🎦 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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Pretty much one of greatest movies ever!
I just saw Sunset Blvd. for the first time as it was aired on finish channel two. I was amazed! Totally brilliant! Billy Wilder is a superb director and William Holden a terrific actor. And the plot. Very good indeed. As a whole the movie is a perfect combination. Actors, screenplay, music and all key elements are all very close to the best I've ever seen on film. I can on only wonder about the imagination of Billy Wilder. Of course I have give credit to the other writer Charles Brackett as well. And Gloria Swanson plays the neurotic and psychotic has-been movie star with so much authenticity that it is quite scary. What more can I say? Probably quite a lot, but I'll just end by saying that Sunset Blvd. is in my opinion one of the greatest movies ever.
True Genius
This movie is true genius. The fantastic and intriguing opening scene, the deep story line, and even the similarities between the characters and the real life people who play them make for one of the greatest movies of all time.

This is a must see! Gloria Swanson is fantastic; William Holden is as well.

"I still am big. It's the movies that got small" -- Norma Desmond
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?!?!?

Alright Mr. DeMille, I'm ready for my close-up.
It is among the best and most tragic exit lines in film. And it also leads directly to the best conclusion (I feel) in movies in terms of proper cinematography: the clouding of the focus as Norma Desmond descends the staircase into her madness. Rarely does a film end so satisfactorily and perfectly.

SUNSET BLVD. was not the first film to look at the uncertainties of cinematic success and fame. A STAR IS BORN had done so in the in 1937. It showed how as a star is nurtured by the system to great fame, another prominent star descends into oblivion and death. So why (if the story theme was not new) was SUNSET BLVD. such a tremendous hit and classic from it's first appearance in 1950? It boiled down to this: the personal poison of the great fame of the silent screen star Norma was not mirrored precisely in the fall of say Norman Main (although their two first names bear an uncanny resemblance). Norman had always had a drinking problem which he never controlled. Norma was not into that - she was always into a healthy physical lifestyle (except for smoking), but the effect of her publicity and the fan mail pushed her egomania to great heights. It made her so egocentric that she can only think of the people around her in her immediate cycle as the greatest representatives of all those millions of unseen fans - the wonderful people out there in the dark. They are there for her adoration only. Norman Main, in comparison, did find a measure of happiness in Vicki Lester, whom he discovered and helped to find her true potential. He was more selfless, to the point (as it turned out) of self-destruction. Not really like Norma Desmond. To her people are there to serve Gods and Goddesses called stars.

One might also notice that Joe Gillis is not Vicki Lester. Joe and Vicki were both ambitious, but Joe really wasn't as interested in Norma (aside from giving him room, board, and a temporary job), as Vicki was in Norman. There was a mutual attraction there (Norman was not incredibly older than Vicki, as opposed to Norma's older age compared to Joe's). Joe also had his girlfriend/collaborator Betty Schaeffer. Vicki had no other lover on the outside - it was only Norman. That is why, when he commits suicide, Vicki goes into seclusion.

There is a triangular figure in SUNSET BLVD. for Norma, in her butler Max Von Mayerling. He had been her first director and husband, and he is also (in his over-devotion to her) feeding her ego by writing hundreds of fan letters to her to keep her emotionally happy. It is a sign of her insanity that she never notices that the letters are written by the same hand.

Wilder had used Eric Von Stroheim in FIVE GRAVES TO CAIRO as Rommel, so he knew what it was like working with him. Supposedly when Von Stroheim was being directed by Billy Wilder he wanted to throw in various tics and sexual habits for Max (like his carefully washing Norma's underclothes) which Wilder managed to push aside. Von Stroheim's performance (one of his greatest) was not harmed by these cuts, although one wonders what his performance would have seemed like if they had been retained. But by reducing the neurotic behavior of Max (to just his pathetic need to be near Norma to support her) it keeps us concentrating on Norma's psychosis - where it should be.

