“I AM big. It’s the pictures that got small”
- -Gloria Swanson as Norma Desmond in SUNSET BOULEVARD
I hadn’t seen Billy Wilder’s SUNSET BOULEVARD for quite some time until a recent rewatching. I’ve told you before how much I love a good Hollywood behind-the-scenes movie, and this one is no exception. But as I watched the tale unfold, I began to see the film in a different light. SUNSET BOULEVARD is always called a film noir classic, but this go-round found me viewing it through a lens of horror.
It’s certainly got all the elements of film noir. There’s protagonist William Holden, trapped in a bottomless downward spiral. Gloria Swanson is the femme fatale who ensnares Holden and pulls him into her dark web. The cinematography of John F. Seitz portrays a shadow-world of despair. And we’ve got Billy Wilder directing, the man behind noir masterpiece DOUBLE INDEMNITY, working from his and Charles Brackett’s extremely cynical script. All these ingredients certainly combine for a deliciously dark noir stew, right?
But there are other elements at play, horror tropes just as dark and disturbing. Swanson’s Norma Desmond, the faded silent film star, is obviously insane, driven mad by her tragic descent into obscurity and longing to claw her way back to the top of the Hollywood heap. Norma is the progenitor for all those Grand Guignol Dames to come, from Bette Davis as Baby Jane Hudson to Miriam Hopkins’ delusional Katherine Packard in SAVAGE INTRUDER . The grotesque former star plies the down on his luck screenwriter Joe Gillis (Holden) with money and material things (though the seedy scenarist is at first a willing participant), keeping him a virtual prisoner in her isolated home, shared only by her loyal servant Max, who’s not what he seems and may be a bit loony himself.
Speaking of her home, the gloomy, decrepit mansion is run-down and dusty, cluttered with cobwebs and ancient artifacts from Norma’s past. It could fit right in next door to the Femm’s residence in James Whale’s THE OLD DARK HOUSE , or Castle Dracula itself! The horror in SUNSET BOULEVARD derives not only from that house, but from the actions of its inhabitants: Norma attempts suicide after Joe, repulsed by her demands for affection, rejects her at a New Year’s Eve party for two. Finally, when Joe finally grows a set and tells her he’s leaving, Norma’s crack-up is complete, and she kills her jilting lover in cold blood. Her grand descent down the staircase and into a madness of no return, carefully choreographed by Max, is chillingly glorious, and worthy of any good horror movie.
Pioneering director Erich Von Stroheim as Max was no stranger to horror, having appeared in both THE CRIME OF DR. CRESPI and THE LADY AND THE MONSTER. Von Stroheim’s career took a nose dive in the talkie era due in large part to his excesses behind the camera; his 1932 QUEEN KELLY is shown during the film as Swanson watches herself, fascinated with her own onscreen image. Another fun part of the movie for me, having nothing to do with the horror aspect, is seeing silent stars of the past in small roles. Norma plays a weekly card game with Buster Keaton , Anna Q. Nilsson, and H.B. Warner, who Joe callously calls “her waxworks”. And Cecil B. DeMille , who was instrumental in Swanson’s career, plays himself in a poignant scene while filming SAMSON AND DELILAH (Henry Wilcoxon has a cameo).
So is SUNSET BOULEVARD a film noir, a horror movie, or some kind of hybrid? Cameron Crowe, in his book of interviews with director Billy Wilder, asked whether he considered the film a black comedy, to which the maestro replied, “No, just a picture” (1). Anyway you slice it, SUNSET BOULEVARD is a bona fide classic of American cinema, a film that can be viewed on many different levels, and enjoyed on all of them.
“Just us, and the cameras, and those wonderful people out there… in the dark”
-Gloria Swanson as Norma Desmond in SUNSET BOULEVARD
(1) from “Conversations With Wilder” by Cameron Crowe (Alfred A. Knopf, 1999)
Reblogged this on Through the Shattered Lens and commented:
“Sunset Boulevard” airs tonight on TCM at 8:00pm EST
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I so need to see this one Gary. Great post and thanks for kicking me up the jacksy to get on with it 🙂
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You’re gonna love it!
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Is there a better movie about Hollywood?
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Some come close (“The Bad and the Beautiful”), but this one stands above ’em all!
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That’s a good one. I have a soft spot for both Singing in the Rain and the 1954 version of A Star Is Born.
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Watching it on TCM as I write this. One I can see again and again.
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I just had to rewatch that dynamite ending, Belinda! “… and those wonderful people out there in the dark”!! Sheer brilliance!
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It’s both! Such a brilliant and tragic film.
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Ah! One of my all time favorites!
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Same here, Meg!
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I’ve always viewed this as a horror film. It just makes one so uncomfortable, uneasy. Between Swanson’s portrayal, the setting, the murder and denouement – all those factors you’ve mentioned – it has seemed so to me.
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Good point! I am not personally convinced this is a full-fledged noir, but I do like what you said about the horror elements, which seem more influential in my mind.
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Yes, I suppose it can be viewed both ways, but the horror angle really stuck out last time I watched it. Best news: Fathom Events and TCM are presenting it on the big screen in May!
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