Movie Analysis: Sunset Boulevard

Yes, Norma Is That Crazy Sunset Boulevard constantly and persistently advances the theme that Hollywood creates movie stars that become engrossed with their own fame and then abandons them, leaving behind only their outlandish and outdated fantasies. The case of Norma Desmond is no different. Her out-of-touch relationship with reality is given form through her desire to make her “greatest picture yet.” The segment of Sunset Boulevard that will be analyzed in this essay is significant because, through the use and interplay of cinematography, editing, elements of Mise-en-Scene, and the dialogue, Norma’s delusions are highlighted and magnified. The first few moments of part one of the segment use specific elements of Mise-en-Scene and the dialogue to begin the reinforcement of Norma’s delusions. As her lavish and fanciful car pulls up to the studio door, Norma asks Joe if he would like to accompany her into the studio to meet with Cecil B. DeMille, but Joe refuses. Joe is dressed fairly
Whenever there is a significant portion of Betty’s window visible in the shot, Norma’s car is also visible through the window. As Betty and Joe discuss how to fix up Betty’s script, we can still see the studio workers walking around the car, examining it. Part three also makes significant use of diegetic sound and dialogue to contrast fantasy with reality. As Betty asks Joe to meet with her to work on the script, a car horn begins to honk, calling Joe back to Norma’s fantasy world. Joe takes heed and tries to wrap up the meeting with Betty as soon as possible. Betty, however, is quite insistent and pesters Joe to meet with her. The longer she keeps Joe waiting, the longer and louder the car horn honking becomes. This seems to suggest that Norma’s fantasy world is calling Joe back, keeping him from fully engaging with the present