IniciGrupsConversesMésTendències
Cerca al lloc
Aquest lloc utilitza galetes per a oferir els nostres serveis, millorar el desenvolupament, per a anàlisis i (si no has iniciat la sessió) per a publicitat. Utilitzant LibraryThing acceptes que has llegit i entès els nostres Termes de servei i política de privacitat. L'ús que facis del lloc i dels seus serveis està subjecte a aquestes polítiques i termes.
Hide this

Resultats de Google Books

Clica una miniatura per anar a Google Books.

S'està carregant…

Sunset Boulevard [1950 film] (1950)

de Billy Wilder (Director / Screenwriter), Charles Brackett (Screenwriter), D. M. Marshman, Jr (Screenwriter)

Altres autors: William Holden (Actor), Nancy Olson (Actor), Gloria Swanson (Actor), Erich Von Stroheim (Actor)

MembresRessenyesPopularitatValoració mitjanaMencions
208499,684 (4.42)7
Pursued by creditors, Joe swerves into a driveway of a seemingly abandoned Sunset Boulevard mansion. He finds Norma, an ex-screen queen dreaming of a dramatic comeback and her husband/servant living there. She takes a fancy to Joe and, learning that he is a scriptwriter, persuades him to help her with her comeback screenplay. Being broke he accepts. He falls in love with young script reader, but Norma breaks up their romance. Thinking she is mad, he tries to leave, but Norma kills him. scene which she believes is the highlight of her comeback movie.… (més)
No n'hi ha cap
S'està carregant…

Apunta't a LibraryThing per saber si aquest llibre et pot agradar.

No hi ha cap discussió a Converses sobre aquesta obra.

» Mira també 7 mencions

Es mostren totes 4
Sunset Blvd. (1950)

Gloria Swanson – Norma Desmond
William Holden – Joe Gillis

Erich von Stroheim – Max von Mayerling
Nancy Olson – Betty Schaefer
Fred Clark – Sheldrake
Lloyd Gough – Morino
Jack Webb – Artie Green
Cecil B. DeMille – Cecil B. DeMille
Hedda Hopper – Hedda Hopper
Buster Keaton – Buster Keaton
Anna Q. Nilsson – Anna Q. Nilsson
H. B. Warner – H. B. Warner

Screenplay by Charles Brackett, Billy Wilder & D. M. Marshman Jr.
Directed by Billy Wilder

Black and white. 110 min.

=======================================

Joe Gillis: You’re Norma Desmond. You used to be in silent pictures. You used to be big.
Norma Desmond: I am big. It’s the pictures that got small.

What a brilliant and brutal film! Gripping, too. It grips you from the very beginning, with the voice of Joe Gillis beyond the grave and that striking shot of his dead body in the pool, and it never lets you for the next 110 minutes. Among other things of some importance, such as old age, loneliness, madness and death, the script is the most biting, the most strident, the most devastating self-satire Hollywood ever did. The delusion of stardom has never been exposed more mercilessly on the screen. Or as Norma Desmond pithily puts it: “I’m not just selling the script. I’m selling me!”

Norma Desmond is Gloria Swanson’s only claim to glory – outside silent cinema anyway. It is enough. It’s a stunning performance, consistently over the top and quite rightly so. You see, Norma Desmond is totally bonkers. She lives in her own world, literally that gorgeous mansion on Sunset Boulevard (“stricken with the kind of creeping paralysis, out of beat with the rest of the world, crumbling apart in slow motion”, as Joe describes it), metaphorically the past in which she was the greatest star of them all. Now she is just a middle-aged megalomaniac, possessive and domineering, fond of astrology and, incidentally, handsome young men. But, of course, she is completely unable to realise all this. And she gets a lot worse as the movie proceeds. That final scene, the ultimate flight from reality, the ultimate insanity, never fails to scare the life out of me. Joe Gillis, however, finds it consoling, and he may be right:

Life, which can be strangely merciful, had taken pity on Norma Desmond. The dream she had clung to so desperately had enfolded her.

It has been said that everybody can act Shakespeare but it takes acting genius to pull off a French farce. There is some wisdom in this remark. Likewise it takes a truly great actress to make Norma Desmond affecting rather than exasperating. Gloria Swanson succeeds completely in doing this. Whether she does because she was a great actress or because Norma Desmond was too close to her own life, I don’t know. I suspect the former, but, either way, she is mesmerising. And, by the way, for a silent cinema star she has gorgeous voice and impeccable diction.

Bill Holden is at his dashing best as the struggling screenwriter and so is Erich von Stroheim as the humane but somewhat sinister butler/husband/director/whatever. Cecil B. DeMille makes a memorable cameo as himself, casually providing some important insights into Norma’s youth. The young and sweet Nancy Olson is quite charming as Joe’s romantic interest, a remarkable contrast to his sordid bondage to Norma. But all these performances, though they leave nothing to be desired, are completely overshadowed by Swanson’s brilliance.