Norma is the driving force to the end, pulling the wires that manipulate Max, Joe, Betty, even (out of a sense of pity) Cecil B. DeMille and his production staff (example: the light man "Hogeye"). Even with the "waxwork" friends who crop up for cards, Norma seems to be in control (they all congregate to see her - the richest among them). Even with people who are supposedly independent (the funeral home people who cater to her burying her pet monkey; the salesman on commission who urges Joe to buy the vicuña coat) she manages to keep this control. She is the central sun/"Star" in this galaxy - and cannot brook any deviation. The rejection of the ungrateful Joe can only be appeased physically by his death, and emotionally by her mind clouding that failure and it's aftermath from her memory. From the start of the film, with all her egocentricity at work, only a psychic slap in the face was missing to complete the tragedy. Then she was finally ready for that close-up.
The end of one film era in a film about the end of another film era
With Sunset Boulevard film noir hit it's crescendo. The genre would linger on, but only as an echo of it's former self, like wind blowing through an old pipe organ. This story of a down on his luck Hollywood screenwriter and his peril fraught associations with a fading silent film star plotting her return to the big screen has all the things a noir fan loves; dark mysterious places, a near constant sense of looming danger, rapid and smart dialog and great narration by William Holden. But the film is about more than that. It is about the rough and perilous life that goes with any work in a business as tumultuous as Hollywood, and the unpredictable nature of celebrity. This is Hollywood shining a spotlight on itself and when the cameras aren't rolling, and the makeup isn't on, it can be a very ugly place indeed.
Dead in street...
SUNSET BOULEVARD will always be inextricably linked to ALL ABOUT EVE. They both came out the same year; they both star legendary actresses playing legendary actresses; they both are cynical, sometimes savage in their estimation of show business. And, of course, they are both great films.

But they are very different stylistically and philosophically. A primary difference is that EVE is about a survivor. Bette Davis' Margo Channing in EVE accepts, perhaps grudgingly, that change is inevitable. Either she adapts to reality, or she loses all. That is what makes Margo more than just "a great star, a true star." Margo's rival, Eve Harrington, may someday end up like BOULEVARD's Norma Desmond, but Margo Channing never will.

But if EVE is about life, SUNSET BOULEVARD is about death. Even their titles suggest this: "Eve" being the first bearer of life and "sunset" being the approaching night. In BOULEVARD, Gloria Swanson's Norma Desmond is to some extent already dead by the time the film starts, locked away in a haunted house, coming out only for the funeral of her pet monkey. She is bound by reputation and profession to a type of film-making that is long dead and nearly forgotten. Her life, like her career, is based on illusions of life.

The prevailing interpretation of SUNSET BOULEVARD assumes that Norma is one of Hollywood's victims; that the town and the industry turned its back on her when she was no longer a star, her career sabotaged by the coming of sound in motion pictures. I don't buy that. The film clearly shows us that at age 50 Norma is still vibrant, still beautiful, still energetic and eager to make movies. Plus, she is filthy rich. This is not a woman who would walk away from movie making because she is afraid of her own voice. Indeed, her voice is magnificent; sultry, insinuating and theatrical. I don't think Norma went mad because Hollywood turned its back on her, rather Hollywood turned its back on her because she went mad.

I don't think we are getting the full story here. Something may have drove Norma mad, but it wasn't talking pictures. Indeed, she may have been unstable all along, but I think there is something in her past that destroyed her, and I suspect that involves Max (Erich von Stroheim). In his "Great Movies" essay, Roger Ebert suggests that the love between Norma and Max, her ex-husband/ex-director/butler, is the heart of the story; that it's Max's love of Norma that validates her continued existence. I don't see that. I suspect that Max is less a servant than a caretaker or even a jailer. Max (like Joe Gillis, Norma's erstwhile boytoy) may be trapped in Norma's web, but it is a web of his own making. He appears subservient, but he is the one in control, he perpetuates her delusions and enables her madness. I even suspect that he only allows Joe into the situation because he knows that Joe is weak and no real threat to his power; and that he suspects that it will help placate Norma by feeding her fantasy of a comeback. There is more than adoration that cements the relationship between Max and Norma; perhaps guilt, jealousy, desperation -- who knows? All I know is that it is best kept as a subtext, a part of the film's impenetrable mystery. The less we understand Norma, the more intriguing she is.

