Union Station (1950)

Although it features the pairing of William Holden and Nancy Olsen, Union Station certainly is no Sunset Boulevard, but it doesn't need to be. It's a modest procedural of 80 minutes but it has a gritty realism that is rather reminiscent of Pick up on South Street (1953) or The Naked City (1947). This is ironic since is hardly believable and yet it still ropes us in. The story goes something like this.

A young woman (Nancy Olsen) says goodbye to a blind friend and later after she boards a train, she sees two suspicious men board the same car as her. At the final destination of Union Station she goes to lead cop Willie Calhoun who uses his network of plainclothesman to investigate and tail the men. As it turns out the girl has been kidnapped and a ransom is put on her for $100,000. Her father is understandably desperate to get her back and does whatever he is relayed to do. He remains in contact with Calhoun and the Inspector named Donnelly (Barry Fitzgerald) who resolve to get his daughter back and apprehend the perpetrator.

However, the man they are dealing with has been around the block a few times and he is well acquainted with Union Station. Thus, the station becomes the main point of interest in the film evolving from less of a game of cat and mouse to a chess match. Men are tailed aboard trains, in terminals and everywhere else. When one man leaves another takes his place, eyes are always watching and the beauty of it all is you can never tell who is a policemen and who is not in the veritable mass of humanity. But it goes the other way too.

The ransom is ultimately set to go down at Union Station and just in the nick of time Calhoun catches a break. All that's left is to chase down the mastermind, but its not so easy as he also has the blind girl Lorna stashed away. Calhoun must race to apprehend the culprit while also getting to Lorna first. Its a photo finish.

Did I say already that Union Station employs a gritty realism. Well it does, and it is full of slimy criminal types pitted against no-nonsense cops who are not opposed to using rough methods if necessary. Willie Calhoun is the number one tough guy and he's relentless in his job as the intense finale suggest. Donnelly is a character blessed with the voice of a Leprechaun thanks to Fitzgerald and believe me that's a compliment. He's a personable, mentoring type figure who is a nice compliment to Holden. Inquisitive Joyce Willecombe is necessary to get the plot rolling and also as the love interests, but Nancy Olsen gives her appeal that reaches greater than that.

Enough said, now take a trip down memory lane to Union Station where you are sure to be lost with the masses in this engaging procedural.

3.5/5 Stars

Sunset Boulevard (1950) - Updated

"Yes, this is Sunset Boulevard, Los Angeles, California. It's about five o'clock in the morning. That's the Homicide Squad - complete with detectives and newspapermen. A murder has been reported from one of those great big houses in the ten thousand block. You'll read about it in the late editions, I'm sure. You'll get it over your radio and see it on television because an old-time star is involved - one of the biggest. But before you hear it all distorted and blown out of proportion, before those Hollywood columnists get their hands on it, maybe you'd like to hear the facts, the whole truth."

So begins one of the most caustic dramas ever constructed in Hollywood or about Hollywood and it was gifted to us by screenwriter-director extraordinaire Billy Wilder. His previous hard-edged film-noir Double Indemnity had its own cynical narrator with a memorable voice-over of his own. However, Walter Neff was only on the verge of dying, when we hear the voice of Joe Gillis he is already speaking from the grave. It is a fantastic angle in which to look at this seemingly perfect Hollywood construction and Gillis never ceases to tell his story until we wind up at the pool as the story comes to a close.

For now we learn that six month back Joe (William Holden)  is a writer who is having difficulties being published and some men want to repossess his car. Desperate, he pays a visit to a friend at Paramount named Mandrake to pitch an idea, but the script is of little merit according to a pretty young script reader. That's a dead end so Joe leaves, but the men are waiting for him and he zooms away. A flight tire leads him to drive away into an empty garage connected to a dilapidated old mansion of Sunset Boulevard. 

There he is mistakenly introduced to drama queen Norma Desmond (Gloria Swanson) who used to be big on the silent screen back in the day. Now all she has is money, fan letters and old memories to rehash while her butler Max (Erich von Stroheim) watches over her. The theatrical actress believes her big comeback is soon at hand and when she learns Joe is a writer she takes interest. He needs the money so he takes a look at her rough script meant to be a vehicle for her. A small commitment turns into a life consuming undertaking. Desmond constantly hovers and dotes over Joe going so far as having his things moved into her home and buying him new clothes and trinkets. He reluctantly accepts the first class treatment, not minding the cushy lifestyle. But to Norma its more. 

He is her closest companion and her love. Joe cannot bear to tell her that she is washed up and that there will never be anything between them. He ditches her intimate New Years party for a more friendly affair where he crosses path with his old bud Artie (Jack Webb) and his girl the critical script girl Betty Schaeffer (Nancy Olson). She takes an interest in a few of his past ideas, but he does not and after getting shocking news from Max he is pulled back to his lavish prison.

