Mit dem Thriller Boulevard der Dämmerung widmet sich Billy Wilder der dunklen Seite Hollywoods, als ein erfolgloser Autor auf eine vergessene und dem Wahn. Sunset Boulevard. Klassiker des Film noir, inszeniert von Billy WilderUser-Film-Bewertung [?]: unterirdisch schlecht mittelmässig. Billy Wilder, USA, , min, Es genügt der Hinweis, dass Billy Wilder folgende Unglaublichkeit gelingt: Sunset Boulevard ist ein Film Noir, ein.
Boulevard der Dämmerung(Ich bin groß, die Filme sind es, die heute keine Größe mehr haben.) BBC Films, "Der beste Film, der je über das narzisstische Höllenloch, das Hollywood ist. Norma Desmond, einst ein großer Star des Stummfilms, lebt seit Jahren, von der Welt vergessen in ihrer großen Villa am Sunset Boulevard in Hollywood. Sunset Boulevard. Klassiker des Film noir, inszeniert von Billy WilderUser-Film-Bewertung [?]: unterirdisch schlecht mittelmässig.
Sunset Boulevard Film Menú de navegación VideoBoulevard Du Crepuscule 1950 en FRENCH
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For US ratings information please visit: www. De Mille, estoy lista para mi primer plano" o "Yo soy grande. Por ejemplo, cuando ambos discuten sobre el pesado guion en el que la diva ha estado trabajando.
Con el advenimiento del star system, se construyeron en la zona mansiones enormes y a menudo incongruentemente pretenciosas.
Marshman Jr. I need a job". A Swanson le disgustaba la idea de tener que hacer pruebas. El papel de Joe Gillis, el protagonista masculino, fue interpretado por William Holden.
El joven Montgomery Clift fue contratado para hacer el papel de Joe Gillis por 5. Su amor se ha convertido en una especie de fidelidad perruna.
Paul Getty. Se trata de los Apartamentos Alto Nido, situados en el 1. Cuando van a visitar al director Cecil B. Todos nosotros lo estamos".
Gillis y Schaefer se iban para vivir "felices para siempre". Una demo de Boulevard! Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.
How did you buy your ticket? View All Videos 1. View All Photos Movie Info. An aging silent film queen refuses to accept that her stardom has ended.
She hires a young screenwriter to help set up her movie comeback. The screenwriter believes he can manipulate her, but he soon finds out he is wrong.
The screenwriters ambivalence about their relationship and her unwillingness to let go leads to a situation of violence, madness, and death.
Billy Wilder. Charles Brackett. Aug 10, Paramount Pictures. William Holden Joe Gillis. Gloria Swanson Norma Desmond. Erich von Stroheim Max Von Mayerling.
Nancy Olson Betty Schaefer. Fred Clark Sheldrake. Jack Webb Artie Green. Hedda Hopper Self. Buster Keaton Self.
Cecil B. DeMille Self. Anna Q. Nilsson Self. Billy Wilder Director. Charles Brackett Writer. Marshman Jr.
Billy Wilder Writer. Charles Brackett Producer. Franz Waxman Original Music. Johann Sebastian Bach Non-Original Music. John F.
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Sunset Blvd. A screenwriter develops a dangerous relationship with a faded film star determined to make a triumphant return. Director: Billy Wilder.
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The film stars William Holden as Joe Gillis, an unsuccessful screenwriter, and Gloria Swanson as Norma Desmond, a faded silent-film star who draws him into her fantasy world, where she dreams of making a triumphant return to the screen.
Director Cecil B. DeMille and gossip columnist Hedda Hopper play themselves, and the film includes cameo appearances by leading silent-film actors Buster Keaton, H.
After concealing the car, he hears a woman inside call to him, mistaking him for a man bringing a coffin for her deceased chimpanzee.
Ushered in by Max, the butler, Joe recognizes the woman as a forgotten silent film star, saying "You're Norma Desmond. You used to be in silent pictures.
You used to be big. It's the pictures that got small. She plans to play the role herself in her return to the screen. Joe finds her script abysmal but flatters her into hiring him as a script doctor.
Moved into Norma's mansion at her insistence, Joe resents but gradually accepts his dependent situation. He sees that Norma refuses to accept that her fame has evaporated and learns that the fan letters she still receives are secretly written by Max, who explains that Norma is emotionally fragile and has attempted suicide.
Norma lavishes attention on Joe and buys him expensive clothes. At her New Year's Eve party, he discovers that he is the only guest and realizes she has fallen in love with him.
Joe tries to let her down gently, but Norma slaps him and retreats to her room. Joe visits his friend Artie Green to ask about staying at his place.
He again meets Betty, who is Artie's girlfriend. Betty thinks a scene in one of Joe's scripts has potential, but Joe is uninterested. When he phones Max to have him pack his things, Max tells him Norma cut her wrists with his razor.
Joe returns to Norma. Norma has Max deliver the edited Salome script to her former director Cecil B. DeMille at Paramount.
She starts getting calls from Paramount executive Gordon Cole but petulantly refuses to speak to anyone except DeMille.
Eventually, she has Max drive her and Joe to Paramount in her Isotta Fraschini. The older studio employees recognize her and warmly greet her. DeMille receives her affectionately and treats her with great respect, tactfully evading her questions about her script, about which he knows nothing.
Meanwhile, Max learns that Cole merely wants to rent her unusual car for a film. Preparing for her imagined comeback, Norma undergoes rigorous beauty treatments.
