🎦 Sunset Blvd. full movie HD download (Billy Wilder) - Drama, Film-Noir. 🎬
Sunset Blvd.
Drama, Film-Noir
IMDB rating:
Billy Wilder
William Holden as Joseph C. 'Joe' Gillis
Gloria Swanson as Norma Desmond
Erich von Stroheim as Max Von Mayerling
Nancy Olson as Betty Schaefer
Fred Clark as Sheldrake
Lloyd Gough as Morino
Jack Webb as Artie Green
Franklyn Farnum as Undertaker - Chimp's Funeral
Larry J. Blake as First Finance Man (as Larry Blake)
Charles Dayton as Second Finance Man
Hedda Hopper as Herself
Buster Keaton as Himself - Bridge Player
Anna Q. Nilsson as Herself - Bridge Player
H.B. Warner as Himself - Bridge Player
Storyline: The story, set in '50s Hollywood, focuses on Norma Desmond, a silent-screen goddess whose pathetic belief in her own indestructibility has turned her into a demented recluse. The crumbling Sunset Boulevard mansion where she lives with only her butler, Max who was once her director and husband has become her self-contained world. Norma dreams of a comeback to pictures and she begins a relationship with Joe Gillis, a small-time writer who becomes her lover, that will soon end with murder and total madness.
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By: Margaret Reines: 'Billy Wilder Brilliance'
Some observations re the film:

The frequent imageries of death:

Rats in the pool; The dead chimp; the decaying mansion; Norma's fellow 'silent-film' card – players (referred to as the 'waxworks').

The mansion possibly being indicative of an old 'Hollywood' – and all its inhabitants – crumbling. The same argument could be afforded to the old car.

The derision conferred on Norma's age of '50′ years – as compared to today's women – and the accompanying notion of what she was capable of at '50′.

The novelty in 1950 of a women 'keeping' hack actor/writer Joe Gillis. (Note the smirk on the salesman's face when Norma is buying Joe clothes).

Possibly the best imitation-cameo of Charlie Chaplin ever. – by Norma for Joe's amusement. He looks more bemused than amused-this sort of 'aside' in the film presenting so well because of Waxman's flawless score.

The impossibility of classifying this picture in to one category – (horror, film noir, social commentary?) -It's really one of a kind – a savage expose of Hollywood -possibly not receiving as many awards as it would have for this very reason.
Classic Hollywood
Not too many films could personify all that is Hollywood quite like this film. This film speaks Hollywood, shows Hollywood, cries Hollywood and dies Hollywood. Billy Wilder tried harder than any of his other film while making this one and it sure shows.

The story of the aging film star that still lives in the past was something like a tribute to an era that even in the 50's had long lost its luster. Gloria Swanson in the best role of her career plays Norma Desmond, the silent screen star who is in the process of writing a script for a film to be directed by Cecil B DeMille, or at least she believes so. Norma entails the help of a younger man named Joe Gillis (played by William Holden), who in a bit of desparation of his own, decides to alter her script for her in return for money and a place to live.

The haunting mansion that Desmond lives in with only her butler Max (Erich von Stronheim) shows only pictures of her, has a screen onto which her films are shown to her weekly and plays host to other former silent film stars (notably Buster Keaton in a surprise cameo), is a reminder of how time passed Norma by. Norma tries, though in vain to make Joe love her as she loves him. She even goes through the trouble of having a small orchestra play all night on New Year's Eve just for the two of them. When Joe asks when all of the other people are going to arrive, Norma responds "this is a special evening, this is our evening." From here on we see to what lengths Norma will go to show Joe how much she loves him, regardless of the fact that he does not love her.

Joe is eventually approached by a script reader, Betty, (Nancy Olsen) that finds some potential in one of his older scripts and offers to work with him to bring it up to par. The only problem is the close grip that Norma has around him. Joe knows that he can only sneak away at night since Norma doesn't want him to be away from her for any amount of time. Joe leaves frequently to work with Betty, all the while falling in love with her.

The tragic ending in this film reminded me of the one in "The Great Gadsby." It is another example of love gone wrong when a man should have been with the girl he loved, however, the circumstances he is in simply won't let him.

