Sunset Boulevard 1950

The film begins with a dramatic sweep down Sunset Boulevard in Los Angeles, California, as police vehicles rush toward a opulent mansion. Within its confines, the lifeless body of a young man named Joe Gillis floats in the swimming pool. As the police gather, Joe’s voice narrates a series of flashbacks that detail the chain of events leading to his own murder.

Six months prior, Joe, a struggling screenwriter, finds himself in dire straits, unable to gain traction in his career after producing only a few forgettable films. With dwindling finances and the looming threat of having his car taken away, he contemplates an unfulfilling newspaper job in Ohio. In a desperate attempt to gain attention, he approaches Paramount Pictures producer Sheldrake, only to face disappointment after script reader Betty Schaefer’s critique of his latest screenplay ruins his chances. In need of quick cash, he attempts to borrow from friends but to no avail.

Fleeing from men sent to repossess his car, Joe is forced to pull up in front of a seemingly abandoned mansion on Sunset Boulevard. After hiding his vehicle in the garage, he hesitantly explores the eerie abode, only to be welcomed inside by an enigmatic butler, Max Von Mayerling. Inside, he encounters a once-great silent film star, Norma Desmond, who mistakes him for an undertaker hired for her deceased pet monkey. She reveals an ambitious script she has penned about Salome aimed at reigniting her career. Despite recognizing the script’s faults, Joe flatters Norma, leading her to employ him as an editor.

As Joe begins residing at the mansion, the reality of his dependency on her slowly dawns on him. The next day, he is unsettled to discover that Max has moved his possessions, following Norma’s instructions to help with his financial struggles. Though he loathes this new living arrangement, he begins working on her script while observing Norma’s deep denial about her past fame. Each evening, she forcefully compels him to watch her old films. Unbeknownst to Joe, the fan mail she receives is orchestrated by Max to sustain her delusions, as Norma’s mental state has previously prompted suicide attempts.

As weeks pass, the luxurious gifts from Norma become increasingly lavish, including a tuxedo for an intimate New Year’s celebration just for the two of them. When Joe realizes that Norma has developed feelings for him, he attempts to gently refuse her advances, but this only sends her into a rage. Trying to escape the mounting pressure, he attends a gathering hosted by assistant director Artie Green, where he runs into Betty Schaefer once more. Although still skeptical of most of his work, Betty spots potential in one of his scenes. Responding to her invite to collaborate, Joe prepares to leave the mansion but is abruptly summoned back when he learns of Norma’s attempted suicide.

After reconciling with Norma, their relationship intensifies, blurring the lines between care and manipulation. She completes her script and submits it to Cecil B. DeMille, eagerly awaiting his response. As inquiries pour in from Paramount, Norma refuses to speak to anyone but DeMille, growing increasingly petulant. Max drives her to the studio in her rare, vintage car, and as she receives a warm welcome from the older crew members familiar with her legacy, Joe learns that there is no interest in her screenplay.

Amidst the backdrop of Norma’s self-delusion, Joe secretly collaborates with Betty on a new script. Although Betty is engaged to Artie, her feelings for Joe deepen, further complicating the situation. When Norma discovers the script, she lashes out, calling Betty and casting doubts on Joe’s character. In a desperate concluding act, Joe coldly ends his involvement with Betty, as he seeks to return to Ohio. However, in a final confrontation, he comes clean to Norma, revealing harsh truths about her celebrity status and the deception surrounding her fan mail. In a heart-wrenching moment of despair, Norma shoots Joe as he attempts to leave, leaving him lifeless in the water.

As the narrative returns to its opening scenes, Joe’s voiceover raises concerns for Norma’s ability to cope with the reality of her shattered dreams. By the time the police arrive at the mansion, she has fully retreated into a fabricated reality, believing she is merely on a film set. Ingeniously, Max plays along with her delusions, prompting her descent down the grand staircase while calling out “Action!” Joe’s voiceover notes that life has spared her the pain of reality, effectively wrapping her in the very dreams she clung to desperately. Ultimately, she proclaims, > “All right, Mr. DeMille, I’m ready for my close-up.”