Film of the Week: Sunset Boulevard, 1950

The Opening Shot
Paramount Pictures

“I am big. It’s the pictures that got small.”

--Norma Desmond

A man floats—face down—in a pool. We see him from beneath as he is gently fished from the freezing water—his body lifeless. We learn via a voice over that if you want to know the real facts, “You’ve come to the right party.”

Joseph C. Gillis was a screenwriter who was down on his luck. He needed some cash—quick—or his car was going to be repossessed. He tries various means of obtaining the funds that he needs—even going as far as trying to pitch a half-hearted script to Paramount Pictures. The only bite he gets is the biting criticism of one of Paramount’s lowly readers, a girl named Betty Schaefer.

The Principal Cast:
Nancy Olson, Gloria Swanon,
William Holden, Erich Von Stroheim
Paramount Pictures

Dejected, Gillis attempts to take his car back to the parking lot where he’d been hiding it, but the repo men spot him on Sunset Boulevard. They chase Gillis whose car blows a tire. The limping car is pulled out of sight into the driveway of one of those grand palazzos—the kind that crazy movie stars built in the crazy 1920’s. The house, somewhat run-down, seemed abandoned. So, Gillis pulled the crippled car into the garage. He’s shocked when the deep voice of a woman calls down to him, “You there! Why are you so late?” Ushered into the mansion by a bald, ape-like butler with a German accent, Gillis is told, “If you need help with the coffin, call me.”

Unsure of what to make of the scene, Joe ascends the grand staircase to meet the woman who had called to him. He’s not quite sure what to expect at the top of the stairs. A woman of fifty, elegantly dressed in a gown and turban meets him and describes the kind of coffin she wants—a satin lining in white…no red. “He loved fires and poking at them with a stick.” She pulls back a sheet which covers a small figure on a massage table by the fire to reveal a dead monkey. Joe explains that there’s been some mistake. He is not the man that the woman expected. Furious, she orders him out. He pauses as he recognizes her as Norma Desmond. “You used to be in pictures. You used to be big.”

"I am big..."
Paramount Pictures

“I am big.” Norma barks, “It’s’ the pictures that got small.”

Joe finds himself quickly embroiled in Norma’s dusty Baroque world of memories and creative rambling. Once a great silent film star, she hasn’t worked in decades—seemingly forgotten by her once adoring public. Norma proposes that Joe help her with the screenplay that would mark her triumphant return (she hates the word, “comeback”) to the screen. Joe agrees. Little does he realize that he’d soon find himself living in Norma’s house and becoming the object of her affections.

Norma's New Year's Seduction
Paramount Pictures

At first, Joe tries to extricate himself from Norma and her peculiar butler, Max, but soon he begins to grow accustomed to the opulent lifestyle she can offer him. In fact, he grows rather fond of her—almost protective. Yet, after evenings spent with the “Waxworks”—Norma’s collection of other silent film stars (played by real greats of the silent screen), and Norma’s increasingly jealous and controlling behavior, Joe flees the mansion on New Year’s Eve just as Norma declares her intentions. Norma attempts suicide, and Joe returns, thus beginning their affair.

Paramount Pictures

What follows is one of the most fascinating films ever created. Sunset Boulevard was a triumph—headed by writer/director Billy Wilder whose bitter criticism of the film industry was readily apparent in the film. He was considered a traitor by fellow directors and performers. In casting the film, Wilder went through many different ideas of actresses to play Norma Desmond—including Mae West. Finally, he cast Gloria Swanson whose own life eerily mirrored that of Norma’s in many ways. The set was filled with pictures of Swanson which must have been rather surreal for her—especially since she had begun working alongside Erich Von Stroheim who was to play her companion and servant, Max Von Mayerling—a former silent film director. Von Stroheim was actually a director who worked with Swanson on the film Queen Kelly which marked the beginning of the end of Swanson’s career.