I fully enjoyed this film and would recommend it to all. This film is truly one of the all time greats.

8/10 stars.
Right up there with Citizen Kane
Brilliant film that is easily Wilder's best. A true classic that deserves to be ranked alongside Citizen Kane. And comparing the 2 films in terms of acting, atmosphere, dialog, conflict, symbolism, and theme (to say nothing of depth): Sunset Boulevard surpasses Kane. The ending is unforgettable and ironic:Max gets to direct, Norma makes a "comeback" before the cameras, and Joe has a story, his own. Like Kane, Sunset Boulevard begins with the end. The first shot is of the gutter with the film's title printed on the curb,and the first shot of Joe floating lifelessly in Norma's pool shows us he has sunk even lower: the film proceeds to show us how he got there.

Sunset Boulevard is about the march of time:what time and technology does to people and what happens to those who don't or can't keep in step. And like Norma, the new Hollywood seems to be leaving Joe behind. The 2 cars in Norma's garage represent an unspoken bond between Joe and Norma; except for those cars the outside world has little use for these two. The finance company wants to repossess Joe's car and Paramount wants to use Norma's for a film.

The acting is unsurpassable;the dialog and narration memorable, and the atmosphere in that decaying mansion is palpable. One of those films, like Kane, that improves with repeated viewings. Endlessly brilliant. The film hasn't aged a bit, and Swanson and VonStroheim lend it an authenticity that would be impossible for any subsequent version to equal. Essential viewing.

The Paramount released DVD looks great and has worthwhile extras.
Swanson Levitates.....In A Perfect Performance
Yet another magnificent motion picture directed by the great Billy Wilder. The magical performance by Gloria Swanson will be analyzed and deeply appreciated for ever. William Holden as the young novice writer also is great here. The play between the two "stars" is tactful and completely convincing. The movie is full of memorable lines (the writing is flawless) ...its such a great pity movie writers to-day simply CANT do it. I wonder why that is...but its true. Swanson gambles everything on her ability to go for broke....without looking fake. She does it with an amazing piece of breathtaking acting. Watching her is almost like watching a tight rope walker....without the net. This can be viewed multiple times...a real Classic. Gets an automatic 10 / 10.
"I'm ready for my closeup Mr. DeMille"
Landmark black comedy by Billy Wilder that still holds up fifty years later. William Holden is excellent as screen writer wannabe Joe Gillis in a star making performance. Holden narrates the story as the film opens up chillingly with Gillis' body being found dead in a pool by the police. see where American Beauty got it's narrative device?). Gloria Swanson also superb as faded silent star Norma Desmond. A clever and biting satire of Hollywood greed, power and fame. Hilarious from start to finish. One of my favorite scenes, Gillis after taking refuge at Gloria Swansons House on Sunset Blvd is mistaken for a coroner to take away the dead chimpanzee. Classic!
Superb and disturbing
You know when occasionally you watch a film, and you think it sounds okay, but then it totally exceeds your expectations and you're just blown away by it? Well, Sunset Boulevard (aka Sunset Blvd.) was just such a film for me.

William Holden – who also narrates the film – plays Joe Gillis, a small-time screen writer, down on both money and luck; as we find out right at the beginning of the film, Gillis won't be alive by the end of it. He meets former silent movie star Norma Desmond (Gloria Swanson), who cannot and will not accept the truth that her star has long since faded into obscurity and she has been all but forgotten by both the film industry, and movie-goers. Determined to have another hit film, she hires Joe to help her edit her self-penned script, but she soon becomes obsessed with him, and Joe finds himself less a guest, more a prisoner, at her dilapidated home, with only Norma and her mysterious butler Max for company.

As you may have guessed, I loved this film. The storyline is a caustic and witty dig at a fickle Hollywood. The fact that viewers are informed by Joe's voice-over right at the start of the film, that he will not survive to the end, fills the ensuing scenes with a bitter sense of doom, and the contrast between Joe the narrator, who knows his fate, and Joe the character who we see on camera, who is unaware of what will befall him, is very effective (A similar idea was used years later in American Beauty, also with excellent results, although Sunset Boulevard was, for me, a much better film.)

