SUNSET BOULEVARD [1950 / 2013] [Special Collector’s Edition] [Blu-ray]
Billy Wilder’s Meticulously Restored Cinematic Glory!
Director Billy Wilder's ‘SUNSET BOULEVARD’ ranks among the most scathing satires of Hollywood and the cruel fickleness of movie fandom. Intense, enthralling, and unforgettable, ‘SUNSET BOULEVARD’ stars Gloria Swanson as Norma Desmond, a faded silent-movie star, and William Holden stars as Joe Gillis, a down-on-his-luck screenwriter whom she enlists to help her make her triumphant “return to the screen.” This mesmerising Hollywood classic won three Academy Awards®. Narrated by William Holden.
FILM FACT No.1: Awards and Nominations: 1950 New York Film Critics Circle Awards: 2nd place: Best Film. 3rd place: Best Director for Billy Wilder. 3rd place: Best Actress for Gloria Swanson. 1951 Academy Awards®: Win: Best Writing, Story and Screenplay for Billy Wilder, Charles Brackett and D.M. Marshman Jr. Win: Best Art Direction-Set Decoration in Black-and-White for Hans Dreier, John Meehan, Ray Moyer and Sam Comer. Win: Best Music, Scoring of a Dramatic or Comedy Picture for Franz Waxman. Nominated: Best Actor in a Leading Role for William Holden. Nominated: Best Actress in a Leading Role for Gloria Swanson. Nominated: Best Actor in a Supporting Role for Erich von Stroheim. Nominated: Best Actress in a Supporting Role for Nancy Olson. Nominated: Best Director for Billy Wilder. Nominated: Best Cinematography in Black-and-White for John F. Seitz. Nominated: Best Film Editing for Arthur P. Schmidt and Doane Harrison. Nominated: Best Picture for Charles Brackett. 1951 Golden Globes: Win: Best Motion Picture in a Drama. Win: Best Director for Billy Wilder. Win: Best Actress in a Drama for Gloria Swanson. Win: Best Original Score for Franz Waxman. Nominated: Best Supporting Actor for Erich von Stroheim. Nominated: Best Screenplay for Billy Wilder, Charles Brackett and D.M. Marshman Jr. Nominated: Best Cinematography in Black-and-White for John F. Seitz. 1951 Writers Guild of America: Win: Best Written American Drama for Billy Wilder, Charles Brackett and D.M. Marshman Jr.
FILM FACT No.2: As a young man living in Berlin in the 1920s, Billy Wilder was interested in American culture, with much of his interest fuelled by the country's films. In the late 1940s, many of the grand Hollywood houses remained, and Billy Wilder, then a Los Angeles resident, found them to be a part of his everyday world. Many former stars from the silent era still lived in them, although most were no longer involved in the film business. Billy Wilder wondered how they spent their time now that "the parade had passed them by" and began imagining the story of a star that had lost her celebrity and box-office appeal. The character of Norma Desmond mirrors aspects of the twilight years of several real-life faded silent-film stars, such as the reclusive existence of Mary Pickford and the mental disorders of Mae Murray and Clara Bow. It is usually regarded as a fictional composite inspired by several different people, not just a thinly disguised portrait of one in particular. Nevertheless, some commentators have tried to identify specific models. The most common analysis of the character's name is that it is a combination of the names of silent film actress Mabel Normand and director William Desmond Taylor, a close friend of Normand's who was murdered in 1922 in a never-solved case sensationalized by the press.