Billy Wilder, the genius in the catbird seat and as usual a co-writer as well, adds a touch of surreal beauty and haunting atmosphere. I do believe this may be his greatest masterpiece as a director. Which is quite something to say about the man who also directed Double Indemnity (1944), Stalag 17 (1953), Some Like It Hot (1959) and The Apartment (1960). Nor should his (and Charles Brackett’s) screenplay be neglected as a source of cynical bon mots. Just three examples from the voiceover narrative of Joe Gillis:

Audiences don’t know somebody sits down and writes a picture; they think the actors make it up as they go along.

Sometimes it’s interesting to see just how bad – bad writing can be. This promised to go the limit.

Then they got a couple of pruning hooks from the garden and fished me out, ever so gently. Funny, how gentle people get with you once you’re dead.


The first of these is the best summing-up of the screenwriter’s plight known to me. Movie writers are some of the most underrated people on earth: just as directors are some of the most overrated. Every great movie begins with a great screenplay. No cast, director or production design can make a poor script look great. Joe Gillis is at once the patron saint of neglected screenwriters and the other side of the satirical equation. His failure is the logically necessary complement to Norma’s. There are two tragedies in life, the Hollywood saying goes; one is to become famous, the other is to remain obscure.

More than forty years later, in 1991, Andrew Lloyd Webber’s Sunset Boulevard, closely based on the movie, hit the stage. It is a fine piece of musical theatre with some outstanding musical numbers. But, unlike the case of a dull novel by one Gaston Leroux, it doesn’t make the original obsolete. The 1950 movie remains the real deal. No cineaste could afford to miss it. ( )
2 vota Waldstein | Apr 26, 2018 |
An aged star of silent films moves a younger man into her isolated mansion.

I expected a lot more, given its reputation. Everything's good, but Stroheim's character is the only aspect that really lives up to the movie's legendary status.

Concept: C
Story: B
Characters: A
Dialog: A
Pacing: B
Cinematography: A
Special effects/design: B
Acting: B
Music: B

Enjoyment: B

GPA: 3.2/4 ( )
  comfypants | Jan 28, 2016 |
(Sunset Boulevard, Usa 1950, b/n, 110') Billy Wilder. Con Gloria Swanson, William Holden, Erich von Stroheim, Nancy Olson, Fred Clarke, Hedda Hopper, Buster Keaton. * Mentre il suo cadavere galleggia in una piscina di una villa, la voce fuori campo dello sceneggiatore Joe Gillis (Holden) ripercorre la storia della sua relazione con Norma Desmond ( Swanson), anziana diva del muto che viene isolata insieme al maggiordomo, immersa nel culto del passato e nella vana attesa di un ritorno sul set, convinto a scscriverle una sceneggiatrua Gillis ne diventa il mantenuto, l'amante e infine la vittima. Fin dal''inizio Wilder stabilisce un tono di cinismo e umorismo nero, contaminando il noir con atmosfere quasi horror. Disfacimento, morte e follia, il lato oscuro del cinema coincide con quello della vita. Uno dei film più crudeli su Hollywood, e uno dei più affascinanti viaggi nella decadenza, che mescola in modo inquietante finzione e realtà. La Swanson era ormai una diva caduta nell'oblio, von Stoheim un ex regista che aveva diretto la Swanson nel film che lei fa proiettare nella sua villa (Queen Kelly) Cecil B, DeMille, anche lui aveva diretto la Swanson è ripreso sul set di Sansone e Dalila, la giornalista scandalistica e la temibile Hedda Hopper negli incontri tra relitti cinematografici a casa della star si riconosce Buster Keaton. Vinse l'oscar per la sceneggiatura e e per la colonna sonora. La parte di Gillis era stata scritta per Montgomery Clift, che però non voleva passare per gerontofilo (anche se nella realtà lo era) la Sawanson la spuntò su Pola Negri e Mary Pickford. Dopo le reazioni ilari del pubblico, Wilder eliminò la sequenza iniziale nella quale Gillis parlava con gli altri ospiti dell'obitorio. ( )
  videotecadsu | Nov 30, 2015 |
110 minutos
  Miquinba_F | Feb 18, 2012 |
Es mostren totes 4
Although Mr. Wilder is considered a very cynical fellow in Hollywood, he seems to me not cynical enough; he uses bitter chocolate for his icing, but underneath is the stale old cake. Love Conquers All, ultimately...

A genuinely cynical director like Lubitsch would have had Holden stay on with Swanson because he has come to prefer loveless luxury to impoverished love. A real sentimentalist, on the other hand, would have him marry the girl and begin a new, clean life. Mr. Wilder’s ending tries to have it both ways, something as impossible in art as in life, though a feat achieved hourly in Hollywood, whose relation to either is distant.
afegit per SnootyBaronet | editaEsquire, Dwight Macdonald
 
Much of the detail is marvellously effective and clever; Miss Swanson watching her young face in an old movie and standing up into the murderous glare of the projector to cry: “They don’t make faces like that any more!” (they certainly don’t and it is our loss)....

