Most Certainly Not a "Small Picture"

Indeed, there are so many stunning contrasts throughout this film. Note how brilliantly Wilder uses scenes set at night, indoors, or in sunlight to develop several of his themes. Understandably, Gillis feels smothered and confined when in Desmond's mansion. The tone of his voice and his body language are quite different when visiting friends at a studio (without Desmond) or when he mingling with Artie Webb (Jack Webb) and others at a party. Other key contrasts involve Max Von Mayerling (Eric von Stroheim), Desmond's former director and husband who now serves as her chauffeur and all-purpose house servant. He alone provides the loyalty and devotion she once attracted from so many others. Even those who occasionally play cards with her (Buster Keaton and H.B. Warner playing themselves) indicate no interest in her whatsoever, much less affection.

This is probably about as close to being a "noir" film as Wilder ever created. Frankly, I still wonder what he thinks of Norma Desmond. Perhaps some deference which DeMille indicates when she descends upon him at the studio. Perhaps some pity which Gillis (albeit briefly and rarely) suggests. Perhaps both. For me, the most memorable scene occurs near the end when she slowly descends the winding stairway, her addled mind locked in on circumstances which occurred decades ago. Yes, I feel some sympathy for her...but, as an indication of Holden's skills as an actor, none for Gillis. Unlike Sefton in Stalag 17 (another film directed by Wilder), he has no redeeming virtues and deserved his fate...his own sunset. It's a wrap!