most significant works, along with Double Indemnity (1944) and Some Like It Hot (1959).^[42]

The modern review aggregator Rotten Tomatoes reported that 98% of critics gave the film a positive review, based on 60 reviews with an average rating of 9.3/10, the site's consensus says, "Arguably the greatest movie about Hollywood, Billy Wilder's masterpiece Sunset Boulevard is a tremendously entertaining combination of noir, black comedy, and character study."^[43]

Recognition since 1989

The famous "I'm ready for my close-up" scene from Sunset Boulevard

In 1989 the film was among the first group of 25 deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the National Film Registry.^[47] Sunset Boulevard received 33 votes in the British Film Institute's 2012 Sight & Sound polls, making it the 63rd greatest film of all time in the critics’ poll and 67th in the directors' poll.^[48] In a 2015 poll by BBC Culture, film critics ranked Sunset Boulevard the 54th greatest American film of all time.^[49]

American Film Institute included the film on these lists:

• 1998 – AFI's 100 Years... 100 Movies – #12
• 2005 – AFI's 100 Years... 100 Movie Quotes:
  • "All right, Mr. DeMille, I'm ready for my close-up." – #7
  • "I am big, it's the pictures that got small!" – #24
• 2005 – AFI's 100 Years of Film Scores – #16
• 2007 – AFI's 100 Years... 100 Movies (10th Anniversary Edition) – #16

Stapley and Hughes

From around 1952 to 1956, Gloria Swanson herself worked with actor Richard Stapley (aka Richard Wyler) and cabaret singer/pianist Dickson Hughes on an adaptation titled Boulevard! (at first Starring Norma Desmond). Stapley and Hughes first approached Swanson about appearing in a musical revue they had written, About Time (based on Time). Swanson stated that she would return to the stage only in a musical version of her comeback film. Within a week, Stapley and Dickson had written three songs which Swanson approved.^[56]

In this version, the romance between Gillis and Schaefer was allowed to blossom, and rather than shoot Gillis at the end, Norma gave the couple her blessing, sending them on their way to live "happily ever after."

Although Paramount gave verbal permission to proceed with the musical, there was no formal legal option. In the late 1950s, Paramount withdrew its consent, leading to the demise of the project.

In 1994, Dickson Hughes incorporated material from Boulevard! into a musical Swanson on Sunset, based on his and Stapley's experiences in writing Boulevard!.

Other failed attempts

Stephen Sondheim briefly considered turning Sunset Boulevard into a musical until meeting Billy Wilder at a cocktail party, who told him that the film would be better adapted as an opera rather than a musical.^[57] Hal Prince later approached Sondheim to adapt the film as a musical with Angela Lansbury playing Norma Desmond.^[58] Sondheim declined based on Wilder's previous advice.

John Kander and Fred Ebb were also approached by Hal Prince to write a musical of Sunset Boulevard.^[59]

Lloyd Webber and Black & Hampton

A musical adaptation with a book written by Don Black and Christopher Hampton, and music and lyrics by Andrew Lloyd Webber was staged in 1993 in London. It closely followed the film story, retained much of the dialogue and attempted to present similar set designs. It reached Broadway in 1994, with Glenn Close playing Norma Desmond. The production staged 17 previews beginning November 1, 1994, and played 977 performances at the Minskoff Theatre from November 17, 1994 through March 22, 1997.^[60] In 2016, Close reprised the role in a critically acclaimed performance sold-out run in London’s West End, followed by a 12-week run at the Palace Theater in New York from February 2, 2017 through to June 25, 2017.

Television

• 1959 TV Episode of "The Twilight Zone" "The Sixteen-Millimeter Shrine" features Ida Lupino as a has been Movie actress living in the Past
• 1959 TV episode of "Perry Mason" "The Case of the Watery Witness" features Fay Wray as a mean spirited has been Movie actress murder victim who still acts as she was the great movie actress of nearly 25 years before and resides on her estate-although she is in realty bankrupt.
• 1975 TV Movie of "Columbo" Forgotten Lady a dying former Movie star and murderess played by Janet Leigh lives for only her past films
• The film was parodied on The Carol Burnett Show in a recurring sketch called “Sunnyset Boulevard” in which Carol Burnett played the insane "Nora Desmond" and Harvey Korman (in a bald cap) her servant Max.
• The Tiny Toon Adventures episode, "Sepulveda Boulevard", is a parody of the movie.
• In the episode of Rugrats titled "America's Wackiest Home Movies/The 'Lympics", Angelica says, "I'm ready for my closeup, Mr. DeVille", referring to Phil and Lil's dad, Howard DeVille.
• In the episode of American Dad!, entitled "Star Trek", the plot revolves around the downfall of stardom and pays homage by replicating the opening scene of the movie. The plot of the episode "A Star is Reborn" is also based on the film.
• The Bunheads episode "Take the Vicuna" includes the line "As long as the lady's paying for it, why not take the vicuna?"
• The Archer season 7 finale and segue to the film noir Archer: Dreamland season 8 recreate the pool scene from the opening of the film.
• The Twin Peaks character Gordon Cole is named after the Sunset Boulevard character. A scene from the film itself appears in Part 15 of Twin Peaks: The Return. In the scene, being viewed by Dale Cooper, the name "Gordon Cole" is spoken, which stirs Cooper's buried memory of his time in the FBI.
• The 3rd Rock from the Sun episode "Fifteen Minutes of Dick" (season 2, ep. 23) features a spoof on the film, wherein Sally, suddenly famous, spirals into Norma-esque despair as her celebrity wanes.

Literature

Sunset Boulevard is heavily referenced in The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made by Greg Sestero and Tom Bissell. Quotes from the film are used as epigrams to many chapters, for example chapter 11 quotes "No one leaves a star. That's what makes one a star."^[61] Plot and themes of the film are directly invoked to point out parallels in the production of The Room. In an interview Sestero states, "I saw a lot of similarities with my story, especially when Tommy lived in a place that had a pool and wanted to make his own vanity project."^[62]

Batman: Legends of the Dark Knight issue number 41 was influenced by Sunset Boulevard with the title 'Sunset'. Batman finds an abandoned film studio to hide in. He is knocked out by the valet to a former silent film actress, Nina Demille. She imprisons Batman in her home. Scenes of the movie parallel the comic book, such as driving in the car outside.

Music

During the recording of the Metallica song 'The Memory Remains', Marianne Faithfull's manager told her to "picture Sunset Boulevard".^[63]