I finally watched Sunset Boulevard about two years ago, and it's already become one of my favorite films. I received a copy on BluRay for Christmas (thanks, Jason & Amy!), and gave it a whirl. Frankly, I'm a bit shocked that I didn't do a lengthy write up of the movie during that time a couple years back when I first watched the movie in its entirety then went to the Paramount to see it, but I can't find a record of any formal prior discussion of the movie.
If you're not familiar, Sunset Boulevard opens on a murder in the Hollywood Hills (I guess, I don't know LA geography) and backtracks in pure noir style to how we got to this point. A struggling screenwriter who tasted success and watched it fade stumbles upon the decaying mansion of a once great silent film star now living as a recluse, planning her return to greatness. She has money, and plenty of it, and Joe is willing to take the money and deal with the insanity of the mansion and wretched screenplay she wants him to tidy up that will surely mean the return of Norma Desmond to an imagined legions of fans eagerly awaiting her return.
And then things get dark and weird.
The movie spawned a million quotes, and is best remembered for Gloria Swanson's stunning portrayal of Norma Desmond - a character that reflects what had happened to some extent to many stars of the silent era (and continues to happen to talent as they fade from the public eye in favor of the next new thing) - only, you know, amped up a bit. Add on real-life former silent director Eric von Stroheim as Desmond's aloof butler, and you've got a really interesting dynamic going.
In general, I don't love movies about Hollywood making movies, but sometimes the industry turns the eye back on itself and is willing to admit a few things about itself that make for a great story or provide an opportunity for great performances - even if there's maybe not a sense of a universal human experience or some such idea. But I do think the ideas about self-delusion, dreams of stardom and relevancy and what it means when it fades, what we're willing to do for a buck, and more... are recognizable if not relatable.
Plus, man, Billy Wilder's dialog.
|"...we had faces!"|
There are a LOT of extras on the disc. Probably too many, but you can't say it's not fairly complete when it comes to talking about the film and reminds me of the difference between access to a film via a streaming service and why you might want to own a copy of your favorite movies.
The movie itself is one of those things that will continue to reveal bits of Billy Wilder's brilliance for several more screenings, and my appreciation for how all of the pieces fit together just grows with every viewing. I appreciate the devotion to Hitchcock (and also received the Hitch BluRay box set for Christmas that I am dying to crack open), but I think film school could do worse than to point that eye at Wilder and his ability to leap from genre to genre and redefine it as it goes. As they point out in the bonus features, he not only managed genre - he moved outside of genre and created his own kind of film with Sunset Boulevard.
Casino is not a short movie, clocking in at about 3 hours, but I've still seen it probably 8 or 9 times. And, I argue, it's one of the best reasons to reconsider Sharon Stone as something other than the somewhat Norma Desmond-esque figure she's hellbent on becoming.
|you kids who work with video will never know the night mare of lighting this for film|
The movie rolls out DeNiro as DeNiro, Pesci as Pesci and a whole herd of hoodlum and thug stereotypes from the Eastern US and drops them in Nevada in the wake of the Rat Pack.
Based on something approximating the real-life events of Frank "Lefty" Rosenthal leaving Chicago and illegal gambling to establish mob foundations in a town where everything is legal - the movie presents the story using a fictionalized version in Sam "Ace" Rothstein (DeNiro) as a mobbed-up bookie who finds he can make a fortune as a legitimate businessman in the wilds of Vegas. How much is true, how much is speculation and how much is fabrication - probably best Scorsese himself doesn't know. Pesci, not so long since he tried mainstream credibility with My Cousin Vinny plays mob thug Nicky Santoro, the muscle Ace needs in the early days, but who becomes a liability the minute respectability becomes a necessity. Stone plays DeNiro's showgirl wife/ greatest distraction and liability.
Fantastically shot, meticulously detailed, Scorsese captured the last of old Vegas before it was subsumed with Vegas' secondary major industry - construction. (If you've never been to Vegas, it changes completely about every 8-10 years).
|this one time in 1995, Sharon Stone made a movie in which she was terrific|
It's an epic film that isn't shy about a sprawling cast and intricate relationships presented in sketchy detail, but Scorsese keeps it easy to follow, using the template started in Goodfellas as a jumping off point. The story stretches over a decade or more, following the rise and fall of key characters who ignite the Vegas scene and make the world there possible before being subsumed by corruption outside, inside and something resembling the actual forces of the justice via the US Justice Department and a lot of bad karma.
Anyway, on this go-round I was really struck by how well the movie presents all of the characters, their motivations and points of view, and even if we want to root for Ace, he's maybe as bad or worse than Nicky in some ways - at least Nicky is honest about his nature and seems to want for things to work out - he just doesn't have the big picture vision that Ace seems to have in spades.
And, by the way, if you're a James Woods fan, this is one of his smaller, wonkier roles and every time it makes me laugh a little bit.
I did watch the movie on basic cable. Why? I don't know. I have a copy on DVD. But it was fascinating watching them edit the living heck out of Jos Pesci's dialog while allowing for bats to collide with skulls and running ads for The Untouchables where the ad was entirely the infamous "teamwork" scene.
Oh, American TV standards. You are so weird.
The movie will also have my undying respect for casting Don Rickles in a straight role in a movie. I mean, who does that? Brilliant.
Glad you enjoyed Sunset Boulevard. I only saw it for the first time a few years ago, and saw it on the big screen for my very first viewing. It's a great film, and it's amazing how well it holds up.
You've prompted us to take the new Christmas entertainment screen for a spin with this one.
BTW: Doesn't that hair and expression in the pic you have there look a bit like Amanda Palmer?
Well, I wonder what Ms. Palmer would have to say about that...
When I saw Palmer play a couple years ago, it finally clicked with me that Palmer is writing musical theater and is coming from a standpoint that is very theatrical. I think she'd say so herself, what with the "Punk Cabaret" ideal.
In some ways, the larger than life posturing of the silents (the staged miming) that Norma Desmond has incorporated into her everyday, melodramatic persona, probably isn't too different from the stagey life Palmer is leading. We'll see when Palmer fades if she goes full Norma Desmond or not.
As much as I love Sunset Boulevard, if you can find Casino, watch it as well, as it's a brilliant shot movie. And Lauren should totally go for Sharon Stone's 80's era hair-do(n't).
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