The lost people are given splendor, recklessness, an aura of awe; the contemporaries by comparison, are small, smart, safe-playing, incapable of any kind of grandeur, good or bad; and those who think they can improve or redeem the movies are largely just a bunch of what Producer Fred Clark aptly calls Message Kids, and compares with the New York critics. This is certainly a harsh picture of Hollywood; too harsh, considering some of the people who work there. By still quieter inference, of course, Hollywood is still essentially all right because it can produce such a picture as Sunset Boulevard; and with that, the considerable distance it goes, one is bound to agree.

afegit per SnootyBaronet | editaSight and Sound, James Agee
 
A young scriptwriter (William Holden), speeding away from the finance-company men who have come to repossess his car (it is Los Angeles, where a man can get along without his honor, but not without his car), turns into a driveway on Sunset Boulevard and finds himself at the decaying mansion of the once great silent star Norma Desmond (Gloria Swanson)... Glint-eyed Swanson clutches at her comeback role almost as if it were Salome, yet the acting honors belong to Holden. When he makes love to the crazy, demanding old woman, his face shows a mixture of pity and guilt and nausea. This brittle satiric tribute to Hollywood’s leopard-skin past—it’s narrated by a corpse—is almost too clever, yet it’s at its best in this cleverness, and is slightly banal in the sequences dealing with a normal girl (Nancy Olson) and modern Hollywood.
afegit per SnootyBaronet | editaNew Yorker, Pauline Kael
 

» Afegeix-hi altres autors (8 possibles)

Nom de l'autorCàrrecTipus d'autorObra?Estat
Wilder, BillyDirector / Screenwriterautor primaritotes les edicionsconfirmat
Brackett, CharlesScreenwriterautor principaltotes les edicionsconfirmat
Marshman, D. M., JrScreenwriterautor principaltotes les edicionsconfirmat
Holden, WilliamActorautor secundaritotes les edicionsconfirmat
Olson, NancyActorautor secundaritotes les edicionsconfirmat
Swanson, GloriaActorautor secundaritotes les edicionsconfirmat
Von Stroheim, ErichActorautor secundaritotes les edicionsconfirmat
Has d'iniciar sessió per poder modificar les dades del coneixement compartit.
Si et cal més ajuda, mira la pàgina d'ajuda del coneixement compartit.
Títol normalitzat
Informació del coneixement compartit en anglès. Modifica-la per localitzar-la a la teva llengua.
Títol original
Títols alternatius
Data original de publicació
Gent/Personatges
Informació del coneixement compartit en anglès. Modifica-la per localitzar-la a la teva llengua.
Llocs importants
Esdeveniments importants
Pel·lícules relacionades
Informació del coneixement compartit en anglès. Modifica-la per localitzar-la a la teva llengua.
Premis i honors
Informació del coneixement compartit en anglès. Modifica-la per localitzar-la a la teva llengua.
Epígraf
Dedicatòria
Primeres paraules
Citacions
Informació del coneixement compartit en anglès. Modifica-la per localitzar-la a la teva llengua.
The poor dope - he always wanted a pool. Well, in the end, he got himself a pool.
Salesman: [whispering in Joe's ear] As long as the lady is paying for it, why not take the Vicuna?
Darreres paraules
Nota de desambiguació
Informació del coneixement compartit en anglès. Modifica-la per localitzar-la a la teva llengua.
film
ISBN 0520218558 is for the screenplay (book)
Editor de l'editorial
Creadors de notes promocionals a la coberta
Llengua original
Informació del coneixement compartit en anglès. Modifica-la per localitzar-la a la teva llengua.
CDD/SMD canònics

Referències a aquesta obra en fonts externes.

Wikipedia en anglès (2)

Pursued by creditors, Joe swerves into a driveway of a seemingly abandoned Sunset Boulevard mansion. He finds Norma, an ex-screen queen dreaming of a dramatic comeback and her husband/servant living there. She takes a fancy to Joe and, learning that he is a scriptwriter, persuades him to help her with her comeback screenplay. Being broke he accepts. He falls in love with young script reader, but Norma breaks up their romance. Thinking she is mad, he tries to leave, but Norma kills him. scene which she believes is the highlight of her comeback movie.

No s'han trobat descripcions de biblioteca.

Descripció del llibre
Sumari haiku

Dreceres

Cobertes populars

Valoració

Mitjana: (4.42)
0.5
1
1.5
2
2.5
3 1
3.5 2
4 8
4.5 3
5 11

Ets tu?

Fes-te Autor del LibraryThing.

 

Quant a | Contacte | LibraryThing.com | Privadesa/Condicions | Ajuda/PMF | Blog | Botiga | APIs | TinyCat | Biblioteques llegades | Crítics Matiners | Coneixement comú | 159,003,291 llibres! | Barra superior: Sempre visible