🎦 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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weird, bizarre, fascinating, great
This movie deserves all the accolades it has gotten here, as well as "Maltin's" four stars. It certainly ranks up there as one of Hollywood's greatest achievements. Seeing it again only reinforces my opinion that William Holden was one of the truly great actors of the last [!] century. Gloria Swanson, however, steals every scene she's in; you can't turn away from watching her, even though she makes you really uncomfortable - it's like watching a train wreck. I don't know if the black & white was an economic or an artistic choice, but the film would never have been as effective in color. The opening shot - the floating, dead body of Joe Gillis, eyes wide open, shot looking up from the bottom of the pool - is one of the great shots, and an unforgettable opener, matched perfectly by the unforgettable closing closeup of Norma Desmond. To have Cecil B. deMille actually play himself was an inspired touch. Throw in Eric von Stroheim and you have an unbeatable combination. Truly one the all-time must-see films, although I don't know how to classify it - film noir? black comedy? Hollywood fable ? horror story? psychodrama? Who cares; just see it.
Four stars!!!!!
Billy Wilder's classic "Sunset Blvd." is a masterpiece about suspense, mystery, and intrigue. I think that Gloria Swanson should've gotten an Oscar for her performance as Norma Desmond. Swanson stole the movie and this is one of the best acting I've ever seen.

Rating: 10/10

William Holden and Nancy Olsen did okay jobs as the supporting characters but it was still good. Wilder also did well with the cinematography and directing in this. From the very beginning with the music and the narration, you know that something's going to be excellent.

The plot was also suspenseful when you have two people like Swanson and Holden working together on opposite sides. The idea of having a "Norma Desmond" in "Sunset Blvd." gave it more mystery and made it more interesting.

In conclusion, everybody should watch this movie at least once in their lifetime!
She Doesn't Want To Be Alone
"Sunset Blvd." is the funniest movie ever made about the saddest of human conditions, loneliness.

Struggling screenwriter Joe Gillis (William Holden) bounces around Hollywood like a pinball, flipped at every turn by the big wheels who ignore his attempts to latch onto their world. Only the repo men want his company. Then he finds himself in the mansion of forgotten screen legend Norma Desmond (Gloria Swanson), decked out as a memorial to someone not yet dead. Norma believes the world awaits her return ("I hate that word," she says of "comeback"). In her effort to elude time's heartless march, she abandons sanity and bids Joe join her.

Billy Wilder's film is a satire of Hollywood with a nod in the direction of Evelyn Waugh's "The Loved One" (Norma initially assumes Joe is here to help bury her pet chimp). As a satire it scores points, but it's as a twisted love story that it makes its mark as a cinematic masterpiece. Norma fantasizes about her comeback, but it's her love of Joe that destroys her. Everyone talks about Joe's self-loathing as a foregone conclusion of his finding himself in Norma's presence and turning himself into a gigolo, but I think he's always carrying that dislike around, his self-inflicted price for failing to achieve what he wants from life and a prison of loneliness every bit as desolate as Norma's mansion. One might wonder to what extent that, more than Norma, serves as his ruin.

It's also a marvelous black comedy, both of tone and out-and-out belly laughs, whether it's Joe getting unsolicited advice in the men's clothing shop ("As long as the lady is paying for it, why not take the Vicuna?") or his narrating how gentle people get with a person after he's dead. Holden's especially great in his voice-over work, letting every line stick with just the right amount of emphasis, and no hint of actorliness.

Swanson's all actorliness, of course, in that magnificent way of hers which provides so much of the empathy and madcap zaniness to the film. Like Gene Wilder in "Young Frankenstein," she draws you in with her amazing eyes and makes you laugh and cringe simultaneously at her most emotive outbursts. It's a comic showcase from one not known for comedy, or for working in sound.

Was Norma always this affected? A glimpse of her in one of her old movies (Swanson again, in her unreleased "Queen Kelly") shows a retrained, luminous presence not at all like the Norma we meet in the story. If this Norma played anyone on the silent screen, it would have more likely been Nosferatu. Just watch those hands of hers twist and pull, especially when she's drawing Joe deeper in her web.

Norma doesn't mean to harm Joe. She just has no idea how real relationships work. To her, like mad Max her butler (Erich von Stroheim, a curiously shifting centerpiece whose true nature drives the point home), keeping people around is all that keeps her from a chasm of despair. When she talks to Joe, or addresses her imagined audience, it's not with the coldness of a user but real heart and soul. Unlike Garbo, she most emphatically does not want to be alone, and we can't help but like her for it.

"Sunset Blvd." makes a subtle, brilliant case that staving off loneliness to such a degree makes for a sickness all its own. I'm not sure whether or not that's the most depressing thing about the film, but it certainly adds to the power of its singular sting.
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.
Welcome to the Hotel California on Sunset Blvd.
Sunset Blvd. had to have influenced the Eagles classic hit, Hotel California. Parallels exist throughout, including the enchantment.


1) A man compelled to stop for the night, as did Joe Gillis, whose face showed his puzzlement and hesitation upon viewing Norma Desmond's estate on Sunset Blvd: "This could be Heaven, or this could be Hell."

2) "Then she lit up a candle..." Norma lit many.

3) "Her mind is definitely twisted," as was Norma's, and, "she's got the Mercedes-Benz." Only in Norma's case, the Isotta-Fraschini.

4) "She's got lots of pretty, pretty boys that she calls friends." Norma had gone through three husbands and lured Joe into an intimate friendship.

5) "How they danced in the courtyard..." Joe and Norma danced in the great room.

6) "Some danced to remember" (as did Norma); "some danced to forget" (as did Joe).

7) "So I called up the captain, 'Please bring me my wine.'" Max Von Mayerling served as butler/wine captain.

