🎦 Sunset Blvd. full movie HD download (Billy Wilder) - Drama, Film-Noir. 🎬
Sunset Blvd.
Year:
1950
Country:
USA
Genre:
Drama, Film-Noir
IMDB rating:
8.5
Director:
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.
Type Resolution File Size Codec Bitrate Format
1080p 1920x1080 px 8013 Mb h264 10156 Kbps mkv Download
DVD-rip 480x352 px 701 Mb mpeg4 803 Kbps avi Download
Reviews
A Billy Wilder Masterpiece and All Time Best Film Noir..
I am a big fan of Film Noir Genre and also love Billy Wilder movies especially 'Double Indemnity', 'Witness for the Prosecution' and 'Apartment'.No one can keep you more glued to the seat than him but when I watched 'Sunset Blvd', in 20 minutes I was already aware I was watching his masterpiece, The best film noir ever.

The tension created by Wilder to the mystery of Norma Desmond character acts as duel progress to show a lonely woman and also the changing trends of Hollywood and the impact on stars that fade.It also tells the story and struggle of nascent writers in Hollywood.Well throughout the movie I didn't stop saying WOW!! The lighting, the camera angles, the sets, the screenplay all add to the noir atmosphere but it is all topped by wonderful Direction which is really flawless.Also, realistic acting performances by both William Holden and Gloria Swanson are 10/10.You can't really chose which one has done his/her part better.

I never put spoilers in my reviews so I would highly recommend to watch this movie.Even if you are a Noir fan,you will love it.If you want to start watching this genre,start with the best,the crown jewel of film noir and that's undoubtedly 'Sunset Blvd' .
2009-02-21
A somewhat savage, somewhat sick peek behind the Hollywood curtain
"Sunset Boulevard," Billy Wilder's barbed take on the Hollywood studio system during its heyday is by turns volatile, funny, suspenseful, and--at its core--more than a little creepy. By today's standards, this 1950 film still takes some relevant shots at an industry that seldom acknowledges its superficiality, but is also just as dated in other regards. Wilder takes a truly original concept, bending Film Noir, satire, comedy, and pathos in the telling of Joe Gillis (William Holden), a down-on-his-luck screenwriter (the repo men are threatening to take his car, for Pete's sake!), who winds up all but imprisoned in the lonely, secluded mansion of Norma Desmond (Gloria Swanson), a washed-up silent-film starlet harboring delusions of a comeback. When drafted to revise Desmond's self-scripted version of "Salome," Joe becomes very aware of his unhinged provider, and quickly begins a collaboration with the young, rhinoplasty-friendly Betty Schaefer (Nancy Olson). While Holden and Olson are--in the midst of this send-up--fresh-faced stars, "Sunset Boulevard"'s axis of madness hinges squarely on Swanson's full-bore performance, a blend of incestuous sexuality and mid-life crisis (she makes Baby Jane seem warm and cuddly by comparison) that makes her advances on Holden genuinely unappealing. The performance is a bit more tricky than one might give credit--as a woman whose fame has declined, her sustained hunger for it fuels her delusion, therefore rendering Norma Desmond an actress who literally acts out her everyday reality, to the point where any semblance of humanity is absent (her actions and words possess the overt dramatics of a woman seeking the Best Actress Oscar). While the film is beautifully photographed and performed, the sheer ambition of the project is something of a flaw--with so many genres represented, "Sunset Boulevard" is problematic in synthesizing a coherent vision. But what is here is quite influential, and certainly worth a look.
2006-08-21
In My Top Ten US Films of All Time; and Holden Was Robbed
For me this is Billy Wilder's [and likely Holden's] finest work, which is saying something on both counts. And Bill was robbed of the Oscar for this remarkable performance.

The only flaw in the entire film is one which echoes "Citizen Kane's" sole error ~

Sunset: How can a dead man narrate a film?

Kane: How can a dying man utter a word ["Rosebud"] in an empty room, and yet have the entire film revolve around friend and fellow newsman Cotten's search for the word's meaning? I mean, no one actually could have heard him say the word. Don't believe me? Watch the beginning again ~ the nurse walks in after Kane falls down he stairs.

Immaterial.

Read everyone else's review of this film, because it's all been said here.

It's a tour de force on every level, and not just for the [now cliched] line: "I'm ready for my close~up, Mr. DeMille," nor for the fact that the past~her~prime Gloria Swanson agreed to play a has~been [unheard of at the time. even though Swanson was never really an extraordinary Hollywood figure].

The kicker for me is that the extremely important early German expressionist filmmaker Erich Von Stroheim actually lowered himself to play Swanson's [Garbo~based?] character's butler/assistant, helping to keep her legend alive.

