Відео

I enjoyed your presentation of this movie! Your talent for it made this fascinating to me. Your way of analyzing...exploring...brilliant!! Oh I see a loose connection with the psychological effect that Hollywood has in two other cinematic instances: One is "Whatever Happened to Baby Jane" in which not one but TWO old time Hollywood actresses are featured, and through them we see the pathology. Another example is a Rod Serling "Twilight Zone: episode in which Ida Lupino plays a "has been" actress who secludes herself in her house mainly in a viewing room in which she watches her old movies to create the illusion that nothing has changed. Finally at the end, in Rod Serling "Twilight Zone" fashion, she is able to "walk into the movie" joining her fellow actors, leaving the present world behind forever. Here is the Title of the episode: "The Sixteen-Millimeter Shrine", starring Ida Lupino, is episode four of the American television series The Twilight Zone. It originally aired on October 23, 1959,

Return from the grave.

1962 Was a great year for motion pictures.

wonderful analysis. thank you.

Ryan O’Neal was Farrah’s husband after Lee Majors Ryan portrays a high skilled getaway driver I can relate because I have done this line of special skilled work this movie really nailed it he don’t live in an apartment it’s a skid row Mens hotel Ronee Blakely played Nancy’s Mom in the original Nightmare on Elmstreet and that little up crosstown tunnel with the subway tile was used in many movies a Movie that comes too mind is from 82 it is a horror flick One Dark Night

Ryan O’Neal was Farrah’s husband after Lee Majors Ryan portrays a high skilled getaway driver I can relate because I have done this line of special skilled work this movie really nailed it he don’t live in an apartment it’s a skid row Mens hotel

Sunset Boulevard was a brilliant attack on Hollywood....that is what made it great

Excellent commentary on this film. I was brought here because I will be writing up an analysis for this film and this video has helped me to think further on the things I have observed in the film.

Who's the actor at 12:05? (Glad you showed that still.) I thought it might be George Kennedy but haven't found anything in support of my observation. After watching the movie last night, this is my quest!

Max and Norma. Many many decades later that machination is the backbone of "Let the Right One in," a vampire "love" story.

This movie was very disturbing, I won’t be watching it again.

I think sunset blvd is great because the premise of the story was believeable! Most importantly the acting was so outstanding it wasnt a campy parody! The real life connections between the people in the film and being in black white also made the film more effective!

I would have liked this film much more if I didn't know that Gillis was going to die at the end. So skip the first scene.

Joe was a gigolo.

I disagree with the following elements of your analysis: (1) DIGNITY: I think you're misinterpreting the observation that Poitier is "dignified" in this film. Behaving in a dignified manner is part of the character of Tibbs. Tibbs lives in the progressive north, so he is accustomed to being treated with respect up north for who he is. So when he comes to the south and is treated poorly because of his skin color, behaving with dignity is a way to react to this demeaning treatment ---- it's a public self-defense mechanism that defies this demeaning treatment, that compensates for it, and that therefore re-elevates Tibbs to the normal status he is accustomed to living up north. (2) RAGE: I disagree that Poitier or Tibbs has an underlying rage. Rather, it is an outrage, and the two are different. He is not viscerally full of rage, he is outraged by how he is being treated and looked at. This is a situational, temporary emotional reaction to his treatment, whereas rage is more of a permanent personal personality characteristic. (3) THE SLAP: The slap is shocking not because of our preconceptions --- it's shocking because in the context, mood, attitude that is established in the film itself, Tibbs is in a dangerous situation, he is in a setting that is personally dangerous, and he doesn't seem to be cautious in response to this palpable danger. He is not restraining himself in order to protect himself while he is in the dangerous environment. Rather, he continues to act in the way he would act up north, in a safer, more equal environment, and in doing this he is putting his life at risk. So what is shocking is that he slaps Endicott when we know how racist Endicott is, and when he suspects that Endicott is the actual murderer, and therefore is a very dangerous man himself. It's shocking that Tibbs takes this personal risk to his safety. It's also shocking because it's so violent, and we are shocked to see such a dignified man being abused in this way. I heard an interview with someone involved in the film who said audiences cheered when Tibbs slapped Endicott back. (4) Gillespie's "None of that for you, huh Virgil" is meant to show that Virgil is human too --- while the whites Virgil is encountering in the south might look down upon Virgil because of his skin color, Virgil looks down upon these black laborers because of their social class. This comment sets them up for the scene when they leave Endicott's, and Virgil reveals his ambition and competitiveness in his desire to "take down" Endicott, and Gillespie says to Virgil, "you're just like we are," and Virgil has a horrifying moment of realization that Gillespie is right.