Eventually Norma is prepared to drop off her script with her former collaborator the great Cecil B. DeMille. However, it becomes all too clear that her story will amount to nothing, but her friend cannot bear to break her heart. She is sent off again with the strong conviction that her day is coming. Makeover's, diets and facials follow in preparation. Joe is indifferent to it all and secretly begins working at nights with Betty on a new screenplay. 

Desmond finds the script and jealously takes over causing her to call Betty to ruin the romance that is rapidly budding there. Joe hears it all and angrily tells the disbelieving Betty to come see his set-up on Sunset Boulevard. He acts as if he likes the life and Betty leaves brokenhearted. Soon after a fed up Joe packs his bags to head back to Ohio. Thus, begins the systematic breakdown that we had expected for so long. Norma Desmond completely falls apart and does the one thing she knows to hold on. 

Back in the present the crowds and journalists have turned out to see the has been movie star who is stark raving mad, and one last time Norma does not disappoint. She glides seamlessly down the stairs with a serenely ethereal look on her face before preparing for her closeup. So ends the career of one Norma Desmond and the life of Joe Gillis. We can only hope that Betty got together again with Artie otherwise this would remain one of the bleakest tales of all time.

However, that is part of the power of this film. It is strangely dark and ominous. Franz Waxman's score is fit for a Gothic melodrama  and Desmond's mansion is a creaky old foreboding castle that hardly sees the light of day. Max is a solemn figure who we learn brought Norma stardom, married her, got divorced and then could not live without her. Joe Gillis gets caught in a cycle he cannot get out of and in the middle of the whole mess is Desmond herself. She is so preoccupied with herself, so obsessed with her own former glory, and yet she is an lonely, insecure aging actress. In many way she is Citizen Kane's female counterpoint. A person with so much money, prestige and power who slowly drifts away into oblivion without anyone caring except hungry journalists. Much in the same way, although Norma is so petty and vain in so many ways, I cannot feel sorry for her existence. She is an utterly pitiful person in the end. No one deserves her fate.

In this way Sunset Boulevard seems to critique Hollywood a place that make stars like Norma Desmond and spit them back out just as easily. It is not easily figured out or understood it just does at is pleases. For instance Billy Wilder became an immigrant writer and director of great repute. Cecil B. Demille was a longtime respected director. Erich von Stroheim had early success with silent films then had to turn to acting. Gloria Swanson was a silent star then struggled in the 1930s. William Holden broke out in the 30s, hit is peak in the 1950s and continued to act into the 70s. Nancy Olson went on to make a few classic Disney movies and Jack Webb of course went on to create the TV Show Dragnet. Each Hollywood career starkly different from the others. 

 There is also such an authenticity in this film so much so that sometimes the line between fiction and reality is blurred. First, Wilder cast Gloria Swanson to play former silent star Norma Desmond in the film, so it seems like she is playing herself (Complete with old promotional photos and silent footage). He also had appearances by both von Stroheim and Demille who had directed Swanson in her silent days. Some of Desmond's bridge friends include other real silent stars including Anna Q. Nilsson, H.B. Warner and the legendary Buster Keaton (His career had also crumbled). Even gossip columnist Hedda Hopper gets into the mix to tell the tragic story of Desmond and it all works. 

So whether you watch Sunset Boulevard for the Hollywood side, or as a film-noir, or a love story, or a tragic drama, the beauty of it is that it functions as all of those things simultaneously. Gloria Swanson is absolutely loopy, William Holden is as cynical as ever with his smoked-out gravelly voice. Von Stroheim is haunting as the faithful Max and Nancy Olson is the one young friendly face in juxtaposition with Swanson. 

Billy Wilder's script with Charles Brackett is inspired a multitude of times, but instead of telling you I will give you a taste: 

"There once was a time in this business when I had the eyes of the whole world! But that wasn't good enough for them, oh no! They had to have the ears of the whole world too. So they opened their big mouths and out came talk. Talk! TALK!"

That's Norma Desmond in a nutshell for you. That's Sunset Blvd.

5/5 Stars

The Best Films of William Holden

1. Sunset Boulevard
2. The Bridge on the River Kwai
3. Stalag 17
4. The Wild Bunch
5. Network
6. Sabrina
7. Executive Suite
8. Born Yesterday
9. The Country Girl
10. The Counterfeit Traitor
11. Picnic
12. Love is a Many-Splendored Thing
13. Golden Boy

Sabrina (1954)

Starring Audrey Hepburn, Humphrey Bogart, and William Holden, with director Billy Wilder, the film begins with Sabrina (Hepburn) as a young girl. She lives with her father who is a chauffeur for a rich family. Sabrina loves the younger playboy son (Holden) however he gives her no serious attention. Depressed, Sabrina wants to kill herself and her father decides to send her off to culinary school in France. Some time passes and the grown up Sabrina is a perfect lady. Soon she catches the eye of Holden back home and all her dreams come true when they spend time together at a party. However, his older practical brother (Bogart) does not like it one bit since Holden has a fiancee. Wanting to get Sabrina away from his brother, Linus wines and dines her so the strategic wedding will stay on schedule. He then gives her a one way ticket and sends her off. Only afterward does he realize his own feelings for Sabrina and thus he decides to follow her. This film overall is a charming romance that is worth seeing.

