[. If she were just a little aware of people and events outside of herself she might realize how much Max loves her and Joe does not. She’s attempted suicide, and has been married three times. You used to be big. NORMA:  I need you as I never needed you. . Norma’s memories of her stardom and the adulation that went with it, drives her obsession to resurrect her acting career. Since the movie was for the 1950s, the props and the costumes of the film were supposed to be of the mid-20th century, and that did not disappoint. Norma focuses her efforts on keeping the relationship with Joe just as it is. BETTY:  [. Norma thinks that she’s the greatest movie star that ever was; that she’ll returned to the screen and prove she’s still a great star. We didn’t need dialogue. The variation of the lighting helped in communicating dark encounters associated with crime while bright colors assisted in highlighting light moments in all the episodes She relies upon astrology to ensure that a partnership with Joe will be successful, and to predict the best time to send DeMille her script. . .] . . Instinct carries greater weight in the subjective story:  Joe belatedly acts on his instincts and attempts to gain financial independence from Norma by sneaking out at night to work on his script with Betty. When that fails he implements a plan to inflate his pay rate, do a quick rewrite on Norma’s script, and pay off his debts. How he captured the corpse of Joe to be floating on the swimming pool and giving a marvelous shot of the police officers around the swimming pool interrogating the crime scene portrayed excellent shooting skills. . NORMA:  Still wonderful, isn’t it? As the story progresses Norma considers more ways to regain her stardom:  Knowing how popular biblical epics are, she contemplates using the epic story of Salome as a vehicle for her comeback; realizing the impact her presence makes, she arrives in the flesh at Paramount to get a commitment from DeMille to direct her picture. He pretends not to hear or see anything that will embarrass or upset her. When Joe rejects her declaration of love, Norma impulsively reacts by slashing her wrists with his razor. .] She employs Joe Gillis, a disillusioned young writer, to work on the script with which she hopes to make a comeback, even though Cecil B. DeMille has turned it down. She becomes more possessive of Joe, and snaps when she discovers that he’s sneaking out of her home to write a love story with a young woman. MAX:  [. This also means it has been incorporated into the Dramatica Story Expert application itself as an easily referenced contextual example. . NORMA:  Oh, I don’t care about the money. He returns and becomes her lover, a kept man totally dependent upon her for life’s necessities. . The lighting intensity was used extensively in the film. The objective characters are concerned with how to realize their career objectives using Joe’s talent as a writer. Look at me. For instance, Norma Desmond is given the character of the lead actor role where she is used to manipulating Joe due to her beauty and attractiveness. SUNSET BOULEVARD. He finds himself virtually her prisoner, marooned without a car, money, or a place of his own. Norma pauses at the top of the stairs: NORMA:  [. Norma realizes she has the advantage over Joe when he demands to have his belongings returned to his apartment: Maybe I could wipe the whole nasty mess right out of my life. Norma envisions writing her script, getting it to DeMille, he jumping on it and directing her in a glorious comeback picture; Max envisions that by forging fan letters and mailing them to Norma, he’ll keep her happy. [. . Likewise, props and costumes of the film are well represented with the props displaying the character of each character in the film. It is a classic black comedy/drama, and perhaps the most acclaimed, but darkest film noir story about “behind the scenes” Hollywood. You see, I was her first husband. On the journey to the goal:  Norma tortures Joe with memories of her glorious past as a movie queen; Joe remembers how some of the guys back at the Ohio newspaper believed he would fail in Hollywood, and it galls him to consider returning to his old job; Betty remembers ten years of acting and dancing lessons, and her three-hundred-dollar nose job, all wasted, because she didn’t have the talent to be a movie star; While he’s waiting for Norma at Paramount studios Max, now a servant, remembers his life as a director: And we’re not helping her any, feeding her lies and more lies. A long-term contract with no options. The closer Norma believes she is to getting back into pictures, the more demanding and possessive she is of Joe. . . . and I thought it was a matter of life and