Abstract
Sunset Boulevard (dir. Billy Wilder, 1950) concerns the life — and death — of Joe Gillis, a struggling Hollywood screenwriter. It also focuses on the death-in-life of Norma Desmond, a once famous actress of the silent screen, and now parody of her previous incarnations, as she lives amongst her memories, delusions, and the remnants of a ghostly Hollywood past. Gillis, attempting to save his car from being repossessed, turns into the driveway of Desmond’s run-down Sunset Boulevard Mansion. At first, for some inexplicable reason, he is mistaken for an undertaker, the corpse in question being that of the actress’s dead chimpanzee. However, on learning Gillis’s real profession, Norma invites the writer to stay, to look over an unwieldy melodramatic script retelling the story of Salomé, on which Norma Desmond has been working. Agreeing, Gillis finds himself also agreeing to stay at the house, ostensibly for convenience sake, but, in reality, to avoid the debt collectors. Once there, he finds it increasingly difficult to free himself from the claustrophobic situation into which he has been dragged. Eventually, following a love affair between the has-been actress and never-was writer, an evasive encounter between Norma and director Cecil B.
Keep it out of focus — I want to win the foreign picture award.
Billy Wilder to his cinematographer
Cinema, like all other forms of writing, leaves something behind, something involving material effects that cannot be hidden.
Peter Brunette and David Wills
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Notes
David Skal, Hollywood Gothic: the Tangled Web of ‘Dracula’ from Novel to Stage to Screen ( New York: W. W. Norton & Co., 1990 ).
Ed Sikov, On Sunset Boulevard: the Life and Times of Billy Wilder ( New York: Hyperion, 1998 ), p. 299.
Avital Ronell, Dictations: On Haunted Writing (Lincoln: University of Nebraska Press, 1986, 1993), p. xviii.
Geoffrey Batchen, Burning with Desire: the Conception of Photography ( Cambridge, MA: MIT Press, 1997 ), p. 179.
Jacques Derrida, Specters of Marx: the State of the Debt, the Work of Mourning, and the New International (1993), trans. Peggy Kamuf (New York: Routledge, 1994), p. xviii.
Slavoj Zizek, Looking Awry: an Introduction to Jacques Lacan through Popular Culture ( Cambridge, MA: MIT Press, 1992 ), p. 112.
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© 2001 Julian Wolfreys
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Wolfreys, J. (2001). Hollywood Gothic/Gothic Hollywood: the Example of Billy Wilder’s Sunset Boulevard. In: Smith, A., Wallace, J. (eds) Gothic Modernisms. Palgrave Macmillan, London. https://doi.org/10.1057/9780333985236_13
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DOI: https://doi.org/10.1057/9780333985236_13
Publisher Name: Palgrave Macmillan, London
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