Gloria Swanson was excellent as Norma Desmond, and at times was difficult to watch. I disliked her character, but couldn't help feeling great sympathy for her. Deserted by her fans and her colleagues, she is losing her grip on reality. At times, she was manic and unpredictable; at other times, she showed tenderness and extreme vulnerability (the scene where she entertains Joe by dressing up as Charlie Chaplin is both sweet and disturbing, as her happy mood turns to anger). Swanson was nominated for an Oscar for her performance; the same year Bette Davis was nominated for her role in All About Eve – both lost out to Judy Holliday for her role in Born Yesterday, which also starred William Holden. He was also nominated for Sunset Boulevard.

William Holden shows his real talent for acting here. A not altogether likable character at the beginning of the film, he nevertheless gets the audience on side, as he and they come to realise the untenable situation in which he has found himself. He imbues his character with passion, tenderness, ruthlessness, and resignation – oh, and he's darkly funny too.

Eric von Stroheim is perfectly cast as Norma's taciturn and mysterious butler – this role could easily have been a caricature in different hands, but he plays the part brilliantly.

The main cast is rounded out by Nancy Olsen as Betty Schaefer, a young writer who wants Joe's help on a script; she is perfectly cast as a feisty but tender young woman who is dragged into Joe's nightmare world.

In short, my opinion for what it's worth, is that there is absolutely nothing wrong with this film. It's gripping – I felt unable to turn my eyes away from the screen; it's sad, it's tragic, and it's bleakly funny. It was a real victory for director Billy Wilder, and it's the best film I've seen in a long time. Very highly recommended.
Greatest star of them all?
I just watched SB again -- three times -- this past week, for perhaps the 100th time.

The film is virtually flawless, IMHO. (Except for the distracting shadow of the camera on William Holden's back as he moves to Norma's bed to wish her, "Happy New Year, Norma . . . ," a technical flaw I've never understood: why wasn't the move re-lit and re-shot, since everything else in the film is perfect?) But what continues to haunt me is Swanson's performance. Her silent-screen "theatricality" is always remarked upon. Yet there are several moments of utterly contemporary "naturalism" that show she knew exactly what she was doing as an actress (and Wilder, as director).

Her sweetness in her "bathing beauty" scene, where she recounts her days in the line with Marie Prevost and Mabel Normand, then leaps onto the sofa beside William Holden -- is so beguiling that you completely understand her sex appeal and warmth (for a moment). When she asks for his match (for a moustache for her Chaplin impression) and tells Holden to close his eyes, "Close 'em!" -- the "Close 'em!" is clearly an ad lib that is so real and intimate that it is almost instantly lost in the macabre sequence that follows -- all flashing eyes and volcanic eruption that C.B. DeMille himself hasn't phoned her.

Soon afterward, believing she will be making "Salome" for DeMille, there is the astonishing montage of Norma's marathon beauty treatments in preparation for her "return." Extreme closeups of Swanson's face, without makeup, reveal a still-youthful, lovely woman with flawless skin. Even under the magnifying glass, even with the "worried" expression of Norma Desmond, Swanson is stunningly beautiful for a few moments. Ironically, for the rest of the picture, she had to be made up to look older. Yet here we get a glimpse of the real Swanson at 50-whatever, and she looks merely a few years older than Holden.

Finally, the entire sequence when Holden returns to find Swanson phoning Betty Shaefer to tell her the truth about Joe Gillis, Swanson is in cold-cream and "wings" to smooth her cheeks and eyes -- an actress completely exposed and without vanity.

She plays the entire sequence "naturalistically" and in complete contrast to her theatrical, "I AM big. It's the pictures that got small," style.

Here, in her bed, caught by Holden, realizing she's going to lose him, she begs him, "Look at me!" The desperation and helplessness, the momentary admission of reality as Norma acknowledges her fears and insecurities and pleads with Holden, are heartbreaking. Swanson's playing in the scene is astonishingly courageous for any actress, and deeply true to the character.