8) "Pink champagne on ice." Lots of champagne consumed in the film.

9) "We are all just prisoners here of our own device." That's the theme of the movie! Every character is trapped in his and her own way.

10) "Last thing I remember, I was running for the door." Joe did also to "find the passage back to place I (he) was before."

11) Finally, "You can check out any time you like, but you can never leave." Precisely the fate of Joe.

If this fine film didn't inspire other artists, I'd be very surprised. It adroitly captured the mood and seductiveness of Hollywood and California of the early '50s.
All is not as it seems in Hollywood
March 7, 2004

**** Excellent!

"Sunset Boulevard" ranks with "All About Eve" as one of the best written and best acted films of the 1950's. To me, 1950, ranks as high as the golden year of 1939 for Hollywood.

I have just seen "Sunset Boulevard" for the very first time. I was very favorably impressed. "Sunset Boulevard" is the inspiration for all other Hollywood inside story films that came after.

Gloria Swanson plays Norma Desmond who is a lonely insecure once famous silent film star living in isolation with her servant in a lavish, but neglected Hollywood mansion from the 1920's. William Holden plays the role of Joe Gillis, a down on his luck B film Hollywood writer who accidentally discovers her mansion. Erich Von Stroheim plays the loyal house servant Max Von Mayerling to Norma Desmond.

A combination film noir, satire with dark, cynical humor, "Sunset Boulevard" excels. Being narrated by a dead man is a nice dark touch. There are cameos of several famous silent film stars including Buster Keaton, who play themselves in the film. Most notably, Cecile B. DeMile plays himself, who directed Gloria Swanson (in real life) in some of her silent films.

The film has a romance substory that is done well. I believe this substory really serves as a distraction from the film's dark cynical tone.

Both "Sunset Boulevard" and "All About Eve" are two excellent films of the same year (1950). Both were nominated for Academy Awards in many categories including Best Picture, Best Director, Best Screenplay and Best Actor, Best Actress, Best Supporting Actor and Best Supporting Actress. Both films had similiar stories. To decide which film was the best film of 1950 was truly difficult and shows the folly of the Academy Awards. Both are excellent films (in different ways): most notably for writing and acting. "Sunset Boulevard" has the advantage of better cinematography for it's film noir, moody look and feel. "All About Eve" does have a "stagey" look and feel to it, using basic and simple cinematography. Both films excel with similiar stories, done with different tone and mood.

"Sunset Boulevard" stands the test of time as a classic film, perhaps better understood and appreciated by film buffs, nonetheless, one of Hollywood's best films.
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.
Classic character drama.
Sunset Boulevard is a real classic I first learned about from parodies on The Carol Burnett Show in the 1970s. I didn't see the film until some 20 years later, when I found it fascinating. William Holden (Rachel And The Sranger, The Earthling) plays Joe Gillis, a bankrupt B-movie writer who drives his car into the garage of an apparently abandoned mansion on Sunset Boulevard to dodge the repo men. But the dilapidated place is occupied by two fascinating but weird characters, former silent screen star Norma Desmond (Goria Swanson) and her butler, balding, German-accented Max (Erich von Stroheim). Norma hires Joe to ghost-write a screenplay for her come-back, but he soon finds he's as much a kept-man as a writer, enabling more than one of the has-been starlet's delusions. The characters of both Norma and Max are fascinating enough to keep the movie going, and their relationship turns out to be more than it seems. The cast includes a very young Jack Webb, actually speaking like a human being, and appearances by Buster Keaton, Hedda Hopper, and Cecil B. DeMille as themselves. Carol Burnett made great fun of the role with Harvey Korman in the Max role 2 decades later, but the movie (directed and co-written by Billy Wilder) remains a grand drama, character study, and serious comment on the Hollywood star system.
A film that I would put in my Top 10 Best list.
I love this film and can't believe I never got around to reviewing it until now, as I've seen it many times. I think I just assumed that I'd written a review for it or neglected to do one since it already has so many good reviews. Regardless, it's one of the best films ever--and possibly the best film Hollywood has to offer--it's THAT good.

I think part of the reason I love this film so much is because it has perhaps the best opening scene in movie history. I adored the film's style and originality here. You hear William Holden narrating--narrating in a wonderfully cynical manner. And, as the camera pans down, you see a corpse floating in a pool. Suddenly, the camera is under water--and you see that the dead man is the narrator himself!! What an amazingly daring scene! And, to seemingly top it off, Norma Desmond's entrance is just sublime. But then you see that the film then works BACKWARD to explain how all this came to be--a truly wonderful style of storytelling! I could talk more about the film, but to me the beginning was THE film. Sure, Holden, Swanson and Von Stroheim were wonderful as well as Jack Webb in an interesting supporting role...but all you will probably remember is the introduction. And the directing and writing is wonderful...but you still keep coming back to the wonderful scene.

The bottom line is that all would-be film makers should be forced to watch this film and learn from it. And, if such a thing COULD be done, let's also force them to watch "12 Angry Men", De Sica's "Children Are Watching Us", Majidi's "The Color of Paradise", and.......
All right, Mr. DeMille
Gloria Swanson must be commended for her bravery in taking a part which may or may not have echoed her own Hollywood career. William Holden took a role which required him to be a kept boy; and he's not the nicest guy in the world either. If this had been made with Mae West and Montgomery Clift, I would probably not be writing this and no one else would give a damn about this movie either.

Both of them got Oscar nominations and I am sorry both lost. I am also sorry that "All About Eve" won Best Picture that year. Of course "Eve" is a great movie, but its not this.

This movie is part of our collective memory and most of the dialogue continues to be quoted even today. Thank God for whatever it was that brought Billy Wilder to Hollywood. I can't think of anyone who did such a wide variety of movies so well.

And please, no remakes.
📹 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. 📀