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A Hollywood Story: Sensational...Daring...Unforgettable...Sunset Blvd
A hack screenwriter writes a screenplay for a former silent film star who has faded into Hollywood obscurity.
THE-LENS
Sep 19, 2026 · via TMDB
*Sunset Boulevard* (film) **Directed by** [Billy Wilder](https://en.wikipedia.org/wiki/Billy_Wilder) **Written by** - [Charles Brackett](https://en.wikipedia.org/wiki/Charles_Brackett) - Billy Wilder - [D. M. Marshman Jr.](https://en.wikipedia.org/wiki/D._M._Marshman_Jr.) **Produced by** Charles Brackett **Starring** - [William Holden](https://en.wikipedia.org/wiki/William_Holden) - [Gloria Swanson](https://en.wikipedia.org/wiki/Gloria_Swanson) - [Erich von Stroheim](https://en.wikipedia.org/wiki/Erich_von_Stroheim) - [Nancy Olson](https://en.wikipedia.org/wiki/Nancy_Olson) - [Fred Clark](https://en.wikipedia.org/wiki/Fred_Clark) - [Lloyd Gough](https://en.wikipedia.org/wiki/Lloyd_Gough) - [Jack Webb](https://en.wikipedia.org/wiki/Jack_Webb) **Cinematography** [John F. Seitz](https://en.wikipedia.org/wiki/John_F._Seitz) **SUNSET BOULEVARD (1950) —** **Review by Dr Usman Latif Khawaja** **Rating: 10/10** **Industry denouncement** There is simply very little that you could criticise here! It’s really William Holden at his realist, natural best! Swanson is perfectly cast as an over-the-top, selfish, elitist, washed-out has-been diva! She has overacted her schizophrenic character, but it’s appropriate! I think it’s again showing how hazardous and disgusting show business and movie-making is, after Selznick already showed it to the ultimate downside in the great *A Star Is Born*! William Holden is heartbreaking here; he is doomed from the beginning as he sells himself—an intellectual—to an old, middle-aged elitist actress who has lost her mind and career both but is in denial! Swanson is so mean yet so tragic, but for me, she is the icon of the movie business and its evil side and defines all the flaws of make-believe and false celebrity culture! The movie again is showing humanity as a lost cause and life as an illusion and a fake fantasyland of an illusion! It’s philosophical, and it’s intelligent and extremely intricate and intriguing! Put this together with *All About Eve*, *The Bad and the Beautiful*, and *The Last Tycoon*, and you have the true ugly face of Hollywood with its Dorian Gray false painting to haunt you! Just as you think Holden is about to find his own destiny, he is destroyed—and for a cigarette lighter and its trivial luxury alone! The satire is horrendous on both Hollywood and on humanity! I am haunted by Holden at times—a genius gone to the gutter of Hollywood glitz as a character who sells himself for a few trivia! A movie which teaches you about humanity and life itself! Billy Wilder I like here and in *Double Indemnity*, and best in *Witness for the Prosecution*, that taught me more about life and England than any other movie ever! I think Wilder made great comedies like *The Seven Year Itch* and *Some Like It Hot*! But *Witness for the Prosecution* and *Sunset Boulevard* are eternal art! What he made Tyrone and Holden do in here is miraculous art indeed! Life at its ugliest, greediest, and most iconic illusionary best. Bravo for a brave, brash, and brilliant piece of artistic denouncement of a fake celebrity denouement.
BrownSTHLM
Aug 10, 2026 · via TMDB
For me, one of the most astonishing things about this incredible film was the idea that Norma (50 year old Gloria Swanson) would not be attractive to Joe, (30 year old William Holden). She may be a bit kooky, but man, those eyes! Some people over the years declared themselves put off by her OTT mannerisms etc., but Norma Desmond is a star of the silent era with its need theatre-like expressive acting. Hence Swanson giving it all *that* constantly. She is frighteningly perfect. The whole film is classic noir. The cameos are Hollywood legends - Keaton's turn is subtly genius. It subverts the standard form by showing the ending at the beginning. Why did I only give it 90%? Norma, Max and Joe are perfect. My only slight complaint is Betty's character - she's a great character in any other film, but amidst the inferno of the others, her flame is somewhat dampened.
