Um roteirista estabelece uma relação com uma fracasada estrela de cinema que quer voltar aos filmes.Um roteirista estabelece uma relação com uma fracasada estrela de cinema que quer voltar aos filmes.Um roteirista estabelece uma relação com uma fracasada estrela de cinema que quer voltar aos filmes.
- Ganhou 3 Oscars
- 19 vitórias e 20 indicações no total
Larry J. Blake
- 1st Finance Man
- (as Larry Blake)
Fred Aldrich
- Cop Who Drags Joe's Body from Pool
- (não creditado)
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Enredo
Você sabia?
- CuriosidadesUnlike the character she played, Gloria Swanson had accepted the fact that the movies didn't want her anymore and had moved to New York, where she worked on radio and, later, television. Although she had long before ruled out the possibility of a movie comeback, she was nevertheless highly intrigued when she got the offer to play the lead.
- Erros de gravaçãoWhen Max is telling Joe about directing Madam's first pictures, there is a bad dub of the word "sixteen". After the Roscoe 'Fatty' Arbuckle trial and the subsequent establishment of the Hays Office to enforce the new Production Code, the producers were concerned that the original age of 14 would be considered child porn and had the line changed in post.
- Citações
Joe Gillis: Wait a minute, haven't I seen you before? I know your face.
Norma Desmond: Get out! Or shall I call my servant?
Joe Gillis: You're Norma Desmond. You used to be in silent pictures. You used to be big.
Norma Desmond: I *am* big. It's the *pictures* that got small.
- Cenas durante ou pós-créditosThe Paramount logo appears as a transparency over the opening shot. The words "Sunset Blvd." are shown stenciled on the curb of that street.
- ConexõesEdited into Les Amoureux du cinéma (1987)
- Trilhas sonorasThe Paramount-Don't-Want-Me Blues
(1950) (uncredited)
Written by Jay Livingston and Ray Evans
Performed by Jay Livingston and Ray Evans at Artie's party
Avaliação em destaque
This is such a great film on so many levels I can't really settle on where to begin. It is so beautifully shot (in that stark black/white that only nitrate negative could achieve), has a witty, clever and extremely well-written script, features some of the best acting in film's history, acrobatically balances the main plot/subplots with expert precision, contains some of the best characters on celluloid, has many true-to-life parallels (Swanson's career/real life cameos/DeMille's involvement/etc) and is peppered with such great dialogue/narration that today's film writers should take note. If that weren't enough, there's even a cameo by silent film great Buster Keaton (among others).
One of the most appealing aspects of this film is how, in the story, an aging, forgotten star is trying to recapture a bygone era (the silent film era). What's interesting is that now, so many years later, we're looking back at her looking back. To present day viewers, Gloria Swanson of the 1950's is a long forgotten lost gem and to experience her own longing for the 1920's is especially captivating (and a little chilling, I might add). I don't think this film could have had that same effect when it debuted and maybe this added dimension holds so much more appeal for today's audiences. We all know that nothing lasts forever, but we don't often consider the abandoned participants; much like the veterans of a past war.
In response to the famous Swanson line (while watching one of her silent films): "...we didn't need dialogue; we had faces", I'd like to also add that they "didn't need movies; they had films."
They truly don't make them like this anymore. 10/10
One of the most appealing aspects of this film is how, in the story, an aging, forgotten star is trying to recapture a bygone era (the silent film era). What's interesting is that now, so many years later, we're looking back at her looking back. To present day viewers, Gloria Swanson of the 1950's is a long forgotten lost gem and to experience her own longing for the 1920's is especially captivating (and a little chilling, I might add). I don't think this film could have had that same effect when it debuted and maybe this added dimension holds so much more appeal for today's audiences. We all know that nothing lasts forever, but we don't often consider the abandoned participants; much like the veterans of a past war.
In response to the famous Swanson line (while watching one of her silent films): "...we didn't need dialogue; we had faces", I'd like to also add that they "didn't need movies; they had films."
They truly don't make them like this anymore. 10/10
- belikemichaeldotcom
- 1 de jul. de 2004
- Link permanente
Principais escolhas
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Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- El ocaso de una vida
- Locações de filme
- 10060 Sunset Blvd, Los Angeles, Califórnia, EUA(Norma Desmond's driveway gate)
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 1.752.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 299.645
- Fim de semana de estreia nos EUA e Canadá
- US$ 169.067
- 13 de mai. de 2018
- Faturamento bruto mundial
- US$ 309.467
- Tempo de duração1 hora 50 minutos
- Cor
- Proporção
- 1.37 : 1
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What was the official certification given to Crepúsculo dos Deuses (1950) in Japan?
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