Sunset Boulevard
...on, but simply wears a mask of remoteness. Even the house number on Sunset Boulevard is unrealistic, 10086, implying that even its location is illusory. This distorted image of reality gives the responder a cynical glimpse of a celebrity’s life and identity. Not only are Norma and Max shown as living in a twisted reality, but to further underline the blurring of reality for the viewer the other characters are portrayed as lacking in reality as well. The subplot within Sunset Boulevard of Joe and Betty's love affair is dreamlike, their play, the Untitled love story is specifically named by Wilder to imply that their love, both in real life and on paper, can never succeed and will never be recognised. Even the location where the majority of their romantic intercourses occur is chosen to be imaginary as the place is in a fake Hollywood back lot again presenting an unrealistic angle for the viewer. However, in contrast to the distorted image of reality explored through the main characters and setting, Wilder employs intertextual references to connect the illusionary realm to our modern day reality and make his interpretation of celebrity in his film Sunset Boulevard seem plausible. When Norma's old acting friends appear in a scene, the characters are played by outdated, aging stars of the past, linking the film to the real world through these real actors and giving it a sense of verisimilitude. Also, the famous director Cecil Beedy Mill makes a guest appearance directing a movie in Paramount studios, another authentic location making the movie seem possible. We witness a softer, more engaging Norma when she dresses up as Charlie Chaplin to perform for the entertainment of Joe, thus this intertextual scene is utilized to allow Norma to appeal to the responder. Also, Norma’s inflated view of her own fame is somewhat justified when she visit Paramount pictures and is surrounded by fans as she basks in an actual spotlight. However, through costume and character these fans do not appear to be important, as they are all extras or film crew, thus past celebrities are only significant to “normal” people. Celebrity is presented to the responder as a seductive and alluring trap that is impossible to escape, tempting people and inevitably destroying them. Wilder establishes this trapping in the film’s circular plot, with the opening death shot of Joe being returned to near the end of the film after his background and story has been explained. After Joe has been tempted into the celebrity lifestyle and has become a “kept” man by Norma, his eventual attempt to escape the Hollywood system for the wholesome simple lifestyle awaiting him in Ohio is thwarted. He is shot by Norma as “nobody ever leaves a star,” implying that celebrity is impossible to escape. Many techniques are employed to foreshadow this tragic ending, including the macabre death of Norma’s first companion, the chimp, and in Arty’s fake shooting of Joe. In Sunset Boulevard, the audience is positioned to despise Norma in the film through the interaction between Norma and Joe. He embodies human nature when he succumbs to the allure that stardom holds and the worship of famous people and their power. Norma holds a certain predatory sex appeal over Joe, which is demonstrated in the camera angles shooting up at her, giving her the image of power. Also, her long, claw like nails and habit of grabbing Joe at any opportunity establishes her dominance over him and a certain dependence on him. The untraditional gender role reversal in that Joe is the man being kept by a dominating woman. In another unconventional role, Max is practically a slave to Norma and allows himself to be controlled by her in an almost masochistic manner. This boosts Norma’s image as a Femme Fatale, a rapacious, sexual fiend as she spares no feeling for her ex husband but expects him to always care for her and sets about achieving the same relationship with Joe. However, in order to engage the audience the film also shows glimpses of a softer, vulnerable Norma, there is a certain quality about her which lends itself to pity, including her emotional dependence upon Joe, which appears genuine. Norma wishes to care for Joe, something which no one else, including his producer and agent, are willing to do, “you’re the only person in this stinking town that has been good to me.” Her life is so empty and meaningless without her fame, that she cannot let go of that part of her life which has long been over. Thus, celebrity ascends her to stardom, but abandons her when she can no longer fit the stereotypical celebrity mould. The image of decadence, obsession and decay as a major part of celebrity presented to the viewer is also symbolised by the location and style in which Sunset Boulevard was shot. Norma Desmond's fabulous but dilapidated mansion is shown with it's sweeping staircase encased in a wrought iron balustrade, the eerie pipe organ and the narcistic display of the thousands of photographs of Norma in the sitting room. Norma’s lifestyle embodies a movie set, with the dramatic house and Norma herself always dressed in elaborate costume of black, jewels and leopard skin accentuating the predatory aspect of celebrity. The technique of Film Noir, shooting the movie in black and white was employed for an added shadowy, dark and evil feel, although colour filming was available at the time. The contrast between pleasantly innocent Betty and Norma is made apparent in the lighting of their bedrooms; Betty’s is full of light and white furniture, as opposed to the poorly lit room of Norma, with dark corners and drapes. Thus, the setting portrays the disrepair that celebrity can lead to. Sunset Boulevard also relies heavily upon music to emphasize moods of the scenes. The music in the opening sequence is inten...