Cast: William Holden, Gloria Swanson, Erich von Stroheim, Nancy Olson, Fred Clark, Lloyd Gough, Jack Webb, Franklyn Farnum, Larry J. Blake, Charles Dayton, Cecil B. DeMille, Hedda Hopper, Buster Keaton, Anna Q. Nilsson, H.B. Warner, Ray Evans, Jay Livingston, Fred Aldrich (uncredited), Joel Allen (uncredited), Gertrude Astor (uncredited), Anne Bauchens (uncredited), Edward Biby (uncredited), Danny Borzage (uncredited), Ken Christy (uncredited), Ruth Clifford (uncredited), John Cortay (uncredited), Archie R. Dalzell (uncredited), Eddie Dew (uncredited), Peter Drynan (uncredited), Julia Faye (uncredited), Al Ferguson (uncredited), Gerry Ganzer (uncredited), Rudy Germane (uncredited), Kenneth Gibson (uncredited), Joe Gray (uncredited), Sanford E. Greenwald (uncredited), Creighton Hale (uncredited), Chuck Hamilton (uncredited), James Hawley (uncredited), Len Hendry (uncredited), E. Mason Hopper (uncredited), Stan Johnson (uncredited), Tiny Jones (uncredited), Howard Joslin (uncredited), Arthur Lane (uncredited), Perc Launders (uncredited), Alan Marston (uncredited), William Meader (uncredited), Gertrude Messinger (uncredited), Harold Miller (uncredited), John 'Skins' Miller (uncredited), Lee Miller (uncredited), Ralph Montgomery (uncredited), Bert Moorhouse (uncredited), Jay Morley (uncredited), Bernice Mosk (uncredited), Howard Negley (uncredited), Ottola Nesmith (uncredited), Eva Novak (uncredited), Frank O'Connor (uncredited), Robert Emmett O'Connor (uncredited), Jack Perrin (uncredited), Virginia L. Randolph (uncredited), Bill Sheehan (uncredited), Sidney Skolsky (uncredited), Emmett Smith (uncredited), Roy Thompson (uncredited), Archie Twitchell (uncredited), Yvette Vickers (uncredited), Edward Wahrman (uncredited) and Henry Wilcoxon (uncredited)
Director: Billy Wilder
Screenplay: Billy Wilder, Charles Brackett and D.M. Marshman Jr.
Producer: Charles Brackett
Composer: Franz Waxman
Cinematography: John F. Seitz, A.S.C. (Director of Photography)
Image Resolution: 1080p (Black-and-White)
Aspect Ratio: 1.37:1
Audio: English: 2.0 Dolby TrueHD Stereo Audio
French: 2.0 Dolby Digital Stereo Audio
Spanish: 2.0 Dolby Digital Stereo Audio
Português: 2.0 Dolby Digital Stereo Audio
English: 2.0 Dolby Digital Stereo Audio
Subtitles: English, English SDH, French, Spanish and Português
Running Time: 110 minutes
Region: All Regions
Number of discs: 1
Studio: Paramount Pictures
Andrew’s Blu-ray Review: The opening scenes of ‘SUNSET BOULEVARD’ are some of the most famous in motion picture history. After the opening credits, the camera follows motorcycles and police cars as they pull up to a Beverly Hills mansion where a body floats face-down in a pool. Referring to the sad tale of the dead man, a voiceover narrator promises, “Before you hear it all distorted and blown out of proportion, before those Hollywood columnists get their hands on it, maybe you'd like to hear the facts, the whole truth.”
Joe Gillis [William Holden] is a B-movie screenwriter who can't find enough work to keep his head above water. When some men arrive to repossess his car, Joe Gillis leads them on a merry chase that ends with him pulling off the road and turning into the driveway of a crumbling old mansion on Sunset Boulevard. At first, Joe thinks the relic is deserted. After all, the swimming pool is empty, the tennis court is in disrepair, and the ostentatious house is well past its prime.
But, upon further investigation, he discovers that it is inhabited by silent movie queen Norma Desmond [Gloria Swanson], who is attended by her stoic, faithful butler, Max von Mayerling [Erich von Stroheim]. Her only other companion, a chimpanzee, has just died. Norma, once an audience favourite, has been out of the spotlight for more than two decades, and now her sanity teeters on the brink. Joe Gillis's first impulse is to extricate himself from the situation quickly, but, when he senses there is money to be made, he devises a plan.
Norma Desmond has a script she is readying to take to Cecil B. De Mille, but Joe Gillis can see at a glance that it's a disaster. For a fee, Joe Gillis offers to doctor it. With thoughts of a comeback firing her imagination, Norma Desmond agrees. But Joe's plans to take the screenplay back to his apartment are aborted when Norma Desmond insists that he move in with her. Norma Desmond views him as a suitable replacement for her deceased monkey, although Max sees him as more of a stray dog. Soon, Joe Gillis is living the life of a kept man and a sort of gigolo who has his every need cared for.