badelf
May 15, 2026 · via TMDB
Billy Wilder's _Sunset Boulevard_ is a masterpiece of black comedy and savage Hollywood critique, a film so dark and so funny that it becomes something singular. Everything about it is wonderful: the performances, the direction, the audacity of its premise, the cruelty of its vision. It's a film about delusion and exploitation, about an industry that devours its own, and it tells that story with a viciousness that never stops being entertaining. Seventy-five years later, it remains one of the greatest films ever made about the movies, and one of the finest examples of how merciless art can be when it's done right. Joe Gillis (William Holden) is a struggling screenwriter, broke and desperate, fleeing repo men when he stumbles into the decaying Sunset Boulevard mansion of Norma Desmond (Gloria Swanson), a former silent film star who has retreated into total delusion. She believes she's still a star, that the world is waiting for her return, that the studio will call any day. Joe becomes her kept man, hired to polish a deranged screenplay for her nonexistent comeback. Her devoted butler, Max (Erich von Stroheim), enables every fantasy. The film's structure is audacious: Joe narrates the end of the film even after his dead body is removed from the scene, a voice from beyond the grave that somehow makes perfect sense in a film this extreme. Gloria Swanson's performance is radical. She expresses everything through her face and eyes, exactly as a silent film star would, because that's what she was. Wilder cast her knowing the meta-commentary would be inescapable: Swanson, largely washed up by 1950, playing a woman destroyed by Hollywood's indifference to aging stars. The role could have been camp, could have been pitiful, but Swanson plays it with total commitment and a kind of fierce intelligence. She knows Norma is ridiculous, but she never condescends to her. Norma's gestures are theatrical, overwrought, absurd; she moves through the world as if cameras are always watching, and Swanson makes that both hilarious and heartbreaking. The way she uses her eyes and face in "real life" is a performance within a performance, a woman who can no longer distinguish between being and acting. Norma's final descent into total delusion is both inevitable and mesmerizing. We see it coming from the first frame, but Swanson's execution is so brilliant that the ending still lands with devastating force. When she believes the newsreel cameras have arrived for her comeback and delivers her most famous line — "All right, Mr. DeMille, I'm ready for my close-up" — it's tragic, grotesque, and somehow triumphant. She's completely mad, and she's finally getting what she wanted: the cameras are rolling, and she's the star again. In a lesser film, the narration device would feel gimmicky, but Sunset Boulevard is so darkly comic, so heightened in its gothic intensity, that the impossible perspective works. The film has already asked us to accept a world where Hollywood's cruelty is so complete it becomes operatic, where a silent film queen lives in a mausoleum of her former glory. The voice-over is just one more layer of stylization in a film that understands style is inseparable from meaning. Wilder's direction is merciless. He films Norma's mansion like a tomb, all shadows and decay, the grandeur rotting from the inside. The script, co-written with Charles Brackett and D.M. Marshman Jr., is venomous and precise, every line a little knife. The film skewers Hollywood's obsession with youth, its disposability of talent, its hollow worship of fame. But it's also funny, wickedly so, because the tragedy is so predictable and the savagery so unrelenting. We know Joe is doomed the moment he walks into that house, and watching him try to escape while sinking deeper is both pathetic and perversely entertaining. Sunset Boulevard is a film that understands Hollywood better than Hollywood understands itself. It sees through the glamour to the rot underneath, and it presents that rot with a kind of glee. It's a Gothic horror story, a noir, a black comedy, a tragedy, and somehow all of these at once. Swanson's performance alone would make it essential, but everything here is working at the highest level: Holden's cynical narration, von Stroheim's mournful dignity, Wilder's unsparing intelligence. This is filmmaking as autopsy, cutting open an industry to show what's really inside. And it's glorious.
MrDeltoid77
Jul 23, 2025 · via TMDB
IMHO...This is a straight up Horror film. A demented, faded star of the Silent era takes in a down on his luck writer... and basically keeps him as a boy toy/hostage. She has a creepy attraction to the much younger man. Her house and butler are straight out of Hammer Film. That being said... I love this film. The casting is great. William Holden gives one of his best performances ever. Gloria Swanson plays deranged wonderfully. And Von Stroheim is a brilliant bit of casting. You get the feeling he would do anything for his employer... including murder. The writing is crisp...Billy Wilder's direction is amongst some of his best. For those who resist B&W films... put aside your prejudice and watch this film. It is excellent.
r96sk
May 19, 2023 · via TMDB
Ace! <em>'Sunset Boulevard'</em> is a splendid flick from 1950. I will note that I found the middle to be ever so slightly less interesting than the beginning and ending, though even so overall I most definitely enjoyed watching it. Love the dialogue, the score is excellent too. William Holden and Gloria Swanson are tremendous together onscreen, in what is a supremely well told story.