Great analisis but We need more of the movie. Please

Along with ‘Moonstruck’ this is definitely the best N.Y romantic flick. The great scene in the dinner with the old lady singing, I see as a sign to Izzy to consider her own situation. “Can I end like this if…”? Great cast although Nick really doesn’t looks like a guy who would be in a romantic/sexual relationship with Izzy, not even as a friend with benefits. Otherwise it’s a flawless flick with top notch performance by the entire cast (Nick included).

This film, along with "Guess who's coming to Dinner", are my two most favourite films.

30:40 I absolutely LOVE this part where the microphone hits her hat and she sneers and shoved it away… much like how her career and high times rejected the concept of sound and microphones itself… really cool and subtle metaphor to me. This and Chinatown are my fave classic LA films of all time!

The commentator talks too much. He has given away all the spoilers. Jeez! He should shut up as Kramer once told a character in "Seinfeld".

crazy flick...i saw this at the Mini Cinema in Uniondale, NY back in the 70's. midnight dhows were the best. they let u bring in beers and smoke weed.

I love the Jamaican couple

You’ve got good taste!

The Chief might be a racist, by modern standards, certainly so, but he's well aware that he's not up to investigating a homicide. Virgil with his own on board prejudice and arrogance, makes him aware of this, when he refuses to help. Gillespie then buries his pride (pride hurts, it never helps), and admits he's not an expert, ending with the "officer". Moving beyond, race, culture, tradition and everything else, appealing to the bond between both of them, as fellow police officers. Virgil might be bright, he might be successful in his own little world, but he's arrogant, and condescending, and in his own way bigoted as well. This scene, the first one, shows all you need to know about both of them: Flawed human beings, trying to do right in a difficult situation, and we hope, putting duty above all.

Great commentary however I can't believe you missed out the red light scene! That was arguably the best scene in the film and showed that she knew he had died. Then the doctor described Popaul's final actions it linked with the light, and the cut away to her closing her eyes at the moment he would have died.

It's Roubaix, pron. Roubay

Organ, not "keyboard"... Ugh

It's the best remake ever! Beatty out did himself with cast, writing, music...

I was 21 when this movie, "In the Heat of the Night" came out to the theaters and like everyone I was amazed at the performance by Rod Steiger who was incredible but also Sidney Poitier too. Both did unbelievable acting but was happy when Sidney slapped that rich white guy that was being rude to Sidney. I felt Sidney had the right to defend himself since he was there to put the pieces of the puzzle who killed the man who came to help that town with so many jobs. However, it is true when I think about it - whenever anything had to be taken care of white people's problem, they went to the black section to get their issues done. I always admired Sidney and glad he didn't lower his standards to make movies that were not morally or ethically wrong for him. He had that right and I applaud him.

Cool movie. Cool music.

This quote from Jarman's diary is pointed: "The instigators of punk are the same old petit bourgeois art students, who a few months ago were David Bowie and Bryan Ferry look-alikes - who’ve read a little art history and adopted some Dadaist typography and bad manners, and who are now in the business of reproducing a fake street credibility." (From the Quietus article linked above)

The presence of Hitler at the Dorset manor was not a critique of the punks flirtation with Nazi imagery, but rather the exploitative nature of the profiteers of punk (Ginz, in this case), or popular media in general, who would put Hitler in an exclusive TV spot if they could. Like the Clash song "(White Man) in Hammersmith Palais" lyric, "If Adolf Hitler flew in today, They'd send a limousine anyway."

