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SUNSET BLVD.

Text and Sub-text

Text is about a writer who turns into the driveway of an old timwe film star and becomes entrapped while thinking he is "using her". Ultimately he tries to leave, but is killed.

Sub-text about aging - especially in a business which worships youth; about what happens to people who are public figures when the public leaves them; it si a film about the conflict between different "faces" - some of which are public and some private

Conside the scene near then end when Joe is packing and Norma changes rapidly between (a) an imperious star (b) a frightened little girl and (c) an actress playing a part.

 How is it noir? In effect, what characteristics does they share to make them seen as a genre?

Narrative

Fatalistic narrative (starts with Joe Gilles getting shot and dyiing so it has long flashback

Narrated by dead man

Wrong turn
(avoiding car repossession drives into driveway. It is possible to see another wrong turn when he goes to Artie Green's party and meets Betty again. He doesn't leave, but gets involved with his friends girlfriend. This will ultimately trigger their affair and the "show down" with Norma.)

 Femme Fatale

Now older. Ava Gardner is much younger than Gloria Swanson

 Dialog

Many noir films are "hard boiled detective stories" with Mickey Spilane and the like. The dialog is often colorful and interesting.

This film also has very interesting dialog, but far a more literate text:. Many classic lines

I spoke with some “Yes men” at Paramount – to me they said “no”
An older woman who is well to do. A younger man who is not doing too well.
My astrologer read the horoscopes – Did she read the script?

 Editing

Notice the jump cut between Artie Green's New Years Eve party and Max on the phone at Norma Desmond’s place (feel the difference in the sets)

a kind of "Hollywood montage" of Norma "getting ready" for her "return"

Lighting

the same high contrast

 Images of entrapment.

Bars and shadows and frames within frame

Venetian blinds across face

Ring on finger

Mirrors are common "tropes" in noir - reflections indicate duplicity. Here there are a few mirror scenes (make-up table, mirror into which Norma lokos before going to see Joe after he tells all to Betty, and a mirror in which we see Norma going up the stairs during the "New Year's Eve Party". Photographs however serve a similar function in that they show many "faces" of the person.

 Set pieces

Final descent down staurs

Standing up in front of the projection lamp

Light moving onto Smanson at studio after nearly being hit by microphone (sound which she hates). One of the studetns noted that De Mille says "Put that light back where it belongs" - that is it no longer belongs on Norma.

 Acting

Aside from the acting mentioned above in the last scene, consider Norma's shifts from being Norma - in love with Joe; Norma the star and Norma the little girl in other scenes.

How does Joe attempt to be cynical in his dialog. Do we see through it?

What faces does he have?

Music

Music behind descent down stairs mimics that of Richard Strauss' opera Salome. Salome, is of course, the character Norma nelieves she is playing for the news film crew.

 Reflexivity

Film about films and film making.

What does the film say about the way people are treated in the business. What happens to Joe? To Norma? To Max? What does it say that Sheldrake can't remember Betty Schaefer's name and he calls her "Kraemer".

Interesting notes

Originally was to have starred Mae West and Montgomery Cliff. He pulled out a few days before because he was afraid his fans wouldn’t appreciate him having an “older” lover. She was insulted.

Many people thought Gloria Swanson was playing herself. She wasn’t a recluse in real life. She had been a silent film star and had in fact made a film called Queen Kelly” with von Stroheim.