death. The characters also pleasantly depicted the themes of the movie making it interesting and attractive despite its noir nature. It exclusively portrays a flashback episode on various events relating to Joe’s life. We had faces. . Joe wants to maintain control over his life, while Norma is determined to own Joe body and soul. It’s fate that he should land in dead in the swimming pool Norma had restored and filled especially for him. Using her writing talent in collaboration with Joe, she falls for him although she’s engaged to another man. What happens when she finds out? . Joe strives to make a living as a writer in Hollywood. Sunset Boulevard is a musical with music by Andrew Lloyd Webber, and lyrics and book by Don Black and Christopher Hampton, based on Billy Wilder's 1950 film of the same title.. . She lives secluded in her mansion with one servant, writing a horrible script she’s certain Cecil B. Mille will love and want to direct her in. “State of Being” is represented in the objective story by Max Von Mayerling:  He’s aware of his lowly station as Norma’s servant, whose main job is ensuring that she never finds out her career is truly over. Just a story won’t do. It is inevitably justifiable that the major elements of the film that include lighting, costumes, setting, and design among others support it categorization as a film noir. He’s fated to run into Betty again at Artie’s party, only to discover that she’s his friend’s fiancee. Patent #5,734,916; #6,105,046. The black and white color of the film is an excellent portrayal of the noir theme of the film thereby enables it to appear real. . I remember my walls were covered with black patent leather. . I found it [“Bases Loaded”] flat and banal. Contrary to Joe’s belief, he’s not destined to become a successful script writer. GILLIS:  [. Analysis of opening sequence to Sunset BoulevardSunset Boulevard is a film noir which was released in … And what made it even worse was that she was around all the time, hovering over me. GILLIS:  Sure you are. Max loves Norma so much he lets her treat him like a servant, supporting her fantasy for so long that she feels justified to enslave Joe, and arrive on the Paramount lot as if she were a queen. He’s trying to get my price down. In this particular film, the cast crew is excellent as the characters portrayed their roles very well. They wanted the ears of the world, too. He returns and they become lovers. Norma comprehends the meaning of Joe’s protests: Joe, recently murdered and floating in a swimming pool, wants everyone to know the chain of events leading up to his death. He hopes the script will make him financially independent of Norma, but along the way he falls in love with Betty. His first effort to leave her fails when she attempts suicide. Joe’s affection becomes the cornerstone of Norma’s campaign to recapture her stardom. NORMA:  I’m in love with you. The setting prepares the mind of the audience that the film is one of the darkest film noirs. Where have you been keeping yourself? When the sound era arrived, Norma’s career crashed. Look, sweetie—be practical. At first embarrassed that Joe should see her bandaged wrists and her tears, Norma angrily orders him to leave. Oh, no! After Betty declares her love for Joe, he directs his thoughts to himself and his future: Norma’s use of speculation about her career dominates her life and entraps Joe in a nightmare that ultimately destroys him. Look at me. Norma Desmond was discovered when she was eighteen and groomed into a great silent film star. Norma falls in love with Joe, and smothers him with clothes, jewelry, and her unwanted affections. The different lighting intensities were used where appropriate to help in conveying the appropriate message. In one week she received 17,000 fan letters. ‘SUNSET BOULEVARD’ is a brave look at Hollywood, and another masterpiece from William Wilder which reminds us that there was a time when actors needed only their faces to perform, with no need to tell a single word. What fun we’re going to have. . The film’s cinematography also helps in portraying the criminal aspect that forms the story line in its content. NORMA:  Now what is it? GILLIS:  All right, I drove to the beach. . Joe judges his progress by how things are going in his life. I gave it to you. .] .] I wanted the dough, and I wanted to get out of there as quickly as I could. Joe’s worried because he hasn’t written for a studio in months. However, using movie magic, he tells the audience what has happened to bring him to his sorry end. He becomes her lover and kept man. MAX:  This is the staircase of the palace. Norma conditions Joe to do what she wants by throwing temper tantrums and threatening suicide. MAX:  . Joe