CinemaSerf
Jan 6, 2023 · via TMDB
"Gillis" (William Holden) is a down-at-heel script writer who is struggling to keep his head above water. Not having had any successes for a while, his car is about to be repossessed and his erstwhile boss "Sheldrake" (Fred Clark) has nothing for him. On the run from the pursuing repo men, he turns his car into the drive of a decaying old mansion. Hiding his car in the garage, he is mistaken by the house's owner for an undertaker - she has a small matter that needs attending too! Realising her error she demands he leave, but not before he mentions what he does for a living. She has a script. Hundreds of pages of script - and she offers him a job, champagne and caviar if he will edit and refine it so "Norma Desmond" (Gloria Swanson), a retired former silent movie star, can present it to her favourite director Cecil B DeMille and restart her glorious career. Initially just seeing dollar signs, he agrees and what now ensues is a masterfully crafted story of love, dependency, ambition and delusion in which Swanson absolutely shines. It's clear to us from the outset that her grasp on reality is somewhat limited, and but for her dedicated factotum "Max" (Erich von Stroheim) she might well have fallen victim to her own depression many years ago. Holden is also on solid form here, his initial selfishness starts to morph into something more, he begins to care for this woman whose head is increasingly in the clouds, and upon whom she is becoming more reliant. The dialogue is delivered via a mix of Holden's quite honest narrative and the conversations between the characters delivering some of the best lines in cinema - "I'm still big - it's the world that's got smaller!". The mental decline and instability of "Desmond" is expertly displayed here by a star who new a thing or two herself about the silent film scene, and who brings her facial expressions, her mannerisms and her generally star-studded demeanour to bear really effectively as the audience gradually realise that nothing here is going to pan out as it seems - or as anyone wants. Von Stroheim underplays his supporting role with aplomb and though I didn't really love the sub-plot with Nancy Olson's "Betty Schaefer" - it took away from the intensity of the main storyline - it did to serve to illustrate just how powerful jealousy can be. This is a super film, that still captivates on a big screen and is really well worth sitting down to watch.,
User reviews courtesy of TMDB.
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William Holden
Joe Gillis
Gloria Swanson
Norma Desmond
Erich von Stroheim
Max von Mayerling
Nancy Olson
Betty Schaefer
Fred Clark
Sheldrake
Lloyd Gough
Morino
Jack Webb
Artie Green
Franklyn Farnum
Undertaker
Larry J. Blake
Finance Man #1
Cecil B. DeMille
Cecil B. DeMille
Hedda Hopper
Hedda Hopper
H.B. Warner
H.B. Warner
Buster Keaton
Buster Keaton
Anna Q. Nilsson
Anna Q. Nilsson
Fred Aldrich
Cop Dragging Body from Pool (uncredited)
Gertrude Astor
Courtier (uncredited)
Anne Bauchens
Editor (uncredited)
Ruth Clifford
Sheldrake's Secretary (uncredited)
Eddie Dew
Assistant Coroner (uncredited)
Julia Faye
Hisham (uncredited)
Al Ferguson
Phone Standby (uncredited)
Gerry Ganzer
Connie (uncredited)
Creighton Hale
Creighton Hale (uncredited)
Chuck Hamilton
Grip on DeMille Set (uncredited)
E. Mason Hopper
Doctor (uncredited)
Gertrude Messinger
Hairdresser (uncredited)
Harold Miller
Man on Golf Course (uncredited)
Howard Negley
Police Captain (uncredited)
John 'Skins' Miller
Hog-Eye Electrician (uncredited)
Lee Miller
Party Guest / Studio Employee (uncredited)
Bert Moorhouse
Gordon Cole (uncredited)
Jay Morley
Fat Man (uncredited)
Eva Novak
Courtier (uncredited)
Frank O'Connor
Courtier (uncredited)
Robert Emmett O'Connor
Jonesy (uncredited)
Jack Perrin
Detective (uncredited)
Archie Twitchell
Salesman at Men's Shop (uncredited)
Yvette Vickers
Giggling Girl on Phone (uncredited)
Henry Wilcoxon
Actor on Samson & Delilah Set (uncredited)
Jack Warden
Party Guest (uncredited)
Sam Comer
Set Decoration
John F. Seitz
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Edith Head
Costume Design
Wally Westmore
Makeup Supervisor
Billy Wilder
Director
Gerd Oswald
Second Assistant Director
Charles Brackett
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Sidney Cutner
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Franz Waxman
Original Music Composer
Billy Wilder
Screenplay
Charles Brackett
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