This is akin to Martin Scorsese playing butler to average actress Kelly Preston 20 years from now.

Holden, as the penultimate gold~digger/gigolo [albeit unwittingly at first], is simply brilliant. As is the forever underrated Nancy Olson as his wannabe screenwriter mentee. Despite her first~rate work here, she never appeared in another masterpiece again.

Our loss.

William Holden did, of course, and a case can be made for his performances in "Bridge On The River Kwai," "Stalag 17" [Wilder again], "Picnic," "Network" etc.

But for me this was his career's defining role.

10 of 10 [and #6 in my US Top Ten Films]
1999-10-26
Hollywood & Sunset
Widely heralded as a classic upon its initial release, the Billy Wilder-Charles Brackett production, Sunset Boulevard, is a superb piece of work in nearly all departments; and yet at some levels it disappoints upon repeated viewings. This is not an easy movie to love. The people in it are unsympathetic, as the leading male character is a hack screenwriter turned gigolo; and the woman he lives with is a mad former silent movie star who pins all her hopes on this third-rate writer's ability to write her 'comeback' picture. Neither is an amiable sort, but he is at least sane; and though he has an understanding of decency, he never quite achieves it. His goal is success. That he decieves two women who care for him deeply bothers him from time to time, when it is an inconvenience, but doesn't otherwise seem to bedevil him or prey on his thoughts.

As a cynical picture of postwar Hollywood the movie is flawless. It captures the moment when the the studio system was at its absolute peak as well as at the start of its decline. The secondary characters are more likeable than the major ones, notably Erich von Stroheim's butler. Yet the film is not a satisfying portrait of mental illness, as the insane Norma Desmond, while superficially credible, has no inner life, or even a hint of one, as her demons appear to come more from her neglect by others than anything to do with herself. Her gigolo, Joe Gillis, is believable as a hustler but seems, in his narration and occasional asides, to be brighter and wittier than his behavior suggests. The characters, in other words, go through their motions, as the plot dictates; and while they are very interesting in what they do or fail at, they seem to have no life outside of the story. This is a movie about Hollywood rather than people; an immoral 'moral tale', it sometimes leaves a bad taste.

For all its flaws, though, the movie works like a charm even when it is not itself charming. As Norma Desmond, Gloria Swanson is magnificent, larger than life, and every inch the former silent movie queen she plays in the picture. Her final scene is priceless, and the best shot in the movie. William Holden made a new career for himself thanks to Sunset Boulevard. For over a decade he had been playing rather bland, boy next door types, and his work here was a revelation. Joe Gillis was his best performance thus far, and made Holden overnight a hot property, and shortly thereafter the biggest male star in the business. His dry, almost affectless Midwestern delivery of dialogue and, especially, narration; his mixture of good manners and ambivilant morals; and his ability to command the screen with a flicker of expression, put him immediately into the major leagues. Sunset Boulevard does not in the end tell us more about Hollywood than the Selznick-Wellman A Star Is Born, but it does its job better, with pungent dialogue, brilliant acting and a sense of style rare in movies of the time and unheard of today.
2001-10-30
"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!
2000-09-28
"Who wants real? Who wants moving?"
With a medium like cinema, which had such a distinct and holistic culture all of its own, it is bound sooner or later to lose itself in nostalgia. Either that or cynical self-parody. Sunset Boulevard is not about the way motion pictures were – it is about the way motion picture people were, and continued to be.

Indeed, the style of Sunset Boulevard was the very epitome of modern film-making – voice-over narration, fluid camera-work, crisp cinematography. These contemporary trappings really serve to deepen the contrast and sharpen the disrespectful onslaught upon the olden days. Take the protagonist voice-over, something writers Billy Wilder and Charles Brackett really made an art of. It may often be functional, cutting corners in the narrative or elucidating on screen events, but more often than not it is superfluous to the story, and acts as a kind of enjoyably wry commentary on proceedings. It's a stylistic layer as much as the overstuffed set design and chiaroscuro lighting.

Director Billy Wilder is often said (by Ed Sikov for example) to be someone who "does not call attention to the shot". On the contrary, he actually constantly grabs us with the images. While he was never fond of obvious trickery, Wilder loves the weirdness of natural effects – such as Swanson's face skull-like in her sunglasses, or the close-up on her spinning parasol which begins the bathing beauties routine. He is great at filling the shot with "clues" and reminders, bringing them to our attention at the right moment – such as those holes in the doors where the locks should be, which a line in the dialogue has made us associate with suicide attempts.