Holden and Swanson
Paramount Pictures

For the role of the young writer, Joseph Gillis, Wilder initially wanted Montgomery Clift. Clift accepted the part, but then backed out of the film. Clift had a habit of backing out of big name films for peculiar reasons all of his own. He would grow to regret the decision. Instead, the part went to William Holden whose career was also in a downward swing. Sunset Boulevard served to resurrect his career. Though quite different in acting style and appearance than Montgomery Clift, Holden brings a masculine quality to the role of Joe Gillis which works quite nicely against Norma’s histrionics.

Real-life Hollywood greats of the twenties and thirties appear as themselves in the film including C.B. DeMille, Anna Q. Nillson, H.B, Warner, Buster Keaton and Hedda Hopper. Wilder labored over the film—changing the introduction (set in a morgue) after the sequence elicited unintended snickers from a preview audience. The result—though widely panned by Hollywood insiders at the time—is now considered one of the greatest cinematic masterpieces ever created.



"All right, Mr. DeMille.  I'm ready for my close-up."
Paramount Pictures

With a dramatic, Baroque set, equally dramatic score by Franz Waxman, riveting performances, cutting-edge camera work and a truly shocking script, Sunset Boulevard will always remain on the list of the finest films (especially among Film Noir) ever made.

The film has influenced many art forms and had been an inspiration to actors and writers alike.  A musical version by Andrew Lloyd-Webber was praised by Billy Wilder for its faithfulness to his original work.  Enjoy this clip from one of the first trailers for Sunset Boulevard. 

The Belle Époque Today: The Art of Sergei Pavlenko, RP

Sergei Pavlenko

A Painting Graduate of St. Petersburg Academy of Fine Arts, in 1988, Sergei Pavlenko was nominated for the Gold Medal of the Academy of Fine Arts of the USSR. In 1989, he moved West where his Classically-inspired portraits quickly earned him recognition and much praise. After exhibiting in England and the U.S., Pavlenko settled in London, becoming a British citizen.

In 2000, Pavlenko’s portrait of Queen Elizabeth II was unveiled (by the monarch herself) to much acclaim. The Queen confessed it was her favorite portrait of herself since her coronation. Images of the portrait were so widely broadcast that it was celebrated worldwide—even being used as a postage stamp.

A recent portrait of The Queen greeting Princes William and Harry in military-attire earned more praise and public attention for Sergei Pavlenko whose continued exhibitions of his work have earned him a place amongst the artists at the Royal Society of Portrait Painters.

Sergei Pavlenko

With his crisp brushstrokes, slightly stylized features and use of deeply saturated colors, Pavlenko’s portraiture puts us in mind of the grand European and American portraits of the mid-to-late Nineteenth Century. In fact, one of Pavlenko’s portraits could easily slip into any private collection or museum and hang alongside the work of the Nineteenth Century French and English masters without seeming the slightest bit out-of-place.

Not afraid to be inspired by the past, nor to make his own mark on the future, Sergei Pavlenko is a talent upon whom we should keep a careful eye. This is work that will be studied for generations to come.

Sergei Pavlenko





Punch's Cousin, Chapter 86

“Just what did you have in mind, then?” Arthur grinned at Ulrika.


“Nothing that you couldn’t do quite easily.” Ulrika tilted her head to one side.

“And, then, you’ll give me the diamond?”

“I didn’t say that.” Ulrika laughed.

“Sure you did. You said that it could be mine if I completed a little ‘task’ for you.”

“Well, not entirely yours. We’d have to share it.” Ulrika stroked Arthur’s shoulder.

“If I’m going to share it with anyone, I’m going to share it with my wife.” Arthur pulled away with Ulrika.

“That’s precisely what I had in mind.” Ulrika winked.

“I don’t understand.” Arthur shook his head.

“Of course you don’t.” Ulrika laughed. “Thank God your arms are stronger than your mind. Let me say it so that you’ll understand, dear, dear Arthur. You will marry me.”

“You could have your pick of any of the gentlemen in this town. What do you want with me? I’m no good to you.”

“Oh, you’re very good to me.” Ulrika cooed.