It's an existence Joe is comfortable with until Norma Desmond's demands upon his time and person become too extreme. Joe Gillis realizes he needs a way out when he finds himself attracted to a young would-be screenwriter, Betty Schaefer [Nancy Olson], who wants to co-write a script with him. But the moment the jealous Norma Desmond fears she may lose him, she resorts to a drastic and melodramatic action.
Norma Desmond is always giving a performance and her life has become a melodrama and, if only in her own mind, she is always in front of an audience. In many ways, her everyday mannerisms represent a grotesque parody of silent movie acting, and that's what Gloria Swanson brings to the part. The film's final scene, with a completely deranged Norma Desmond descending a staircase in front of newsreel cameras, is simultaneously macabre, comic, and sad. She is once again in the spotlight, even if she is unable to comprehend why, and Max, who is positioning the camera, is directing her for one final time and Norma Desmond is as unaware of his presence as she is of everyone else's and thinks she's playing “Salome” for Cecil B. DeMille and is ready for her close-up.
Originally, Billy Wilder planned a much different opening for ‘SUNSET BOULEVARD,’ and the film was to have started in a morgue, with Joe Gillis's corpse, freshly recovered from the swimming pool, holding a conversation with the other bodies around him. Eventually, he would start telling the story, relating it to his lifeless companions. However, when a test audience erupted in derisive laughter during this sequence, Billy Wilder re-shot the opening, eliminating everything in the morgue. In the final version, Joe Gillis's narration is directed not at other bodies, but at us who is viewing the film.
‘SUNSET BOULEVARD’ features a number of well-known faces in small roles. Cecil B. De Mille plays a slightly “softened” version of himself, whereas in real life was widely known as a tyrant, but, as portrayed here, comes across as paternal. When Norma Desmond visits him during a film shoot, Cecil B. De Mille does his best to let her down gently. Silent film stars Buster Keaton, Anna Q. Nilsson, and H.B. Warner have cameos as Norma Desmond's card-playing friends, as well as gossip columnist Hedda Hopper plays herself, front-and-centre for Norma Desmond's final performance.
From a technical standpoint, ‘SUNSET BOULEVARD’ is not a ground-breaking film, but director Billy Wilder uses the film's visual elements to good effect. Norma Desmond's mansion is shown in all of its crumbling, gothic glory. The “fish's eye” shot of Joe Gillis in the pool is memorable. And there's even a short car chase, which is a distinct departure for Billy Wilder, who was not known for filming action sequences. Franz Waxman's music film score represents the perfect musical accompaniment.
‘SUNSET BOULEVARD’ is considered by some to be a black satire of Hollywood, by others to be “film noir.” What everyone can agree upon, however, is that this is one of the greatest film about Hollywood ever put on celluloid by Hollywood itself. The script shines with biting observations and memorable lines. Who can ever forget the exchange between Joe Gillis and Norma Desmond, when he observes, “You're Norma Desmond. You used to be in silent pictures. You used to be big.” Norma Desmond bitterly retorts: “I am big. It's the pictures that got small.” The acting is flawless, with each actor fully inhabiting the skin of his or her character. And the camera work and music are effortlessly wed to the project's other aspects. ‘SUNSET BOULEVARD’ represents the centre stone in Billy Wilder's glittering cinematic career. The brilliant, stylish cinematography of ‘SUNSET BOULEVARD’ is utterly innovative for the time period and connected to some very interesting art history movements, such as German Expressionism, so making the settings, art direction and other physical factors are of the highest order in fulfilling production and directorial demands.
‘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. Yes, they don`t make films like this anymore and probably never will again. And why they should make one when we already have ‘SUNSET BOULEVARD’ is already one of the greatest American films of all time.
