Ready for My Close-Up: The Making of Sunset Boulevard and the Dark Side of the Hollywood Dream by David Lubin
Major thanks to Grand Central Publishing and NetGalley for
providing me with an advanced copy of David Lubin’s excellent and engaging Ready for My Close-Up: The Making of Sunset Boulevard and the Dark Side of the Hollywood Dream. This was a great book that focuses primarily on the making
and impact of Sunset Boulevard, a movie that just recently celebrated
its 75th anniversary, but continues to influence movies and popular
culture in fascinating ways. I not only enjoyed reading about this book because
of the cultural significance of this film, but I also only recently watched Sunset
Boulevard for the first time and was amazed at how brisk and relevant the
film is. I remember reading somewhere that David Lynch was influenced by Sunset
Boulevard, and that attracted my attention. After watching, I can see how
this film that challenges traditional narrative techniques and presents a view
of the underside of what Lubin sometimes refers to as America’s Dream Factory
influenced some of Lynch’s most iconic films. In particular, I was struck by
the similarities between Sunset Boulevard and Mulholland Drive,
Lynch’s 2001 film about the dark side of Hollywood (also named after a street
in Los Angeles). David Lubin, who is a film scholar and professor, not only
presents the germination of the film and contextualizes its creation within the
history of Hollywood but also presents biographies and career histories for all
of those involved Sunset Boulevard. His detailed research into the lives
and backgrounds of the writers and stars of this film provided an important
context for understanding how Sunset Boulevard performs not just as a
noir film classic, but also as a kind of commentary on the Hollywood system and
its fickle, ever-changing demands for stars that it sometimes views as
disposable and interchangeable. I found the book to be particularly interesting
in today’s media landscape with a continued focus on sequels and nostalgia-tinged
remakes or updates. Also, there’s been more and more hagsploitation in films,
presenting audiences with terror and fear of aging, specifically in older
women, which Lubin explores as one of the themes and criticisms of Sunset
Boulevard.
Lubin’s book is a page-turner, especially for someone
interested in film history and criticism. He presents biographies of the actors
involved in the film, and how the two screenwriters, Billy Wilder and Charles
Brackett, developed a working relationship in Hollywood, despite coming from
very different backgrounds. The ideas of stories and messages in films is also
integral to Wilder and Brackett’s working relationship as this was something
that they questioned was important to films. Nevertheless, Lubin highlights the
work that these two collaborated on prior to Sunset Boulevard, which
would be there last collaborative effort. Lubin also examines how these two
arrived in Hollywood, with Wilder’s journey from Europe and jumping in a pool
for money at a Hollywood party shedding some light on potential biographical
influences on Sunset Boulevard. Lubin also shares the biography and
career of Gloria Swanson, the silent star who was coaxed into inhabiting the
role of Norma Desmond, and Erich von Stroheim, whose life and career I also found
incredibly interesting. Von Stroheim played Max von Mayerling in the film, who
is Norma Desmond’s driver and butler, but was previously an acclaimed director from
the silent era, just like von Stroheim’s real-life background. According to
Lubin’s research and writing, von Stroheim seemed like a real arrogant but
intriguing character, known initially as “the man you love to hate”. I found
the character of Max von Mayerling to be equally intriguing, someone who is
both dedicated to Desmond, but also feeding her delusions by writing her fictitious
fan mail. His character, along with many of the others in the film, have this
kind of dual nature where the ambiguity of their motivations and behaviors can
lead to vastly different interpretations of the film and its greater meanings.
Although Lubin’s research into the biographies and careers of
those involved in the making of Sunset Boulevard are engaging and illuminating,
I found his analysis of the film’s most important scenes to be the strength and
heart of this book. After providing background about the film’s creation and
the lead up to its production, Lubin then goes in to document and analyze the
integral scenes, breaking them down by noting the significant details, staging,
acting choices, and even the lines of dialogue from the film. This was exciting
to see not only how nuanced the staging and direction of the film is, but also
how timeless and relevant the film remains today. Furthermore, I loved how
Lubin notes that the film’s ability to transcend genres, a fact that the studio
considered as a hindrance to audiences, is actually one of the elements of the
film that makes it timeless and so impactful. When I watched Sunset
Boulevard, I considered it something like a film noire, which at the time
was a relatively newer genre. However, Lubin notes that the film has elements
of romance, tragedy, comedy, and even horror. While I found Norma Desmond’s life
somewhat deranged and delusional, I didn’t necessarily consider it comedic.