But this is really a movie about stars, and central to Sunset Boulevard is the performance by Gloria Swanson. It was incredibly brave of Swanson to play such a brazen caricature of the kind of woman she could have become. But she brings all her long-standing talent and the knowledge of experience into the role. Norma Desmond is as much a creation of Swanson as she is of Wilder and Brackett. She has the kind of sleek, animalistic movement of a silent-era vamp, but tinges it with a frank depiction of middle-aged indignity. Her acting may be exaggerated and far from realistic, but remember she is playing a woman for whom life has become an act. Swanson is hammy because hamminess is real for that character. She clearly knew exactly what she was doing and what the pictures was about. Compare that to DeMille, who really had no sense of irony, and it's amazing he agreed to appear here. His performance is assuredly naturalistic (and ironically far better than most of what passes for acting in his own pictures), although that is also perfect for the part he plays here – being himself! Whether or not he had agreed to appear, DeMille would have been a central figure to this story. He was really the sole survivor of the silent era; the only individual – star, producer or director – from that time who was still a top dog. And although Sunset Boulevard sets its sights on the Hollywood of yesteryear, it was really the Hollywood of 1950 that Wilder and Brackett were gunning for. Like Norma Desmond, the post-war industry had passed its heyday and was really living off the receipts of its past glories. The studio system was crumbling, and TV was encroaching on its territory just as sound had encroached on Norma's thirty years earlier. It was now the more modest productions by younger, free-spirited filmmakers – productions like Sunset Boulevard itself – that were beginning to rise to the surface.
2010-04-14
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.
2008-11-24
A Masterpiece of Cynicism
Despite a few flaws, Billy Wilder's condemnation of Hollywood's egotism is one of the best. "Sunset Boulevard" is grim, often depressing, and truly unforgettable. Its portrayals of a narcissistic woman's hunger for now-vanished fame, and the tough-guy writer who is engulfed by her destructive ambitions, overcomes some slight script flaws that result from over-striving for the noir tone. Sometimes the emphasis on the characters' utter doom is hard to take; more often, it is extremely effective.

William Holden is perfect in the role of Joe Gillis, a down-on-his-luck scriptwriter; many actors could not convey his mixture of repulsion and fascination with the ex-movie star. Gloria Swanson is occasionally too melodramatic, but her grotesqueness distinguishes her character from the classic femme fatale of most films noir. Altogether a great film-- the camerawork alone is worth watching.
2001-09-07
Pictures these days have gotten small compared to this
*possible spoilers*

What can I say in praise of this wonderful film that others haven't already? Certainly the acting's amazing, and the direction creative. The script contains many unforgettable lines others have already quoted here.

What I can say is that this film is modern in a way no other film of its time really is. Each time I've seen it I can't beleive it's from 1950, its thematic elements just seem so fresh. Sunset Boulevard may seem familar to us with our current cultural obsession with celebrity and especially celebrity downfalls. We watch the E! True Hollywood Story, Star Dates, and the lowest nadir of all, Celebrity Boxing. I don't any other film, fact or fiction, has equalled this film in treating the theme of Hollywood's dangers.

At the end of the film Norma Desmond, with the newsreel cameras on her, is sickly elated at being back in the celluloid eye, despite the fact she'd just killed her lover. The fact that celebrities today humiliate themselves on second rate cable networks and Fox spectacles attests to the outright addiction of fame.

William Holden's character also attests to the oft-invoked "Boulevard of broken dreams." This is a theme explored recently by David Lynch in Mulholland Drive (which I think owes something to Sunset Boulevard), though not as successfully.

So, to add to the praises others here have heaped upon it and Billy Wilder, I would say that this film's surprising relevance could make it accessible to those who might not fancy older films. If you want to start watching classics but are looking for a good starting point, look no further.
2003-03-11
Like Traveling To a Strange & Memorable World
Watching this memorable classic is like traveling to a strange and fascinating world. It succeeds as few movies do at drawing you in and setting an atmosphere that is both convincing and interesting. The trio of Holden, Swanson, and von Stroheim make a fine combination, and bring their characters to life most effectively. Aside from a couple of relatively slow stretches, it is crafted with great skill, and it's a film-noir worth watching and re-watching.

Holden's restrained, gently cynical performance is an ideal way to look at the unusual world where Swanson's character, an aging former silent movie star, lives. Swanson succeeds very well at being weird but yet believable, sometimes even sympathetic, and von Stroheim rounds out the picture pretty well as a character with his own quirks. The physical atmosphere of the decaying mansion and its grounds, done with many well-conceived details, is also an effective and important part of the setup. It all works so well because it comes across as true-to-life not just as a portrayal of Hollywood but as a generalized picture of living in a bygone era.

When you have interesting characters, an unusual situation, a good cast, and a director like Billy Wilder to tell you the story, you have rather high expectations. "Sunset Boulevard" does not disappoint.
2002-04-09
📹 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. 📀
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