4/5 Stars

Sunset Boulevard (1950) - Film-Noir

This is a great film-noir but more importantly it serves as a biting picture of the Hollywood lifestyle . Billy Wilder created a very interesting film that is well worth watching. It puts a very contrasting pair together and delivers the tale with a exceptional style of storytelling.

*May Contain Spoilers

In this film starring William Holden and Gloria Swanson (real-life silent film star) a down-on-his-luck writer, strictly by chance, finds himself living with a forgotten film actress. From the very beginning he finds her eccentric and her mansion chilling. All the same he agrees to live there in order to edit her movie script and earn some much needed money. Soon she grows accustomed and dependent on him since her only other companion is a butler. Hoping to make a comeback she goes to director Cecil B. Demille but it becomes evident to those around her that things will not work out. At the same time the young writer begins to distance himself as he begins to fall for a young woman writer he has been working for. In a chilling ending someone dies and another goes seemingly mad because the tension has grown too great. This film is very well done from the flashback and narration at the beginning to its critique of Hollywood and the parallelism with real events.

5/5 Stars

Born Yesterday (1950)

Starring Judy Holiday, William Holden, and Broderick Crawford, this semi-comedy is about a dumb blonde who becomes cultured with the help of a tutor. Billie starts out as the girl of a gruff an who has made a fortune in metal. They are in D.C. together and he is embarrassed because she does not know how to act around well to do people. He brings in a young journalist to tutor her and over time, her mind and outlook on life changes. She is no longer one to be trifled with and she finally sees things for what they are. There is no doubt that Judy Holiday gave a good performance, I just did not find the film all that funny. I would rather watch My Fair Lady or Mr. Smith Goes to Washington which seemed to share similar aspects with this film.

3.5/5 Stars

William Holden

One of the great leading men, William Holden was born on this date back in 1918. With his good looks and recognizable gravelly voice, Holden can be remembered for such films as Sunset Boulevard, Born Yesterday, Stalag 13, Sabrina, and The Bridge on the River Kwai. He would make several prominent films later in his career including The Wild Bunch and Network. If you want to see him in a funnier performance catch him at the Brown Derby in the 1955 episode of I Love Lucy. However, out of all the work of his that I have seen I would say my favorite role would have to be Joe Gillis in Sunset Boulevard. In order not to spoil the plot I would just tell people they should see it. I doubt you will regret it!

Network (1976)

Starring Faye Dunaway, William Holden, Peter Finch, and Robert Duvall, this film satirizes the television industry. Howard Beale (Finch) is being fired as a news anchor for the struggling UBS network. On one of his final days on air he begins to rave madly and his industry friend Max (Holden) does not cut him short. At first there is uproar but then a shrewd business man (Duvall) decides to use Beal to boost ratings with the backing of one of the network staff (Dunaway). With her great ambition she moves up and takes Max's place while becoming romantically involved with him. For a time the network thrives off the rants of Beale. However, he begins to change his tune and ratings begin to plummet. With everything in a shambles, they can him literally. This is a biting satire of television with intense performances and some moments that leave you pondering who the real nutcases are.

4/5 Stars

Stalag 17 (1953)

Headlined by William Holden and directed by Billy Wilder, this is a great POW World War II film with its dramatic and comedic moments. Holden is the cynical camp scrounger Sefton and after some men are killed following an elaborate escape. everyone believes he is an informant. Tempers rise when two new prisoners arrive and one is questioned for his part in sabotage. Again the camp believes Sefton squealed and eventually they beat him up for being a traitor. However, Sefton himself finally figures out who the real informant is and tips off the barracks before another escape attempt. Sefton goes along and ironically the spy is used as their diversion so they can escape. This film has a lot of great characters including Cookie, Animal, Harry, and don't forget Schultz who is reminiscent of To Be or Not to Be and a predecessor to Hogan's Heroes own. Along with the Great Escape and the Bridge on the River Kwai, this is one of the best POW films.

4.5/5 Stars

Bridge on the River Kwai (1957)

Starring Alec Guinness and William Holden with director David Lean, this is a World War II film that follows the exploits of British POWs and also Allies on a secret mission. Guinness is the proud and principled British Colonel who leads his men in a memorable entrance. With stubbornness he wages a war of wits against the Japanese camp overseer. He inspires his men and eventually reaches his goal of personally leading them in the completion of the bridge. At the same time an American soldier (Holden) attempts escape and somehow winds up alive and safe. However, all too soon he is sent right back with specialized commandos to destroy the bridge. In a chaotic and tragic finale, the British colonel puts a wrench in the plans and the implications are costly even though the objective is achieved. This is a magnificent and enjoyable film with good cinematography, interesting characters, a two-sided story, and of course whistling!

5/5 Stars