🎦 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.
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
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
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.
"I'm ready for my close-up Mr. DeMille"
Rumor has it that Gloria Swanson was absolutely devastated that she didn't win the Oscar for Sunset Boulevard. 1950 was an unusually tough year for competitors, with the statuette eventually going to Judy Holiday for Born Yesterday.

Admittedly, Gloria is fantastic in this film - she's able to send up herself, while also scandalizing the business she was product of - but the acting chops must really go to William Holden, who provides the willful self-loathing thread that ties much of this noirish and twisted tale together.

Director by Billy Wilder, Sunset Boulevard represents classic movie making at its peak. Set in Los Angeles, it's a dark, twisted, cynical tale of love, deceit, and opportunism. The film is all about Hollywood behind the scenes and how screenwriters, directors, and actors will sell themselves out for fame and fortune at a moments notice.

Spiritual and emotional emptiness, and the price of fame, greed, narcissism, and ambition is at the heart of this devilishly stylistic film, with the somber mood beginning almost immediately when a dead man is found floating facedown in a swimming pool.

The man is hack screenwriter Joe Gillis (a very sexy William Holden). All we know is that Joe was at the run-down mansion of deluded former silent-film star Norma Desmond (Gloria Swanson). Through Joe's voice over narrative it soon becomes clear that he was somehow involved with the wealthy Norma.

Down on his luck, three months behind on his rent, and with his car about to be repossessed, Joe accidentally stumbles upon Norma's faded mansion while trying to escape the police. Norma initially mistakes Joe for a coffin-maker for her deceased pet monkey, but once she figures out that he's a screenwriter, she gets him to read one of the scripts she's been working on.

Norma is an insane and faded silent-film star, who is hoping against hope to make a comeback. She's bitterly resentful of the price the "talkies" have taken on her career, so now she soaks in her own misguided and imagined greatness, in profile with the flickering projector lighting her outline in the dark.

Joe is initially hesitant to help the glamorous woman, and then asks $500 a week for his writing services. But slowly we come to realize the contract is actually the other way around. In preparing for her return comeback, Norma quickly turns Joe into a pawn - or more to the point, a slave.

Joe becomes a virtual prisoner in her rundown mansion; the moment he leaves, she slits her wrists, forcing him to come back. With minimal resistance, Joe allows himself to settle into the life of a kept man, as Norma desperately showers him with gifts and fine clothing. The house butler, Max von Meyerling (Erich von Stroheim), grimly looks on, tending to Norma's demanding whims and tolerating Joe's disruptive presence.

Joe wobbles back and forth between heedless acceptance of his strange companionship with Norma and his half-hearted pursuit of a career. He sneaks away to collaborate on a project with Betty (Nancy Olson), a Paramount script reader who is engaged to Joe's best friend. Betty is gradually falling in love with Joe, but when Norma finds out, that he's been sneaking out to meet wit her, all hell breaks loose.

The self-loathing motif is rampant throughout Sunset Boulevard. Max completely does away with his self-respect, Joe hates himself for his unwillingness to commit to a career or love, and seems to sell himself out for money and clothes almost immediately, and Betty despises herself for falling in love with Joe while she's engaged to another.

Norma, despite her haughtiness, is the most blatant case of self-disgust. When she isn't raving about her greatness, she comes across as a frightened and tortured soul – a sad and lonely woman, who is not only remarkably self-delusional, but is also trying to grasp one last chance at happiness. She thinks so little of her current 50-year-old self that she no longer acknowledges the present.

Sunset Boulevard is a must see movie for cinema buffs. There are lots of treasures to be had here, including Nancy Olson's strangely under appreciated performance as Betty, whose misguided love for Joe spirals the film to its grisly conclusion. There's also the hilarious appearance of a skinny and madly grinning Jack Webb as a happy-go-lucky assistant director, and viewers will get a kick out of the excessive exuberance that Norma displays when she towels down a hunky and hairy-chested Joe at poolside.

The funniest scene in the movie is when Norma rolls on top of Joe while he is reclining on a couch, and then does an imitation of Charlie Chaplin in order to cheer him up; the scene is an uproarious mixture of the sad, the funny, and the pathetic.

Billy Wilder's accomplished direction is full of wide shots that capture the depressing set and brave close-ups of our anti-heroes. But in the end, Sunset Boulevard stands out, as one of the finest examples of the frenzied circus of obsession, fixation, and greed that is oftentimes symbolizes Hollywood. Mike Leonard September 05.
Glad to have found this gem!
Caught this earlier this month and what a great piece of classic cinema! A down-on-his-luck screenwriter, desperate for cash, is taken in by an aging film star who has a deal he couldn't refuse. Thus, begins this complex tale of love and desperation, courtesy of Billy Wilder and Co. Swanson is eerie and sympathetic in her portrayal of Norma Desmond. Everyone else is great, but it is Swanson who "grabs" the attention. Strongly recommened!
Hollywoods best about Hollywoods worst.
Gloria Swanson, William Holden and Erich von Stroheim star in this Billy Wilder cinematic masterpiece about an aging essentially forgotten silent film star who has delusions about returning to pictures. Made in 1950 this film will capture the viewer each time it is seen. The references to the bygone silent movie era are somehow chilling. Much like when a person walks around ancient Rome or Egypt wondering how something so powerful and advanced could come to an end. Both Swanson and Stroheim were of course giants during the silent film years and their performances is this great movie even seem to show their perhaps real life animosity toward talking films.