“Doesn’t matter. I’m already married. Or have you forgotten?”

“When did you become so high-minded?” Ulrika spat. “There are very simple ways to remove yourself from an unwanted wife. You English are famous for them.”

“I can’t believe you.” Arthur shook his head.

“Everyone already thinks she’s dead.” Ulrika smiled. “It’s not as if anyone would look for her.”

“That’s where you’re mistaken,” Arthur chuckled. “She’s up the hill, talkin’ to her barmy brother and the rest o’ ‘em as we speak.”

“She swore to me that she’d remain hidden!” Ulrika shouted.

“Well, I had other plans.” Arthur laughed.

“You betrayed me? People don’t betray me.” Ulrika shoved Arthur backward.

He stumbled into the loose mud of the bayou.

“What’re ya doin’?” He barked.

“What Lord Fallbridge should have done.” Ulrika laughed wildly.

At that very moment, Mr. Punch threw back the blankets on the bed and tried to stand. Robert hurried to him, and covered him up again.

“There, now, let’s at least stay here so that your leg can recover.” Robert said quickly.

“Right.” Punch grunted.

“Julian, I thought you’d be pleased to find me alive.” Barbara feigned hurt feelings.

“Pleased ‘nough, I ‘spose only in that I don’t wish death on nobody. Not anymore.” Mr. Punch grumbled. “Only, it’s no good you comin’ here with your lies and your actin’. Do ya really think we’re not gonna see that you’re the same wicked girl what sold her baby and stole from her brother?” Mr. Punch shook Julian’s head. “Cuz, we ain’t fools, Barbara, me girl. We ain’t. We can see what’s in front of us and what’s in front of us is no good.”

“With Father gone, I realize that you and mother are the only family I have. Julian, I so hoped that we could reunite.”

“Not the only family ya got.” Mr. Punch smiled. “You’re forgettin’ Arthur and your baby.”

“You know I don’t have the baby any longer.” Barbara said, her anger starting to show through.

“I know. That monster told me all ‘bout it, she did.” Mr. Punch frowned. “Told me how she sold your baby—me nephew.” Mr. Punch looked up at Adrienne. “Grateful I am to ya, Adrienne, for givin’ me another nephew to love.”

“And, he loves you, too.” Adrienne smiled.

“You see, Barbara, this fine lady is more of a sister to me and…well, to me than you coulda ever been.”

“What would you have me do, Julian?” Barbara spat, too bothered to continue her charade. “Should I have insisted that Iolanthe not sell the child? It was too late! Once you make a contract with Iolanthe Evangeline, she sees to it that you keep it. And, if you don’t, the people you care about are punished!”

“What did she do to you?” Adrienne asked.

“She’s just tryin’ to make us feel sorry for her, Adrienne,” Mr. Punch shook Julian’s head.

“Mr….” Robert began, correcting himself, “Julian is right, my dear. She’s preying on your sympathies. She’s after something.”

“Just a moment, Gentlemen.” Adrienne said softly. She looked squarely at Barbara. “You tried to get out of it, didn’t you?”

“Yes,” Barbara nodded stiffly.

“What did she do?” Adrienne asked.

“She had our father murdered.” Barbara sniffed.



Did you miss Chapters 1-85? If so, you can read them here.

Goal for the Day: Be Realistic

As much as we may want everything to go according to our plans, we have to realize that we can’t control everything around us. It’s always healthy to have expectations and goals. Those help us to achieve the things in life that we need and want. However, let’s make sure our goals are realistic.


It’s great to dream big! But, in doing so, you must accept minor set-backs. Nothing is ever going to be perfect. Sometimes, little elements will require more time and patience. So, when you’re making your plans and dreaming your dreams, be realistic and factor some delays into the overall scheme. Accepting that everything will not function according to your personal schedule will save you a lot of stress and worry down the line.

Object of the Day: A Victorian Serpent Stickpin

Queen Victoria’s engagement ring was a band in the form of a serpent. The snake had become a symbol of eternity and everlasting love. Of course, anything Victoria did became the height of fashion. And, so, symbolic serpent jewelry was quite popular during the Victorian Era in Britain.