Blu-ray Image Quality – Paramount Pictures has once again given us a truly upgraded 1080p black-and-white reference image quality presentation for this Blu-ray disc and with the 1.37:1 aspect ratio it really brings out the best for this film ‘SUNSET BOULEVARD’ viewing experience. The grain presentation levels are totally outstanding for a film of this calibre and as the quality reference balance goes, all the levels in the grey scale are well up to scratch. Flesh tones look smooth and very detailed and you can see every skin texture on everyone during the close up scenes. Edge enhancement is nowhere to be found, and contrast levels are totally natural. Dirt, debris, scratches, hairs, is absent due to the efforts of Paramount Studios and their sterling work in preserving the negative. So all in all, this high definition presentation of ‘SUNSET BOULEVARD,’ looks absolutely ravishing via this Special Collector’s Edition Blu-ray disc.
Blu-ray Audio Quality – Paramount Pictures presents us with a 2.0 Dolby TrueHD Stereo Audio presentation. This Stereo track serves the film really well, and the dialogue is crisp and well position with the two front and centre speakers and is also integrated really well with all of the other sound effects and music you expect with this classic film. And it all works here really well and it succeeds without ever sounding too thin or tinny. You will never need to turn up the volume to hear what the actors are saying, which is a testament to how strong this 2.0 Dolby TrueHD Stereo Audio presentation track really is a total winner all round.
Blu-ray Special Features and Extras:
Audio Commentary by Ed Skivo [Author of “On SUNSET BOULEVARD: The Life and Times of Billy Wilder”]: Here Ed Sikov welcomes us to his audio commentary on the 1950 film ‘SUNSET BOULEVARD.’ Ed Sikov also comments on the final cut of the film, after the first disastrous preview of the original start of the film, where the audience could not stop laughing out loud with the corpses who were all talking to each other, and also made scathing comments on such a laughable start to the film, so the executives at Paramount Pictures demanded Billy Wilder to come up with a much better and more realistic start to the film, so reluctantly Billy Wilder came up with the start of the film that was so much more relevant to what audiences were about to see. Ed Sikov informs us that the three collaborators for the film wanted one that gave an insight into the behind-the-scene of Hollywood that no one had seen before. We are also informed that when Billy Wilder moved to Hollywood as the Second World War was ravaging Europe, so Billy Wilder settled in tinsel town from 1934 onwards, and he remarked it was his type of town because it was a little bit hard, a little bit mean spirited, and it was a place where you could make it big, or drop dead trying, and also a place where dreams come true and that was the case with Joe Gillis [William Holden], which we of course witness throughout the film. Paramount Pictures were very purveyors, meaning they like to spread or promote an idea, view, etc., especially with this particular film in a big way, and a very daring thing for Billy Wilder and the studio to do, and given the bleak vision of Hollywood. Of course Paramount Pictures was where Billy Wilder made his last six films, and of course Paramount Pictures was so confident in the director Billy Wilder to pull it, and so the studio gave the green light to go ahead with the film ‘SUNSET BOULEVARD,’ and again it was at the time that is was the most bitter film about Hollywood ever made and remains to this day. But Ed Sikov asks what makes the film even more prominent, is the witty one liner that Billy Wilder really excelled in, especially when it comes to comedy. Ed Sikov goes into great detail about the Schwab’s Pharmacy establishment that played a great deal with everyone who worked in the film industry and Ed Sikov goes into great detail and also about the history of the place, especially of some of the famous actors that were discovered there, who use to hang out regular in this establishment. Also another famous location Ed Sikov points out, that loads of agents and executives would hang out and that of course the golf course we see in the film where William Holden asks to be lent $300. Ed Sikov talks extensively about the famous avenue Sunset Blvd., which runs from Silver Lake to the Pacific Ocean, where the sun sets every evening. But of course Billy Wilder never misses a chance, especially with the car chase sequence, where the repo men chase after Joe Gillis, and is even highlighted with the brilliant film score by Franz Waxman, who knew Billy Wilder in their early days working in Berlin in the early 