However, Lubin identifies some key scenes and how they contrast one another—for
example, when Norma’s friends come over to play bridge, and how that party contrasts
with Joe’s friend’s new years party. These contrasts not only highlight the youth
and aging differences, but also emphasize the living and the dead, or the
future and the past. I didn’t realize that the Norma’s friends included key
actors from the silent screen, including Buster Keaton. Furthermore, I hadn’t
considered the absurdity of Norma burying her chimpanzee to begin the film, and
how Joe becomes something like a chimp- a replacement child-companion for a
lonely, isolated woman. Some of the best analysis comes from Norma’s visit to
the Paramount studios during Cecil B. DeMille’s filming. I was surprised to see
that this was the real DeMille, but Lubin provides key details about Swanson
and DeMille’s prior working relationship, and how DeMille’s lines and acting in
the film present the audience with some ways to sympathize with Norma. This was
my favorite part of the book since it provides readers/viewers with new ways to
consider the meaning of the film and elements of individual scenes to consider.
I also kept thinking about how these scenes influenced other films, as Lubin
provides notes and interviews from Hitchcock and Goddard suggesting the lasting
influence of Sunset Boulevard on later films. In particular, the tonal
shifts and the ways that the story and shots affect the audience’s emotions were
innovative for a film from the 1950s. We probably take this for granted today
since we recognize that films can often transcend genres, but Sunset
Boulevard challenged viewers at the time. Again, I kept thinking about
David Lynch films, and how sometimes the ambiguity and tonal shifts allow for
varied interpretations. While some people may seek an easy resolution where
everything is explained, I love the ambiguity and openness to interpretation.
Lubin’s book points out how innovative and challenging this was at the time,
but also how this ambiguity in the film leads to the film’s staying power and
frequent inclusion in the top 10 films of all time.
The later chapters detail the critical reactions to the
film, as well as what happened to all of those involved in the film, mostly
focusing on the actors, but also including Wilder and Brackett. Again, it was
interesting to learn more about these individuals, especially Gloria Swanson
and William Holden. After watching Sunset Boulevard, I read a little
about Holden’s life and work. However, reading about Gloria Swanson was also
fascinating, as it seemed like Sunset Boulevard provided her with new
opportunities, but also seemed to kind of trap her in this ideal of Norma
Desmond. Regardless, it seemed like she was careful in her later career
decisions, sometimes appearing on talk shows and television, but not often in
the movies. Lubin also discusses the directing careers of Wilder and DeMille,
who were at opposite ends of their careers, and who also appeared at opposite
ends of the political spectrum especially when the House un-American Committee
was seeking out names for their political blacklists. Lubin also includes an
Epilogue that explores some of the legacy of Sunset Boulevard,
particularly focusing on the idea of fading glory and how no one can escape
time, as well as how the film remains a great film about filmmaking. Again,
this is one of the reasons why the film remains to powerful and relevant today.
While reading, I couldn’t help but think about the current state of politics
and the kind of delusions that people feed to others to get ahead. It was
surprising, then, to learn the Sunset Boulevard is a favorite film of another
politician that seems to live in a fantasy world fueled by their delusions.
Although it’s a brief epilogue, it’s still amazing to consider the similarities
between Norma, a woman who continues to pine for a past that no longer exists while
others placate and feed her delusions, and current leadership who also wish for
faded glory over living in the present. This was a great book about a great film.
Not only does Lubin’s research provide important details about the creation of
this film, but his analysis also provides important insights into understanding
and interpreting Sunset Boulevard and other films that followed. Lubin’s
book has made me want to re-watch Sunset Boulevard, and think about
other films that follow in its legacy. Highly recommended!
No comments:
Post a Comment