I have chosenSunset Boulevard( 1950 ) , directed by Billy Wilder, for my movie analysis. Of the movies we have seen therefore far in category, I feel that it serves has one of the better illustrations of the elements of movie that have been discussed. This movie is a period piece, with sometimes elusive societal commentary interwoven, with the narrative set in the clip it was made, the late 1940’s/early 1950’s movie industry in Hollywood. It is widely held to be of the movie noir genre and is considered to be one of the best of its sort.
As discussed in category, changeable design is a really of import ocular component of movie [ I ] .Sunset BoulevardBegins with a high angle shooting of the street. The camera tilts up rapidly and reveals amedium anglelong shooting of Sunset Boulevard. Thecamerastarts to travel easy backwards, an indicant that something is coming. The storyteller begins the narrative as we see two bikes appear in the distance. There is dramatic music and Sirens in the background. Police autos besides can be seen nearing towards the camera. As they get closer, the shooting becomes a close up. The camera follows the fast moving vehicles from right to go forth. Then the camera does a slow forward, tracking the autos as they move away.Once the constabulary base on balls by, the image dissolves. Next we are presented with a high angle establishingshotof the mansion’s private road. The three autos make another dynamic diagonal and all of the officers rush out. The camera followsthem and pans tothe left. It stops and presents a high angle long shooting of a pool with a dead organic structure in it. There are more constabularies, and now lensmans, at the border of the pool. The opening scene ends with a low angle shooting from thebottom of the pool. The audience sees a medium shooting of the dead adult male drifting in the H2O with the constabulary and lensmans slightly seeable behind the organic structure.
One of the most interesting facets ofSunset Boulevardis the changeless narration throughout the movie. I would state this movie has an all-knowing storyteller, as discussed in category [ two ] , as he knows everything that has happened and is informing us. The chief character, Joe Gillis, tells us what is go oning and what he is experiencing and believing for most of the movie. . This method of storytelling is really effectual, prosecuting the spectator. It draws the audience into the narrative and makes them inquire inquiries such as “ How did he decease? “ , “ Who is the adult male? ” and “ Why he die in the swimming pool? ” The narration of movie noir can typically be characterized as complex, with a frequent usage of flashbacks. In this movie, the storyteller takes the audience back about six months to uncover how the organic structure came to be in the pool. We subsequently learn at the terminal of the narrative that the storyteller really is the dead adult male. He is stating his ain narrative of greed, fraudulence, love and decease to uncover the truth of the incident. The storyteller is present during most of the film, but stops speaking near the flood tide of the movie, making extra tenseness and suspense. The spectator is forced towonder about Joe’s purposes ; “Will he leave Norma Desmond? ” and “Why is he forcing Betty off? ”
The ocular facets of a movie are really of import. In looking at these features inSunset Boulevard,we see a batch of high-contrast, subdued, illuming. An illustration of this would be at Norma ‘s house where the lighting is subdued, making dark shadows, which is besides a chief feature of movie noir. Another illustration is seen in the garage when Joe realizes that Max has been waiting for him to return from seeing Betty. The high-contrast lighting creates shadows that screen half of Max ‘s face, which alludes to the possible dark side of that character.
The assorted mise-en-scene ofSunset Boulevardbesides aid to qualify this as being from the movie noir genre. The sign of the zodiac life room and the dance hall where Norma dances with Joe on New Year’s Eve, all show spaces that are dimly-lit insides and really engorged. The lighting and the scenes show how Norma has been smothering in life outside of movie and in bend, possibly accidentally, is smothering Joe with her fondness. The movie gives us a great collage scene every bit good when Norma is undergoing interventions in an effort to recover her former beauty and glorification. I would state this is a cross between Einstein’s Rhythm and Tonal method of collage [ three ] as it gives continuity to the narrative, yet besides a feeling of urgency felt by Norma to repossess her lost young person and being a star. Another challenging scene is at Paramount Studios where Cecil B. DeMille, Norma’s former manager, and his squad are hiting a film. He invites Norma to sit in his place as he takes a call. As Norma is sitting at that place, a mike passes near by and she pushes it off. This scene shows that she does non accept the being of sound in movie because during her coevals, the soundless movie epoch, the actor’s look told the story.In that same scene, a lighting crew member recognizes her and puts the visible radiation on Norma. The bright contrast of the limelight on Norma seems to teleport her dorsum to the yesteryear, going a star one time once more. The remainder of the dramatis personae and crew recognize her and environ her inquiring inquiries and giving congratulations. When DeMille returns, he orders the limelight back into topographic point, the crew disperses and Norma falls back into namelessness. The one time great star has been forgotten once more.
The subject features ofSunset Boulevardare besides really interesting. This movie gives us the morally equivocal hard-luck cat looking for an easy manner out against a femme fatale. The male supporter, Joe, lies to Norma in order to acquire the occupation when she asks him to remain and assist her edit the book she has written. The prevarication is that he is already really busy with other assignments when really he is free and despairing for money. It could be argued that Joes easy loses his dignity, his maleness, throughout the movie. Though he ab initio refuses, he finally concedes to Norma’s demands about traveling into the sign of the zodiac, taking her money and leting her to munificent apparels and other stuff goods on him, and really enjoys it. He basically becomes what we would name today a ‘kept man’ . Joes gives up his freedom for a life of easiness by subjecting to Norma’s control. We see this throughout the movie in such scenes as where she tells him non to masticate gum and chooses the stuff of his suits for him. Joe easy comes to recognize the mistake of his ways. As he sneaks out to re-write the book with Betty, seeing how good it is, along with the turning attractive force between he and Betty, he sees there is more to life outside of Norma and ‘living the high life’ . But, he has put himself into such a complicated state of affairs, that the moral quandary he faces culminate in his ain decease.
The multi-dimensional character of Norma is really challenging. She can be defined as a femme fatale because she is so manipulative. We see this when Joe realizes that all of his things had been moved to the sign of the zodiac by Max on orders from Norma because she wants Joe to remain and assist her edit the book. She is besides really chesty and ambitious. In one scene, Joe wants to take scenes from her book, but she argues that everyone wants to see her and demands he put them back in, which he does. Norma believes she is everlastingly one of the great stars of film and preserves this image by environing herself with 100s of images from her glamourous yesteryear. The shutting scene of the movie, Norma ‘s last public presentation, gives us enormous penetration into the character. With a room full of constabulary inquiring inquiries and journalists describing the intelligence of the slaying she is accused of holding committed, Norma is in her ain universe. Nothing can deflect her but the intelligence that cameras are waiting for her downstairs. She pulls herself off, the idea of one time more being a star. She stops and declares: “ All right, Mr. DeMille, I ‘m ready for my close-up [ four ] . ” She walks down the steps, symbolically melting out of the limelight one last clip and back into the shadows of obscureness.
Sunset Boulevardis a great illustration of a movie noir. It has integrity, efficaciously utilizing each component of movie. The dramatic shootings, low lighting, narrative narrative, mise en scene, etc. all worked together really good to bring forth a ‘tight’ , good fluxing movie. It gives a sense of closing as the enigma of the organic structure in the pool at the beginning of the movie is solved ; revealed through a dark, dramatic and challenging narrative.