Hollywood's Venomous Valentine: "Sunset Boulevard" (1950)

Oscar nominated Gloria Swanson, totally demented yet totally bewitching in the final scene of Paramount's "Sunset Boulevard" (1950) 

Anything that can be said about Billy Wilder's 1950 masterpiece "Sunset Boulevard" has already been said, and by better writers than myself.  So, why bother to write anything on it at all then?  Because over sixty years after its debut, it remains one of the best films that Hollywood has ever made about itself.

The fractious relationship between silent movie queen Norma Desmond (Gloria Swanson, not just giving the performance of her career but rather the performance of a lifetime) and hack screenwriter Joe Gillis (William Holden, all acrid, snippy remarks) reflects the battle that occurred when sound first came into cinema.  Norma thinks she needs Joe to survive in the world, but in reality she has already cocooned herself into a delusional fantasy, and seeks to reel him into it along with herself.

There are numerous impressive things about this film, most notably, its screenplay.  Wilder, Charles Brackett, and D.M. Marshman create a gothic world of old Hollywood gone to seed, contrasted with the current (or what was current in 1950) state of affairs in the motion picture capital.  Scenes are filled with dynamic dialogue, which still pops and crackles today, showing little if any sense that it was written well over a half-century ago.  Joe's snarky attitude and superior tone makes the viewer instantly distrust him, and our sympathies lie with Norma, who, though teetering on the edge of sanity, is vital, alive and the most interesting character on the screen.

The photography, set design, and costume designs are all black and white wonders.  The film works with light and shadow, the decaying opulence of Norma's mansion, and her bizarre outfits to create a twisted, Grimm's fairy tale of life in Movieland.  In fact, the only inferior sections of the movie are those which take Joe out of Norma's world, and into contact with other 'modern day' characters like would-be love interest Betty Schaefer (Nancy Olson, pleasant and fairly attractive, but a total compared to a leading lady like Swanson).

Veteran director Erich von Stroheim has a strong supporting role as Max, the slavishly devoted butler to Norma, but their past is much more complicated than just employer and employee.  Max represents Joe's future if he continues to orbit Planet Norma.  Cameos by other prominent figures like silent-era comedian Buster Keaton, veteran director Cecil B. DeMille, and gossip columnist Hedda Hopper add another strong note of reality to the picture.  But make no mistake, and despite Holden's top billing, this is Gloria Swanson's show all the way.  Norma is utterly mad, but in the most wonderful way possible, and her descent further and further into her self-created world is a wonder to behold.  Modern audiences may be turned off by her overly theatrical acting style, but it rivets me to the screen every time I see the picture.  She commands the camera, practically daring the viewer to take their eyes off her for even a moment.  And that's a dare I don't take, because I know what this crazy bitch is capable of.  And so, finally, does Joe Gillis.

Despite nominations for the entire main cast (Swanson, Holden, Von Stroheim, and Olson) as well as for Picture and Direction, the only Oscars won by "Sunset Boulevard" (all extremely well deserved) were for Screenplay, Original Music Score, and Art Direction/Set Decoration.