Such a pleasure watching this movie : TIMELESS

This presenter is such a creep .

All I could think of after watching this as well as the whole movie Sunset Blvd. was Meghan and Harry.

The first time I saw Sunset Boulevard I was surprised to see Jack Webb smiling. I had only seen him in Dragnet. He was also in The Men with Marlon Brando.

The lead was originally going to be Mae West! (And they did use her swan-shaped bed.) And the story was based partly on something that had actually happened to her. She got a call about a part in Gone With the Wind and she assumed they wanted her for Scarlett. Turned out they wanted her for Belle Watling. She was insulted and refused. They made this into Norma thinking they wanted her back to make a picture when they only wanted her car.

Oh yes. So painful I don't want to watch it again. Ever watch the biodoc on Gloria Swanson? She poignantly was totally unlike Norma.

Totally enjoyed your breakdown of one of my most favourite movies; just rewatched it. Like the idea that Lenny doesn’t get rejected by Kelly as he rejected Lila. That would be the end of that. Prefer that it is realized he would never be happy and gasp life becomes mundane. It rather reminds me of the ending of “The Graduate” on the bus. After the hoopla how does life compare? Liked that you thought Lenny was a shmuck. I did too! Great casting.

I thought the mid-atlantic accent was used in those 'putin-on-the-Ritz' dramas of rich people in the 1930s - a kind of arch fakism to seperate that fantasy world from the realities of the 1930s. When you had those song and dance films about chorus girls in the 1930s, they had exaggerated Brooklyn accents. Westerns with Gary Cooper from the same time don't have mid-atlantic accents. And so on. Anyway, I have a 3 minute recording of my Canadian mother and father made in a booth on their Honeymoon in NYC in 1954, and there voices are also high pitched, tinny and they speak with that amped - up enthusiasm - I think the sound is connected with the microphones, and the speaking manner is how people spoke then. The queen of England is the best documented example of how her accent and 'sound' changed over time.

You said yourself that the film treats its audience as if it has intelligence. For an average audience, the film is too convoluted and there are too many characters doing there seperate things. Walter Matthau was right, a mass audience needs exposition and spoon feeding, it doesn't mean people are necessarily stupid, they just don't go to the movies to be challanged

Thank you

David Lynch is a huge fan of SUNSET BLVD (see MULHOLLAND DR). In TWIN PEAKS: FIRE WALK WITH ME he plays an FBI agent named Gordon Cole.

This really is a favorite film of mine, one of my favorite romantic comedies especially. But why do I always get the gnawing feeling that they'd be divorced in five years. LOL

Great analysis of one of my all-time favorite films. Agree with your final points about the political situation that the country found itself in once Nixon got in back in 1968. To that I would only add that it sounded very similar to what has happened to us very recently. in other words: 1968 = 2016. Just my take, for what it's worth, about how we got here now.

Reminds me of the game Driver

What do you think/interpret about the scene at the police station where Whoopi and everyone else starts laughing and Tim Robbins goes crazy? I'm not sure If I got everything the movie was trying to say there.

Love this movie. Love Charles Grodin. As they leave on their honeymoon, you can see Grodin become more and more disillusioned, you can read his mind "what did I marry". When she gets egg salad on her face, eating in bed, on and on. So spot on.

Watched it for the first time the other evening. Your discussion is great, just as good or better than the historical reviews. The title is what struck me as relevant. I somewhat knew that it would be an iconoclastic statement about the industry and I was not disappointed, especially in the brilliance of Holden and Swanson. Thank you for a great analysis.

A rom com with more heart and substance than flash and superficiality.