Joe secretly works nights at Betty's Paramount office, collaborating on an original screenplay. His moonlighting is found out by Max, who reveals that he was a respected film director, discovered Norma as a teenage girl, made her a star, and was her first husband.
After she divorced him, he found life without her unbearable and abandoned his career to become her servant.
Meanwhile, despite Betty's engagement to Artie, she falls in love with Joe, who feels guilty. After Norma discovers a manuscript with Joe's and Betty's names on it, she phones Betty and insinuates that Joe is not the man he seems.
Joe, overhearing, invites Betty to see for herself. When she arrives, he pretends he is satisfied being a gigolo , but after she tearfully leaves, he packs for a return to his old Ohio newspaper job.
He bluntly informs Norma there will be no comeback, her fan mail comes from Max, and she has been forgotten.
He disregards Norma's threat to kill herself and the gun she shows him to back it up. As Joe walks out of the house, Norma shoots him three times, and he falls into the pool.
The flashback ends. The house is filled with police and reporters. Norma, having lost touch with reality, believes the newsreel cameras are there to film Salome.
Max and the police play along. Max sets up a scene for her and calls, "Action! She pauses and makes an impromptu speech about how happy she is to be making a film again, ending with, "All right, Mr.
DeMille, I'm ready for my close-up," as she then steps in a hallucination of grandeur toward the camera. The street known as Sunset Boulevard has been associated with Hollywood film production since , when the town's first film studio, Nestor , opened there.
The film workers lived modestly in the growing neighborhood, but during the s, profits and salaries rose to unprecedented levels.
With the advent of the star system , luxurious homes noted for their often incongruous grandeur were built in the area.
As a young man living in Berlin in the s, Billy Wilder was interested in American culture, with much of his interest fueled by the country's films.
In the late s, many of the grand Hollywood houses remained, and Wilder, then a Los Angeles resident, found them to be a part of his everyday world.
Many former stars from the silent era still lived in them, although most were no longer involved in the film business. Wilder wondered how they spent their time now that "the parade had passed them by" and began imagining the story of a star who had lost her celebrity and box-office appeal.
The character of Norma Desmond mirrors aspects of the twilight years of several real-life faded silent-film stars, such as the reclusive existences of Mary Pickford and Pola Negri and the mental disorders of Mae Murray , Valeska Surratt and Clara Bow.
It is usually regarded as a fictional composite inspired by several different people, not just a thinly disguised portrait of one in particular.
Nevertheless, some [ who? Dave Kehr has asserted that Norma Talmadge is "the obvious if unacknowledged source of Norma Desmond, the grotesque, predatory silent movie queen" of the film.
Wilder and Brackett began working on a script in , but the result did not completely satisfy them. In August , D. Marshman Jr. In an effort to keep the full details of the story from Paramount Pictures and avoid the restrictive censorship of the Breen Code , they submitted the script a few pages at a time.
The Breen Office insisted certain lines be rewritten, such as Gillis's "I'm up that creek and I need a job," which became "I'm over a barrel.
I need a job. Only the first third of the script was written when filming began in early May , and Wilder was unsure how the film would end.
The fusion of writer-director Billy Wilder's biting humor and the classic elements of film noir make for a strange kind of comedy, as well as a strange kind of film noir.
There are no belly laughs here, but there are certainly strangled giggles: at the pet chimp's midnight funeral, at Joe's discomfited acquiescence to the role of gigolo; at Norma's Mack Sennett -style "entertainments" for her uneasy lover; and at the ritualized solemnity of Norma's "waxworks" card parties, which feature such former luminaries as Buster Keaton as Norma's has-been cronies.
Wilder preferred to leave analysis of his screenplays and films to others. When asked if Sunset Boulevard was a black comedy , he replied: "No, just a picture".
According to Brackett, Wilder and he never considered anyone except Gloria Swanson for the role of Norma Desmond. Wilder, however, had a different recollection.
He recalled first wanting Mae West and Marlon Brando for the leads. West rejected the offer out-right.
West portrayed herself as a sex symbol through her senior years, and was offended that she should be asked to play a Hollywood had-been.
The filmmakers approached Greta Garbo , but she was not interested. Wilder contacted Pola Negri by telephone, but had a difficult time understanding her heavy Polish accent.
They also offered the part of Norma Desmond to Norma Shearer , but she rejected the role due to both her retirement and distaste for the script.
They were considering Fred MacMurray to play opposite her as Joe. Wilder and Brackett then visited Mary Pickford , but before even discussing the plot with her, Wilder realized she would consider a role involving an affair with a man half her age an insult, so they departed.
They had considered pairing Montgomery Clift with her. According to Wilder, he asked George Cukor for advice, and he suggested Swanson, one of the most feted actresses of the silent-screen era, known for her beauty, talent, and extravagant lifestyle.
In many ways, she resembled the Norma Desmond character, and like her, had been unable to make a smooth transition into talking pictures. The similarities ended there; Swanson made a handful of talking pictures.
She accepted the end of her film career, and in the early s moved to New York City , where she worked in radio.
In the mids, she worked in television and on the New York stage and had last appeared in the film Father Takes a Wife.
Though Swanson was not seeking a movie comeback, she became intrigued when Wilder discussed the role with her. Swanson was glad for the opportunity to earn a greater salary than she had been making in television and on stage.
Why do they want me to audition? He replied that since Norma Desmond was the role for which she would be remembered, "If they ask you to do ten screen tests, do ten screen tests, or I will personally shoot you.Restaurant Patron uncredited. Retrieved November 20, Stapley and Hughes first approached Lisa Liv Fries about appearing in a musical revue they had written, About Time based on Time.