pretends to be a heartless gigolo so Betty will stop loving him and marry Artie; Max pretends to be a film director to lure Norma downstairs to be arrested for killing Joe; Norma acts like the silent screen star she once was when she madly glides down the staircase to the newsreel cameras. He sneaks out of Norma’s house to work on the project, hoping to sell the story to support himself, and become independent of her. Joe’s on the road to destruction and nothing he can do will prevent it. What would they [ the media] do to Norma? Joe sneaks out of her mansion at night to write a screenplay of his own with a pretty young script reader. Copyright © BETTY:  I just think pictures should say a little something. After shooting Joe, she’s more alone than ever, her mind permanently locked in the past. On the other hand, Norma who loved her beauty and extravagant life style wore a beautiful dress with expensive jewelry to give out her character. Have they forgotten what a star looks like? She sees the same path for Joe. As he exits the house Norma shoots him, and he lands dead in her swimming pool. Joe, floating in his watery grave, acknowledges that twisted bit of fate. . . A younger man who is not doing too well. Or I’ll buy a boat and we’ll sail to Hawaii. MAX:  It was I who asked to come back, humiliating as it may seem. The production of the movie is very satisfying as it provides a satisfactory chronology of the activities at the crime scene. Joe’s use of speculation creates problems:  He expects to raise three hundred dollars in one day; risks associating with weird Norma to earn five hundred a week for the rewrite job; counts on selling his schoolteacher story to Sheldrake to become financially independent of Norma so he can start “keeping” himself. . I’d do a little work, my car would be safe down below, until I got some money out of her. However, the studio just wants to rent her vintage car. Funding Source. See where it says Readers’ Department? The director of the film can be said to have a vast experience in cinematography, giving the film several fine shots making the film even more interesting. Cecil B. DeMille considers himself to be Norma’s kindly mentor even after twenty years; he lies about doing another picture with her so his dear “young fellow” won’t be hurt. If the goal of succeeding in Hollywood is to be reached:  Joe must consider why his stories aren’t selling and stop pumping out inferior work; Norma must be sensible about being a leading lady at her age and consider character roles if she’s going to act again; Betty has to contemplate other people’s motives and the darker side of human nature, or she’ll never succeed in a tough town like Hollywood. Insbesondere aus diesem Grund ist es extra wichtig, sich auf die entscheidenden Kaufkriterien festzulegen. And no dialogue. He allows her to buy him expensive clothes and jewelry, and install him in her mansion. She is dressed in black house pajamas and black high-heeled pumps. More than anything she wants to be a star again. He needs to start telling the truth to the finance men, to Norma about her script, to Artie and Betty about his relationship with Norma, if he hopes to set things straight in his life. As the story progresses the characters come up with more ideas to achieve their goals:  Joe comes up with the idea to ask his friends for money to pay his car notes; Morino advances the idea that losing his car will be good for Joe, because he’ll have to write; Betty comes up with the notion to co-write Joe’s story idea so she can earn herself a writing credit; Max comes up with the idea not to tell Norma the truth about Paramount’s wanting her vintage car for a film, not her screenplay, so that she’ll be happy. I don’t care what it takes. Betty does everything she can to get Joe to develop his story with her, then she tries to convince him to leave Norma and come away with her until he makes her believe that he’s a lost cause. Now you’ll have to sit behind that typewriter. For instance, when Norma picks up the telephone when she received the news about the sudden death of Joe, the telephone was an old-type that could be related with the telephones that were used in the 1950s. However, Norma’s instincts tell her that it’s not just a script that’s luring Joe out of her house nights. The classy environment of Joe Gillis and Norma Desmond is well depicted with both actors dressed in attires that depict their lavish lifestyle and love for wealth. Betty finally understands why Joe’s been lying to her and Artie about where he lives and is heartbroken; Joe finally understands just how desperate Norma was to hold onto him, as he floats face down in her pool.

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