1930s, and of course both left Germany when the Second World War started, and especially Franz Waxman after experiencing a really vicious attack on him personally by some thugs that nearly ended his career forever. Ed Sikov asks, now is it an element of chance, or fate, or both, and finds Joe Gillis ending up in a certain driveway after his tyre had a blowout? But of course with the damaged tyre it seemed at the time a blessing because he was able to avoid the repo men. But then, that is for Joe Gillis to find out eventually, especially when he encounters the mysterious women he sees watching him through the blinds in the window and a very inventive Billy Wilder really sets up the scene, by inviting us to find out who this mysterious women is and like a spider, draws Joe Gillis into her world where he sort of gets trapped without realising it. We also meet the mysterious butler, played by Erich von Stroheim, who of course was once the legendary director, but due to a series of films that were box office failures, ended up doing bit parts in B films, but sadly his life was cut short with a very serious tragic blunder with an act with a guillotine that ended his life. But when Joe Gillis finally meets Norma Desmond and sells himself out as he is desperate for a job to work on her mammoth screenplay and this has been a recurring theme of Billy Wilder films, where people are eager to sell themselves out, so they can get ahead in the world, but of course without realising it, Joe Gillis is slowly being drawn into the weird world of Norma Desmond. People have commented the film is styles on “film noir,” but when we see Norma Desmond stand up in the light from the project, it becomes a “monster film.” But of course the highlight of the film, and in this film all three main characters all get what they want in the end, but sadly Betty Schaefer gets left out of the big pay out. So ends the Sid Sikov audio commentary and hopes you enjoyed the picture.
Special Feature: SUNSET BOULEVARD: The Beginning [2008] [1080p] [1.78:1 / 1.33:1] [22:47] Here we get an in-depth insight and discussion on the brilliant director Billy Wilder and other luminaries, and they also talk about the greatness of being involved with the masterpiece film ‘SUNSET BOULEVARD,’ and also especially in all aspect the film industry in Hollywood itself.
Special Feature: SUNSET BOULEVARD: A Look Back [2002] [1080i] [1.37:1] [25:52] Film critics, actors, film historians and other personalities share their experiences and curious stories on the acclaimed Billy Wilder's masterpiece ‘SUNSET BOULEVARD’ and its cultural importance by being one of the most iconic and revolutionary Hollywood films ever made and a picture that still stands the test of time to this day. We also hear about the original opening sequences, which were scrapped because test audiences found it hilariously funny than it was intended to be. The great Cecil B. DeMille’s participation, and how the terrific shot of the man floating in the pool, seen from beneath the body looking up, was accomplished. This special feature was dedicated to Billy Wilder (1906 – 2002).
Special Feature: The Noir Side of ‘SUNSET BOULEVARD’ [2008] [1080p] [1.78:1 / 1.37:1] [14:19] Joseph Wambaugh, a former LAPD Detective Sergeant who became a best-selling author of fiction and non-fiction books, such as “The Onion Field,” “The New Centurions,” “The Choirboys” and many other titles. In 2004, Joseph Wambaugh was named Grand Master by the Mystery Writers of America. Joseph Wambaugh talks in-depth about his fascination with the film ‘SUNSET BOULEVARD’ and his family’s excitement over Gloria Swanson whom they knew of from her silent film days. Joseph Wambaugh discusses his attraction to “film noir” and how the film ‘SUNSET BOULEVARD’ deploys certain “film noir” techniques that really enhances the film.
Special Feature: SUNSET BOULEVARD: Becomes a Classic [2008] [1080p] [1.78:1 / 1.37:1] [14:29] Again, many of the same contributors repeat a lot of the same comments from the previous special features above, especially offering their thoughts and insight on how the film ‘SUNSET BOULEVARD’ has ascended to greatness.
Special Feature: Two Sides of Ms. Swanson [2008] [1080p] [1.78:1 / 1.33:1] [10:37] The actress Ms. Gloria Swanson is remembered by Brooke Anderson [Granddaughter of Gloria Swanson] and Linda Harrison [Actress] who Co-starred with Gloria Swanson in the film ‘Airport 1975.’ They talk in-depth about Gloria Swanson and discussing the actress’s life in front of and away from the camera. They also inform us that the actress when not appearing in front of the camera was an advocate of healthy eating and very forward thinking about environmental issues we take for granted today.