However, if I were to be so bold as to make one major change in SUNSET BOULEVARD, it would be to replace William Holden as Joe Gillis. I respect Holden as an actor, but his screen persona has always been one of strength and -- if not integrity -- confidence; he is not one who plays vulnerable with any conviction. Plus, he doesn't play the part of Gillis with any gentle shadings. The "romance" between Norma and Joe is the least convincing aspect of the film. Joe treats her with barely concealed contempt and a bit of occasional pity, which makes it hard to believe that a self-absorbed diva would even tolerate him, let alone make him the house pet. The role of Joe was originally intended for Montgomery Clift, an actor with a proven ability to appear passive, even as he plays sinister. His work in THE HEIRESS and A PLACE IN THE SUN illustrate this point. I see Joe Gillis, not as a bored hanger-on, but as sycophant who is in awe of Norma, even as he exploits her, and therefore he doesn't realize that he actually is the one who is being used (sort of a younger version of Max). I think Joe should be someone who is cunning, but naive about his own limits, not someone who is already bitter, corrupt and cynical as the story begins.

Maybe I am wrong, but I get the feeling that Holden was very uncomfortable playing the part of, well, a mistress, and especially one kept by such an older woman. Perhaps his manhood was threatened and that uneasiness shows. Clift, or an equally rakish young actor like, say, Farley Granger or Robert Wagner, would enliven the story and make the romance with the perpetually needy Norma more credible. I don't think it is enough that the film shows that Norma enjoys manipulating Joe, I think it has to also be implied that to a certain extent Joe loves being manipulated. The relationship is after all a romance and to be credible as long-term there has to be the spark that it is mutually enjoyable. Holden's interpretation that Joe is just doing it for the money just doesn't ring true. While a pairing of the aging diva with an ambitious -- and yes, probably gay -- younger man is practically a show business institution.

Yet, even with these reservations, it is undeniable that SUNSET BOULEVARD is quite a film. A little bit Hollywood satire, a little bit moralistic fable and whole lot of Gothic melodrama. And Swanson's just-not-quite over the top performance is mesmerizing. It was assumed that BOULEVARD would revitalize Swanson's career. It didn't. But apparently, it didn't matter to her: she dabbled in acting now and again, when the part amused her, but she had better things to do with her life. Swanson played Norma Desmond, but she lived life as Margo Channing.
They Don't Make 'Em Like This Anymore
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
masterful, haunting and utterly brilliant
Sunset Boulevard (1950)

Number 1 - 1950

Top 5 - 1950s

Top 50 - All Time

(first lines) Joe Gillis: Yes, this is Sunset Blvd., Los Angeles, California. It's about 5 0'clock in the morning. That's the homicide squad, complete with detectives and newspaper men.

From that masterful opening sequence until the tragic conclusion, Sunset Boulevard maintains an example of classic film-making at its most original and revitalising level.

This is one of the greatest works ever committed to film. I could stop right there and say no more. It would be justifiable...

The film opens on the grounds of a run down, old mansion in Sunset Boulevard, where the dead body of a young man floats in the swimming pool. All around are news reporters and journalists, trying to capture a shot. Why? Because, the body lies in the house of an ageing film star, Norma Desmond, long forgotten after the silent era passed her by. The film revolves around the story of this bizarre, disturbed woman who was deserted by fame, her faithful butler, discoverer and ex-husband and a struggling writer who accidentally falls under her wings and she slowly, and pervasively drives him to the edge, as she becomes obsessed, fixated and jealous of any other affairs that this man has. Until, in the grand finale, she shoots him as he tries to leave her false hopes and bizarre world.

This film, along with its main themes and tightly focused storyline, examines the power and corrosiveness of fame and its effects ones it leaves you. Norma Desmond is the deserted silent film queen, who spirals into madness as the world slowly forgets her day by day.

Gloria Swanson, who plays Desmond is nothing short of astonishing. One of the greatest performances I have ever seen and definitely one of the best performances to be overlooked by the Academy.