This mid-Nineteenth Century gold stickpin is one such item. The snake is sculpted in extraordinary detail as he winds around himself. In his head, a diamond has been set. The diamond was a symbol of constancy. This was probably a gift from a wife to her husband—a tangible reminder of her unending affection and loyalty.

Artistic representations of serpents found their way into many forms of jewelry from rings to necklaces. Interestingly enough, it’s a theme that has come back into fashion in the last year or so. Those modern pieces are all the more interesting when we consider what inspired them.

Our Third Trivia Contest!

Now that November has started, it’s time for another contest here at Stalking the Belle Époque. The first person to email me with the all ten correct answers to each of the ten following questions, will receive their own Punch’s Cousin coffee mug from the Stalking the Belle Époque online shop. The answers to these questions can be found in the articles on this Web site.


1. In Punch’s Cousin, what is the name of Columbia’s mother?

2. Mary of Teck (later Queen Mary) is the grandmother of which monarch?

3. A decorative box used to hold small personal items was called what?

4. Who wrote “Let’s All Go Down the Strand?”

5. What was the name of Queen Victoria’s intelligent poodle?

6. In Eighteenth-Century Spanish art, of what was a pelican an allegory?

7. In jewelry, what is hard-stone carving called?

8. Who directed the 1966 short film Punch and Judy?

9. What is a “swazzle?”

10. In what year was Balmoral Castle completed?


I’ll look forward to receiving your emails! Thanks for reading, and good luck!

Person of the Week: Patti LuPone

Patti LuPone

Born in New York, on Long Island, in 1949, Patti LuPone immediately found a comfortable spot in an artistic family. Her great-grand-aunt was the renowned opera singer, Adelina Patti, and her brother, Robert Lupone, is an actor/director/dancer best known for his work in A Chorus Line. Showing remarkable talent from an early age, Patti LuPone was a member of the first graduating class of the drama division of Julliard.

Following her time at Julliard, in 1972, LuPone was one of the founding members of John Houseman’s “The Acting Company” where she appeared in many productions until 1976. Her Broadway debut came in 1973 in The Three Sisters and in 1975 she received her first Tony Award nomination for her work in The Robber Bridegroom.

LuPone’s next biggest triumph was her starring role as Eva Peron in the original production of Andrew Lloyd-Webber’s Evita—an experience that brought LuPone much recognition and her first Tony, but was also a very unenjoyable time in her life. LuPone commented later that her time in Evita was riddled with problems behind the scenes. However, despite the troubles, this is one of the roles most associated with Miss LuPone and one of her finest performances.

The 1980’s saw Miss Lupone in a variety of starring roles on Broadway and in London’s West End where she delighted performances with her strong, clear voice in shows such as Oliver!, Anything Goes, and Les Misérables.

LuPone as Norma Desmond
Patti LuPone: The Official Web Site

1993 brought more triumph as LuPone was cast as “Norma Desmond” in the West End production of Andrew Lloyd-Webber’s musical retelling of Billy Wilder’s Sunset Boulevard. Her performance is lauded as one of the best of the several leading ladies who played Norma in Webber’s musical. Other notable performances of the period include: Master Class, Pal Joey, Sweeney Todd, Annie Get your Gun, Gypsy and Noises Off.

Television viewers will recognize Miss LuPone from her starring role in 1989-1993’s Life Goes On, the role of Lady Bird Johnson in LBJ: The Early Years, and her many guest appearances on popular shows.

Known to take a firm stance on maintaining the elegance and dignity of live theater, Miss LuPone has been known to stop a performance if it is interrupted by a cell phone call or the flash of a camera—a response usually applauded by the audience. For her dedication to her craft, her heart-warming talent and her graceful persona, Patti LuPone is this week’s “Person of the Week.”

Remember, I’ll be accepting your nominations for “Person of the Year” throughout November. I look forward to hearing your suggestions.