Special Feature: Stories of ‘SUNSET BOULEVARD’ [2008] [1080p] [1.78:1 / 1.37:1] [11:22] Critics, authors and actors talk of the film’s opening scene and how Billy Wilder worked, but sadly there is a lot of repetition about the behind-the-scene and about the goings on in regards to the film ‘SUNSET BOULEVARD’ that we have heard in the previous above special features.
Special Feature: Mad About the Boy: A Portrait of William Holden [2008] [1080p] [1.78:1 / 1.37:1] [11:13] Here we get an in-depth about the Hollywood actor William Holden, who was born William Franklin Beedle Jr. (17th April, 1918 – 12th November, 1981) and to people who knew him as an actor and outside the film industry, they said he had two sides to his personality and in reality hated being labelled as a film star. William Holden starred in some of Hollywood's most popular and critically acclaimed films, including such classics as ‘Sunset Boulevard,’ ‘Sabrina,’ ‘The Bridge on the River Kwai,’ ‘The Wild Bunch,’ ‘Picnic’ and ‘Network. William Holden was named one of the “Top 10 Stars of the Year” six times in 1954, 1958 and 1961, and appeared as 25th on the American Film Institute's list of 25 greatest male stars of Classic Hollywood Cinema. Outside the film industry he fell in love with the wildlife and became increasingly concerned with the animal species that were beginning to decrease in population. With the help of his partners, created the Mount Kenya Game Ranch and inspired the creation of the William Holden Wildlife Foundation. But all who knew him personally found him a very nice and generous soul, and were very sad when he passed away, but is not forgotten.
Special Feature: Recording ‘SUNSET BOULEVARD’ [2008] [1080p] [1.78:1 / 1.37:1] [5:51] Composer Franz Waxman’s menacing and lyrical score is discussed by Andrew Sarris [Film Historian/Critic] and Robert Townson [Soundtrack Album Producer]. We also hear about the efforts to re-record and finally commercially release the Franz Waxman's film music score for a 2002 commercial compact disc album release.
Special Feature: The City of ‘SUNSET BOULEVARD’ [2008] [1080p] [1.78:1 / 1.37:1] [5:36] Here we get to hear views about the different locations we view in the classic scenes in the film ‘SUNSET BOULEVARD’ and the in-depth history of each major location.
Special Feature: Franz Waxman and the Music of ‘SUNSET BOULEVARD’ [2002] [480i] [1.37:1] [14:27] Here we take a closer look at the brilliant film music composer Franz Waxman and his contributions to the classic film score for the film ‘SUNSET BOULEVARD.’ Franz Waxman pursued his dream of a career in music despite his family's misgivings and worked for several years as a bank teller and paid for piano, harmony and composition lessons with his salary. Franz Waxman later moved to Berlin, where he continued his study and progress as a musician and was able to support himself by playing and arranging for a popular German jazz band, Weintraub Syncopaters, in the late 1920s. As the Nazi clouds darkened over Europe, Franz Waxman began a new chapter in Hollywood film music and was asked by the English director James Whale, about scoring the film ‘Bride of Frankenstein’ [1935] for Universal. Then eventually moved on to Paramount Pictures through the first half of the 1950s and garnered his two Oscars in back-to-back wins for ‘SUNSET BOULEVARD’ [1950] and ‘A Place in the Sun’ [1951]. Franz Waxman died relatively young, but because of his steady output, and his music is still lives on for a new generation.
Special Feature: Morgue Prologue Script Pages [2002] [1080p] [1.37:1] With this special feature, we get to view the pages of two existing versions of the script for the original morgue prologue, that was cut after the first preview screening. The two scripts have been transcribed exactly as they were typed, with all the “mistakes” intact. Selected images shot for this prologue has been incorporated into the script pages for the 21/12/1948 version. When you see the “movie camera” symbol, press the ENTER button on your remote control and the original uncut shots are viewed, but there is no sound and the footage you view has been placed close as possible to the corresponding pages in the script. So what you get to see is the Original Morgue Prologue 12th December, 1948 and Revised Morgue Prologue 19th March, 1949. With second prologue script, you do not get to view any footage of the deleted scenes. To view what is shown, you have to use the RIGHT and LEFT arrow keys on your remote control to read through the script pages. Press POP UP MENU to return to the Morgue Prologue menu at any time.
