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约翰福音 3:16
约翰福音 3:16
Chinese New Version (Simplified) (CNVS)
16 “ 神爱世人，甚至把他的独生子赐给他们，叫一切信他的，不至灭亡，反得永生。
Another description of Sunset Boulevard 1950
In 1949 Hollywood, down-on-his-luck screenwriter Joe Gillis tries to hustle up some work at Paramount Studios. His appointment with a producer goes poorly when the executive rejects both Joe's proposed script and a loan to bring his car payments up to date. Joe does, however, meet Betty Schaefer, a pretty, young script editor who suggests they collaborate to rework one of his earlier screenplays. As they chat, Joe is spotted by car repossession agents and makes a quick escape.
During the chase that ensues, Joe evades his pursuers by pulling into the garage of a palatial but dilapidated mansion on Sunset Boulevard. Beckoned inside the house, Joe encounters Norma Desmond, the "greatest star of all" who ruled the silent film era but didn't make the transition to sound movies. Taken aback, Joe comments, "You used to be in pictures; you used to be big," to which Norma retorts, "I am big — it's the pictures that got small!"
The gloomy estate is inhabited only by Norma and Max, her loyal butler and chauffeur. Although decades past her prime and mostly forgotten by the public, Norma is convinced she is as beautiful and in demand as ever. Max perpetuates this illusion by shielding her from the realities of life out of the limelight and by writing her letters purportedly from still-devoted fans. Norma informs Joe of her plan to return to the screen with Salome, a script she has written for Cecil B. DeMille to direct with her in the starring role as the teenage biblical temptress. Dubious but sensing opportunity, Joe persuades her to let him edit the story in exchange for room and board.
Joe immediately realizes the script is incoherent, but Norma won't allow a major rewrite and the revision drags on for months. During this time Joe is a virtual prisoner at the house, but he does break away to fulfill his commitment to Betty. Their working relationship blossoms into a romance that has her reconsidering her engagement to Joe's best friend, Artie.
Blind to Joe's opportunism, Norma lavishes him with gifts that include a wardrobe makeover and he becomes her kept man. She declares her love for him and turns quite possessive; when he leaves her to attend Artie's New Year's Eve party, she is distraught and attempts suicide. As a conciliatory gesture, Joe reluctantly returns to work on Salome.
A cryptic message from Paramount has Norma certain that DeMille is eager to discuss her script. She drops in on the set of his current film and is greeted warmly by former colleagues and the famed director himself, but DeMille is noncommittal about Salome. Meanwhile, Max discovers the studio had called to ask about Norma's exotic car, not her screenplay. However, a delusional Norma leaves the lot convinced she'll soon be back in front of the cameras and begins to prepare for the role.
Increasingly paranoid, Norma deduces that Joe and Betty are more than just friends. She calls the younger woman to reveal Joe's secret life at the mansion, but he overhears and grabs the phone to tell Betty to come see for herself. Realizing their affair is doomed, Joe brusquely tells her he enjoys being Norma's pet and that she should go back to Artie. Betty departs, confused and brokenhearted, and Joe tells Norma he's leaving her and returning to his hometown in Ohio. He also bluntly informs her that Salome is an unfilmable script and her fans have long abandoned her. Furious and grief-stricken, Norma fatally shoots Joe as he storms out of the house.
Now completely insane, Norma mistakes the swarms of police and reporters who arrive for studio personnel. Imagining she is on the set of Salome, she slowly descends her grand staircase and utters the immortal phrase, "And now, Mr. DeMille, I am ready for my close-up."
https://en.wikipedia.org/wiki/Sunset_Boulevard_(musical)
During the chase that ensues, Joe evades his pursuers by pulling into the garage of a palatial but dilapidated mansion on Sunset Boulevard. Beckoned inside the house, Joe encounters Norma Desmond, the "greatest star of all" who ruled the silent film era but didn't make the transition to sound movies. Taken aback, Joe comments, "You used to be in pictures; you used to be big," to which Norma retorts, "I am big — it's the pictures that got small!"
The gloomy estate is inhabited only by Norma and Max, her loyal butler and chauffeur. Although decades past her prime and mostly forgotten by the public, Norma is convinced she is as beautiful and in demand as ever. Max perpetuates this illusion by shielding her from the realities of life out of the limelight and by writing her letters purportedly from still-devoted fans. Norma informs Joe of her plan to return to the screen with Salome, a script she has written for Cecil B. DeMille to direct with her in the starring role as the teenage biblical temptress. Dubious but sensing opportunity, Joe persuades her to let him edit the story in exchange for room and board.
Joe immediately realizes the script is incoherent, but Norma won't allow a major rewrite and the revision drags on for months. During this time Joe is a virtual prisoner at the house, but he does break away to fulfill his commitment to Betty. Their working relationship blossoms into a romance that has her reconsidering her engagement to Joe's best friend, Artie.
Blind to Joe's opportunism, Norma lavishes him with gifts that include a wardrobe makeover and he becomes her kept man. She declares her love for him and turns quite possessive; when he leaves her to attend Artie's New Year's Eve party, she is distraught and attempts suicide. As a conciliatory gesture, Joe reluctantly returns to work on Salome.
A cryptic message from Paramount has Norma certain that DeMille is eager to discuss her script. She drops in on the set of his current film and is greeted warmly by former colleagues and the famed director himself, but DeMille is noncommittal about Salome. Meanwhile, Max discovers the studio had called to ask about Norma's exotic car, not her screenplay. However, a delusional Norma leaves the lot convinced she'll soon be back in front of the cameras and begins to prepare for the role.