Holden as Joe Gillis a rapidly becoming down on his like screen writer who stumbles into Swansons world is fantastic. This is certainly one motion picture that could never and should never be remade or colorized, as the Black and White photography is brilliant. It didn't make AFI's top five of all time and perhaps should have. You can't consider yourself as one of "All those wonderful people out there in the dark" if you've never seen Sunset Blvd.
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.
Another Billy Wilder classic
Very few past directors have made such great movies that they never aged and still appears fresh and entertaining today. One name that instantly pops out is Alfred Hitchcock, but although he is still considered the master of suspense, his films are now dwarfed by big-budget Hollywood action movies with stellar special effects. In my opinion, Billy Wilder's films have aged the least. In today's tradition of gross-out movies, his classic comedy Some Like It Hot still brings out the laughs and was recently named by the American Film Institute as the funniest American movie of all time. His Oscar-winning movie The Apartment still feels original, and its influence is still seen today-Sam Mendes cited it as an inspiration in making American Beauty. Wilder made many other classics, but arguably, his best film was 1950's Sunset Boulevard.

This movie is about Hollywood; it reflects how the movie business has changed in that period when silent films have given way to talkies. It shows an aging silent film star Norma Desmond (Gloria Swanson), who, even though rich, still wants the fame and glory she once had. She is now isolated in her mansion, accompanied only by her butler Max (Erich von Stroheim), her house filled with pictures from the past, and she watches her past films in her own theater. She dreams of making a comeback, writing a ridiculous script, and hoping to send it to Cecil B. DeMille and make him direct it.

The movie is seen from the point of view of Joe Gillis (William Holden). His character was well established-a struggling writer in need of fast money because he needs to pay his rent and keep his car. The studio rejects his script; he ends up asking various people for money, and fails. We are not surprised that when Norma asks him to edit her script and requests him to live in her house, he accepts. Later, when Norma admits that she is falling in love with him, he first despises the idea, but eventually ends up with her because he needs the money likes the lifestyle.

The screenplay is very much well written because it develops almost every character. The butler Max plays a deeper role in the story that it may seem, and I will let the viewers find that out for themselves. A woman named Betty Schaefer also plays an important role; she is the younger attractive woman Gillis falls for but cannot pursue because she is engaged and also because Gillis cannot get out of his relationship with Norma.

The movie's score by Franz Waxman impressed me. The music enters at the right moments, and it sets the tone for the entire movie. The casting is somewhat interesting. Swanson was also a silent film star and at one point in the movie, Norma and Gillis watches a movie called Queen Kelly with the young Swanson, and at that time, it seemed like Swanson was playing herself. The butler Max, admits that he was once a promising director: `There were three young directors who showed promise in those days, D.W. Griffith, Cecil B. DeMille and Max von Mayerling.' This is interesting because Erich von Stroheim was also a director, and more interestingly, he directed Swanson in Queen Kelly. In a scene where Norma invites her silent film friends to play bridge, the parts were played by real silent film stars-Buster Keaton, Anna Q. Nilsson and H.B. Warner.

The real backbone of this movie is Gloria Swanson's amazing performance. She makes her character tiptoe the line of insanity, and she convincingly fell through it in the end. I enjoyed the way she overacts sometimes, showing us that Norma still lives in the past, doing pantomime for silent films. When Gillis told her that she used to be big, she immediately answers, `I am big. It's the pictures that got small.' She also impersonates Chaplin's tramp at one point, and it provided one of the biggest laughs of the movie.

A minor drawback in the movie occurs in the beginning, where one important plot development is revealed. I believe that the movie could have been a little better if Wilder used a straight narrative rather than starting close to the end and tell the story in one big flashback. I still give this movie a perfect grade because it still works well even with the minor mistake, and it also deeply entertained me. Sunset Boulevard, like Singin' in the Rain, uses an important event in movie history and develops it not just into a great movie, but one of the greatest movies of all time.

Review for Sunset Boulevard
A movie filled with heart-ache, love, tragedy, and ambition, Sunset Boulevard is one of the most interesting to have ever been on screen. It's plot is one of the rare ones that takes the viewer behind the scenes and into the Hollywood realm, albeit probably not painting the most accurate of pictures, but still adding to our, as viewers, limited knowledge of the Hollywood world. This movie is about desires and wants. There is the desire of the penniless writer to make it big and then there is the desire of the actress to know that she is still beautiful and wanted.

Norma Desmond, played by Gloria Swanson, is a glamorous film star whose career abruptly ends with the introduction of talking pictures. And sadly enough, she is caught in her memories of a time when she was viewed as beautiful and glamorous not realizing that the world around her is still moving on. In Norma's lifetime, being a film star was all about the cinematic gaze and how it showed her. There was no sound to tell if an actress was good or not. The camera can make or break a person. She knew what made her popular and that was being under the constant scrutiny of the camera, of having it always on her. Sadly, when that phase of her life ended, she didn't know what to do with herself. Most women are objectified on film by the camera, the director, the audience, etc. and most would try and distance themselves from that but oddly enough Norma wants to be surveyed. She wants to be scrutinized or praised or whatever else, as long as she is getting the attention she craves. I suppose Norma feels that this attention is what she needs to be happy. Attention and approval from others is what kept her going and without it she became a pitiful woman. And the littlest bit of approval she gets makes her feel that much more important but when its revealed the fan letters she receives are from her butler, once her husband, you can't help but feel sorry for her. Overall I think that you will love this movie. The cinematography is incredible and creates an amazing setting and atmoshpere. The movie shows the worst sides of what some view as the most glamorous lifestyle and way to live.
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.
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.
📹 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. 📀