Special Feature: Deleted Scene: The Paramount Don't Want Me Blues [2002] [480i] [1.37:1] [1:26] Here we get to view a fun extra that is a deleted musical number from the motion picture academy’s film archive. The number is sung mostly by composers Ray Livingston and Ray Evans, playing themselves (Jack Webb, as the assistant director Artie Green, sings a few words with the crowd) and it was supposedly cut because Paramount brass considered it too “inside” a film ever made about Hollywood. Instead, in the final film, Ray Livingston and Ray Evans are heard singing a specially-tailored final refrain of their Oscar-winning song “Buttons and Bows.” The scene takes place at the New Year Eve party at Artie’s apartment where Joe Gillis [William Holden] has fled to escape a romantic evening with Norma Desmond.
Special Feature: Hollywood Location Map [2002] [1080p] [1.37:1] Here you get to view a black-and-white map and what you do is click on the specific map icons that has a yellow star against them and you get to view videos on the different locations and you get a narrator giving you some really fascinating fact about each item you view. The actual items you get to view are Joe Gillis’s Apartment; Schwab’s Drug Store; Norma Desmond’s Car; Paramount Pictures; Bronson Gate; Dreir Building; Stage 18 and Getty Mansion.
Special Feature: Behind the Gates: The Lot [2008] [1080p] [1.78:1 / 1.37:1] [5:05] Here we are presented with a promotional look back at the history of how Paramount Pictures began and how the wonderful Paramount Pictures lot grew from humble beginnings from its early black-and-white films to the modern colour films.
Special Feature: Edith Head: The Paramount Years [2002] [480i] [1.37:1] [13:43] Here we get a very personal tribute to the legendary costume designer Edith Head during her years providing costumes for the films of Paramount studio which includes ‘SUNSET BOULEVARD,’ ‘Roman Holiday’ and many others during her distinguished career that lasted more than six decades and earned her eight Academy Awards® wins in between more than 30 nominations.
Special Feature: Paramount in the ‘50s [2002] [480i] [1.37:1] [9:33] Here we take a brief retrospective of Paramount Pictures films from the 1950s onwards. Paramount Pictures in the decade throughout the 1950’s just wouldn’t have been the same without Billy Wilder and of course released a film that defined not only his career, but the entire film industry that was of course ‘SUNSET BOULEVARD’ may very well be the ultimate Paramount Pictures film. While some icons ended their careers in the 50’s, other icons’ careers were born. When Audrey Hepburn had her first starring role in ‘Roman Holiday’ [1953], and was an instant success and won a Best Actress Oscar. Even her co-star Gregory Peck knew what a hit she was destined to be and insisted that she be given equal billing to him. The 1950’s were definitely a golden era for Alfred Hitchcock and started off on a high note with ‘Rear Window’ and of course went onto make three other massive Box Office hits.
Special Feature: Galleries [2002] [1080p] [1.37:1] Here we get a selection of three stunning black-and-white image galleries and they are Production [45 images]; The Movie [25 images] and Publicity [16 images]. Gallery Instructions: Use the RIGHT and LEFT arrow keys on your remote control to view the images in the Galleries. Press ENTER to return to the Galleries menu at any time.
Theatrical Trailer [1950] [480i] [1.37:1] [3:16] This is the Original Theatrical Trailer for the film ‘SUNSET BOULVARD.’ It is part narrated by William Holden.
Finally, ‘SUNSET BOULEVARD’ is a subtle, savage and insightful but with such a big heart with it being as moving as it is informative about the value of making art of moving images. The clash between old and new Hollywood is reinforced by the contrasting acting styles; William Holden's minimal naturalism and Gloria Swanson's exaggerated expressionism is the context for the film's most famous line: “I am big,” Norma Desmond tells Joe Gillis; “it's the pictures that got small.” Paramount Pictures has done an absolutely remarkable job in restoring the picture image quality to its former glory of the 1950's and should be sought out immediately for your Blu-ray collection. Very Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