With outstanding performances from Eric von Stroheim and William Holden as the struggling writer, who initially finds refuge with Desmond, in this story about fame, madness and humanity. The direction by Billy Wilder is truly exceptional along with a great screenplay, a superbly suited score by Franz Waxman and creative cinematography by John F. Seitz, create an atmospheric film-noir.

1950 was a good year for film. Sunset Boulevard was up against the equally recognised masterpiece All About Eve and the Best Picture was awarded to the latter, although I am convinced that Sunset Blvd. was superior. Regardless a timeless achievement and a film that is grounded in the list of the greatest films ever made.

A very brave look at Hollywood when Hollywood was bullied by an absurd censorship.
Usually, Cinema is considered as the most delicate form of art because it has the biggest potential to become 'dated' one day. Once a movie thought as 'mind-blowing' can easily become a 'turkey' a decade later.

This is not the case here. Sunset Boulevard still remains as one of the most eerie film in the cinema history and still a realistic depiction because of its reflection of Hollywood. It can give you the idea of the dream land's transformation into a nightmare.

The film is about a troubled script writer 'Joe Gillis and a forgotten silent film star Norma Desmond's weird relationship and the madness that surrounds them and the people around them. Don't wanna give much of the plot, on account the fact that it is a pure gem that should be invented without knowing nothing. But I can talk about the cinematic aspects of this movie.

This movie has some very eerie moments because of using a great cinematography. The moments of burying the dead monkey and watching the old film of Norma Desmond are exquisitely presented. The movie has some one of the most innovative scripts of cinema and that is certainly justified by the unforgetable and memorable lines captured from the film. The directing is top-notch but who are we kidding it is Billy 'the great' Wilder. The end of the movie is one of the most chilling part of the movie and it can truly give you some nightmares about insanity. The narration of the movie by the head character was probably done by this movie at the first place and this influenced so many movies afterwards.

One of the reasons that this movie is still not dated is because of its courage. The Hayes code was at its peak at the beginning of fifties which manipulates the producers to limit their bad thoughts on one subject, especially on Hollywood. The movie got 11 oscar nomination but only got 3 of them. Apparently, the reason was its harsh criticism on Hollywood.

There are some arguements about Sunset Boulevard's genre. It is considered as the greatest film-noir of all time. I don't think it is a film-noir at all. For some aspects, the movie has some noirish elements such as the black and white German-expressionist cinematography and an 'on the edge of insanity', femme-fatale but these two are not enough to make a film-noir. I think this is a psyhcological drama with some horror(the end is horrifying for me) and with some very very dark comedy.

Overall, This is truly a classic and one of the best movies of cinema history that will never lose its effects on cinema. Heavily influences American Beauty and Mulholland Drive, also making those movies a must see. 10/10
Sunset Blvd: An intense and scary film
'Sunset Blvd.' criticizes the mass media society. It is not just about Hollywood.

"Sunset Blvd." is classic Billy Wilder work. He builds a story with a voice over, which creates an intense and exciting mood.

Sunset Blvd. has many qualities. This is a tragic story about a fallen star and the inability to be a "normal" and "ordinary" human after have been some kind of attraction. This is a movie that after more than 50 years still has great power. And I think it will remain. Just the fact that "Sunset Blvd." really includes Paramount Pictures, Cecil B. DeMille, Buster Keaton, Gloria Swanson and Erich von Stroheim makes it so real and in the same time beyond reality. And who produced this picture? Paramount Pictures! Is it an impossible thing to happen today? When Norma and Joe watches a movie you can see what it is: Queen Kelly - one of the last silent movies, directed by von Stroheim and casted by Gloria Swanson ...

Billy Wilder shows that the end isn't the only important thing in a movie. It is most of all the way to the end. "Sunset Blvd." is like a journey, and there is not only the characters in 'Sunset Blvd.' who has a development - it is most of all also a development for us, the audience, if we understand it. And I think we should.

Rating: 10 of 10.
📹 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. 📀