Increasingly paranoid, Norma deduces that Joe and Betty are more than just friends. She calls the younger woman to reveal Joe's secret life at the mansion, but he overhears and grabs the phone to tell Betty to come see for herself. Realizing their affair is doomed, Joe brusquely tells her he enjoys being Norma's pet and that she should go back to Artie. Betty departs, confused and brokenhearted, and Joe tells Norma he's leaving her and returning to his hometown in Ohio. He also bluntly informs her that Salome is an unfilmable script and her fans have long abandoned her. Furious and grief-stricken, Norma fatally shoots Joe as he storms out of the house.
Now completely insane, Norma mistakes the swarms of police and reporters who arrive for studio personnel. Imagining she is on the set of Salome, she slowly descends her grand staircase and utters the immortal phrase, "And now, Mr. DeMille, I am ready for my close-up."
https://en.wikipedia.org/wiki/Sunset_Boulevard_(musical)
Sunset Blvd 1950
(Sunset Boulevard 1950)
(https://en.wikipedia.org/wiki/Sunset_Boulevard_(film)#Plot)
Six months earlier, down-on-his-luck screenwriter Joe tries selling Paramount Pictures producer Sheldrake on a story he submitted. Script reader Betty Schaefer harshly critiques it in Joe's presence, unaware that he is the author. Later, while fleeing from repossession men seeking his car, Joe turns into the driveway of a seemingly deserted mansion. After concealing the car, he hears a woman calling him, apparently mistaking him for someone else. Ushered in by Max, her butler, Joe recognizes the woman as long-forgotten silent film star Norma Desmond. Learning he is a writer, she asks his opinion of a script she has written for a film about Salome. She plans to play the role herself in a comeback. Joe finds her script abysmal, but flatters her into hiring him as a script doctor.
Moved into Norma's mansion at her insistence, Joe resents but gradually accepts his dependent situation. He sees that Norma refuses to face the fact that her fame has evaporated and learns the fan letters she still receives are secretly written by Max, who tells him Norma is subject to depression and has made suicide attempts.
Norma lavishes attention on Joe and buys him expensive clothes. At her New Year's Eve party, he discovers he is the only guest and realizes she has fallen in love with him. He tries to let her down gently, but she slaps him and retreats to her room. Joe visits his friend Artie Green to ask about staying at his place. At Artie's party, he again meets Betty, who he learns is Artie's girl. Betty thinks a scene in one of Joe's scripts has potential, but Joe is uninterested. When Joe phones Max to have him pack his things, Max tells him Norma cut her wrists with his razor. Joe returns to Norma.
Norma has Max deliver the edited Salome script to her former director, Cecil B. DeMille, at Paramount. She starts getting calls from Paramount executive Gordon Cole, but petulantly refuses to speak to anyone except DeMille. Eventually, she has Max drive her and Joe to Paramount in her 1929 Isotta Fraschini.[4] The older studio employees warmly greet her. DeMille receives her affectionately and treats her with great respect, tactfully evading her questions about Salome. Meanwhile, Max learns that Cole merely wants to rent her unusual car for a film.
Preparing for her imagined comeback, Norma undergoes rigorous beauty treatments. Joe secretly works nights at Betty's Paramount office, collaborating on an original screenplay. His moonlighting is found out by Max, who reveals that he was once a respected film director. He discovered Norma as a teenage girl, made her a star and was her first husband. After she divorced him, he found life without her unbearable and abandoned his career to become her servant.
Although Betty is engaged to Artie, she and Joe fall in love. Norma discovers a manuscript with Joe's and Betty's names on it. She phones Betty and insinuates what sort of man Joe really is. Joe, overhearing, invites Betty to come see for herself. When she arrives, he pretends he is satisfied being a kept man, but after she tearfully leaves, he packs to return to his old Ohio newspaper job. He disregards Norma's threat to kill herself and the gun she shows him to back it up. He bluntly tells her the public has forgotten her, there will be no comeback, and the fan letters are from Max. As Joe walks away, Norma shoots him three times. He falls into the pool.
The flashback ends. The house is filled with police and reporters. Norma, having lost touch with reality, believes the newsreel cameras are there to film Salome. Max and the police play along. Max sets up a scene for her and calls "Action!" As the cameras roll, Norma dramatically descends her grand staircase. She pauses and makes an impromptu speech about how happy she is to be making a film again, ending with: "All right, Mr. DeMille, I'm ready for my close-up."[5]
Sunset Boulevard (stylized onscreen as SUNSET BLVD.) is a 1950 American black comedy/drama film noir[3] directed and co-written by Billy Wilder, and produced and co-written by Charles Brackett. It was named after the boulevard that runs through Los Angeles and Beverly Hills, California.
The film stars William Holden as Joe Gillis, an unsuccessful screenwriter, and Gloria Swanson as Norma Desmond, a faded silent movie star who draws him into her fantasy world where she dreams of making a triumphant return to the screen, with Erich von Stroheim as Max Von Mayerling, her devoted servant. Nancy Olson, Fred Clark, Lloyd Gough and Jack Webb play supporting roles. Director Cecil B. DeMille and gossip columnist Hedda Hopper play themselves, and the film includes cameo appearances by leading silent film actors Buster Keaton, H. B. Warner and Anna Q. Nilsson.
Praised by many critics when first released, Sunset Boulevard was nominated for eleven Academy Awards (including nominations in all four acting categories) and won three. It is widely accepted as a classic, often cited as one of the greatest films of American cinema. Deemed "culturally, historically, or aesthetically significant" by the U.S. Library of Congress in 1989, Sunset Boulevard was included in the first group of films selected for preservation in the National Film Registry. In 1998, it was ranked number twelve on the American Film Institute's list of the 100 best American films of the 20th century, and in 2007 it was 16th on their 10th Anniversary list.
2016年1月28日星期四
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