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The theme of old versus new in Hollywood is shown through Joe's two love interests, Norma and Betty.

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The idea of one's ego not allowing them to let go of their dreams and past self.

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Throughout watching the film, I would ponder how elements of this movie fit the noir genre. Can Norma be seen as a femme fatale character? She does seem to trapped in an isolated, extravagant household and uses her wiles/wealth to seduce Joe into staying with her, but unlike Phyllis in Double Indemnity, she doesn't get "corrected" through death or marriage at the end. In addition, how does Joe fit into the "hard-boiled," emotionally distant detective archetype, if at all?

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Throughout the film, there are tons of shots where we are seeing the main part of a scene-- i.e. Joe walking into the room and talking, two characters talking to each other-- but they are not the focus of the shot. Similarly, there are many scenes where the person speaking is not viewed head on but through a mirror, i.e. the rearview mirror of the car. It creates an even more voyeuristic viewing experience than a movie already does. P.S. Whyyyy so many parallels to the Great Gatsby please tell me I'm not the only one

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Throughout the movie, we see Norma's obsession with herself and her former glory grow into a toxic sickness that results in her demise. Also, Max, helps her to believe that she is still the star she once was with the constant fan mail. As well as the fact that he was her first wife which is briefly mentioned.

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Clutching the gun close to her chest, Norma Desmond says “No one ever leaves a star”. The aging actress lacks a sense of self and is surrounded by characters who feed into the delusion ultimately turning the fallen star into a slayer.

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People say you have to be obsessed to succeed, but Norma is a prime example of obsession gone to the max. The second Norma hears that Joe is a screenwriter, she jumps at the opportunity to have him check her scripts-- disregarding the fact that he is not a reputable screenwriter-- and uses her financial foothold and appearance in a desperate attempt to seduce, control, and ultimately manipulate Joe all in the hopes of returning to the spotlight. The film later reveals that Max fell into the same trap but couldn't escape due to love, and has been perpetuating her identity disorder through "fan" letters and constant encouragement. After 20+ years, she becomes so deluded into chasing the glitz and glamor of acting she had in the past that she doesn't realize she's being filmed for her arrest in the final scene.

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The mansion is a key aspect throughout the whole film. To me, it parallels Norma's interior state: rotting, old, lonely, and not properly taken care of. Joe said that the house was built during the crazy 20s, which is during the height of Norma's career. Not only is Norma stuck on the past, but so is the mansion.

Also, what is the symbolism of the dead chimpanzee?

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In both Double Indemnity and Sunset Boulevard, the main character where they're overcome by their greed, but things have turned south. The narrator proceeds by saying how maybe they can still get away with it.

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I don’t actually really get why Norma is constantly shown starring into a mirror (ex. while being interviewed by cops, before going into Joe’s room, and even watching herself in movies). But, maybe it’s because of how highly she thinks of herself going hand in hand with how important she thinks she is when she arrives at Paramount Studios. She’s no longer the “silent movie queen,” but the old actress getting in the way at Paramount Studios after being hit in the head by a mic which honestly is hilarious since she is being mocked by the object that stole her job.

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While watching the film, I couldn't help but notice certain parallels between Sunset Blvd and Double Indemnity. Both were directed by Billy Wilder, of course, but other parallels occur in the films. In Double Indemnity, something that stuck out to me was the pictures in the house, particularly on the piano. In Double Indemnity, the only pictures are of Mr. D and Lola, versus in Sunset Blvd, there is another shot of picture frames on the piano, but this time there are countless self portraits of Norma, which we proceed to see throughout the living room. This parallel reflects the different values in the households. While the Dietrichson house values family (minus Phyllis, of course), Norma only values herself and her own career. There are other parallels, such as the narration, the symbolism of cars, and the (arguable) "femme fatale" character in both films. These similarities are very interesting to notice, especially in regards to how the parallels differ from one another.

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Throughout the movie, there are short snippets or sporadic notes from various wind and string instruments. Whether a character enters the shot or there is a moment of realization, intense and dramatic melodies can be heard (especially in the final scene as characters travel up and down the staircase). What role does the use of instruments play in the plot and how does it enhance the movie as a whole?

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What does Joe truly desire? He seems lost and confused about what he actually wants throughout the movie, and lets himself be kept in a claustrophobic uncomfortable unloving union with Norma for the sake of material goods she gives to him, but it doesn't really seem like he cares that much about having nice things. He doesn't want the suits in the first place, yet he accepts them and breaks off his relationship with Betty by telling her he only cares about keeping his nice suits and being in a mansion with a pool. He says that he's crazy about Betty, but then ends their relationship for his halfhearted attraction to material goods provided by Norma? He doesn't love Norma, he just feels responsible for her safety because of her suicide attempt ploy. Why does he let himself be dragged into Norma's world, and stay there, when he says he loves Betty? Why does he not go with Betty when she asks him too? Why doesn't he want to take the gold and jewelry with him when he finally tries to leave Norma? What does Joe desire? Does he desire anything?

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Is he materialistic in the end? He tells Betty to leave him, and chooses the nice suits and cuff links, but then immediately starts to pack up his stuff. Does he realize that he is becoming just as superficial as Norma the moment he sees her after seeing Betty? What causes his sudden change? The audience doesn't really get an explanation.

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Why does Max continue to write letters to Norma? He was Norma's first husband and has known her for years but what does he benefit from this?

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Max was placed in a weird position in this film. He voluntarily became Norma's servant after being her director and husband. In addition, he had to witness her fall in love with another man and constantly lied to her to keep her long lost dream alive.

Side Thought: After the plot twist where Max revealed his past, I thought he would be the one killing Joe. As Joe was unfolding the truth to Norma, I thought Max would grab the gun and shoot Joe to preserve the lie, for Max was willing to go to any lengths to please her.

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Similarities With Ghost Stories/Horror - Comer

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Similarities With Ghost Stories/Horror - Comer

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There are many elements and scenes in the film that feel reminiscent of ghost stories or creepy movies- Joe arrives into the driveway of an old, decrepit mansion with only two people inside, Max has an uncanny way of appearing and knowing whatever he wants, and Norma's insanity at the end feels less like a real person and more like possession. How do these elements of other genres contribute to the overall feel of the movie?

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Why does Max do what he does? Why does he continue to maintain Norma's delusion while he is acting as her servant?

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Sunset Boulevard may not be the best example of Auteur Theory, yet it does acknowledge the roles of screenwriters, readers, the stage crew, and set builders to some degree. The theory developed only a decade prior to the movie's release in the ascension of the technological era. Therefore, the context may have influenced the scenes in Paramount, and some representation of the Hollywood shadows we often forget.