Finally, as Joe packs to leave her and Swanson pleads with him to stay -- grabbing his luggage and begging, "What do you want? Money?" -- again her playing is ratcheting up emotionally into madness, yet is still as contemporary as any Stanislavski method.

Everyone tends to remember Swanson's over-the-top stylized performance: yet her total control as an actress, and her naturalistic moments and emotional nakedness, however fleeting, are something to behold.

Swanson's is truly one of the most astonishing performances on film. Her range here is jaw-dropping.

Watch her transitions in the Chaplin scene alone, in one continuous take, from heart-rending comedy to blind rage. No cutaways. Amazing.

I happened to see Swanson live at the Huntington Hartford Theatre in Hollywood, on Vine, in the late sixties, in a stage show written especially for her, called "Reprise." This piece-of-fluff comedy about a famous movie star returning to her home town was hardly Tony-Award winning. But from her first entrance, you were in the presence of a great actress.

Barely five feet tall, she swept in and immediately established a bodily "line" that commanded attention from then on.

Her performance was delightful. Even more so when, after intermission, the second act began with her character giving a Q&A session at the local Rotary Club.

Swanson walked down steps and into the actual audience, greeting "old friends" (that night's audience members), reminiscing about her career -- even sitting in a man's lap and "teasing" him for not remembering when they "dated" -- as real film clips from her silents played on a giant screen onstage.

She was outrageous and girlish (she was approaching 70 at the time) and delightful, poking fun at herself and her "character's" career.

It was a brilliant bit of stagecraft and an impressive revelation of the "real" Gloria Swanson.

Audiences were captivated and irresistibly charmed by this still-stunning-looking yet down-to-earth "young fellow" -- over fifty years after she first took the world by storm.

Swanson was the antithesis of Norma Desmond. She was entrancing, magical, adorable, and everybody wanted to take her home.

Honestly, perhaps the only other two live theatrical performances I've ever seen (and I've seen hundreds) that could compare to Swanson's sheer talent and charisma were Maggie Smith in "Lettuce and Loveage" and Vanessa Redgrave in "Orpheus Descending." Believe it.

Not every actor understands the difference between film and stage performance, nor can every actor deliver that difference vocally and physically (this was WAY before the days of amplified body mikes). Swanson did.

I was in first grade when "Sunset Boulevard" was released. I was in my 20s when I saw Swanson onstage in "Reprise" in Hollywood.

You could still see the magic that had made her the global phenomenon she had been in silents. You could still see the technique that astounded audiences with "Sunset Boulevard" three decades later.

You could understand where Billy Wilder got his line: "She was the greatest star of them all." Every time I watch SB, I think: "She probably damned well was."
I've seen this film over and over on tv and video. Last week I got to see it on the big screen. WOW! GO, Drive miles and miles, walk if necessary, steal a car, whatever - any chance you have to see this film as intended TAKE IT! I've always loved this film and thought it was brilliant - NOW I know it's truly a masterpiece! Gloria Swanson's performance is unbelievable - just how DID Judy Holiday win that oscar?!?!?

Sunset Blvd. (1950)
This dark shadowy film noir was an excellent classic that I recommend to anyone. It is funny, dramatic,and tragic. Although the humor is dark it is tasteful. The opening scenes of Sunset Blvd. are some of the most famous in motion picture history. After the opening credits, the camera follows motorcycles and police cars as they pull up to a Beverly Hills mansion where a body floats face-down in a pool. Then a voice over narration begins telling the story of a dead man. The house is almost another character altogether and an amazing mise en scene for a film. Film lovers will love the movie driven story, fantastic performances and great direction. It's one of the few movies that will be well known forever and never forgotten.
See Also
📹 Sunset Blvd. full movie HD download 1950 - William Holden, Gloria Swanson, Erich von Stroheim, Nancy Olson, Fred Clark, Lloyd Gough, Jack Webb, Franklyn Farnum, Larry J. Blake, Charles Dayton, Cecil B. DeMille, Hedda Hopper, Buster Keaton, Anna Q. Nilsson, H.B. Warner, Ray Evans - USA. 📀