Hiatus, part two.

This is not the kind of post I ever wanted to write on this blog.

Hell. This is not the kind of news I ever wanted to receive, or have to share with anyone.

And I debated a long time about even writing this post, because it is a difficult subject.

Scratch that–it’s a shitty, shitty, SHITTY subject.

But as I’ve already shared the news on Twitter (because what doesn’t get shared on Twitter these days?), I figured I might as well go ahead and post it here as well.

A week ago, I learned that I have cancer.

I sat in a tiny exam room plastered with anatomically-correct diagrams of various lady parts and listened to the doctor who had performed my surgery five days prior explain to me, with tears in her eyes, that the biopsy had come back positive for adenocarcinoma.

The doctor cried. Then I cried. Copious tears, people. We’re talking steal-the-tissue-box-from-the-doctor’s-office level of eye flooding.

(I didn’t really steal the box of tissues. Just a lot of what was inside. Though, considering the news I had just received, I think a little tissue theft would have been justified.)

I called my mother from the exam room and told her the news. She didn’t believe me at first. Then she cried. And I cried some more.

And every single day since, I have cried. Sometimes multiple times a day. It hits me out of nowhere. Driving down the road? Sobs. Checking my email? Sobs. Watching Spongebob Squarepants? BAWLING.

And when I haven’t cried, I’ve been angry, ready to crawl inside my own body and kick this cancer’s ever-loving ass.

I am readying myself for more surgery. I am preparing for the possibility that later on, I will have to endure radiation or chemotherapy. And even though I am trying to remain as positive as possible, and am even joking about the diagnosis (to clarify for the gentleman driving down FL 231 who cut me off last Friday evening, what I yelled out the window at your inconsiderate and reckless ass was, “Motherfucker, don’t cut me off! I HAVE CANCER!”) … I am scared.

Still …

SCREW THIS SHIT.

AND SCREW CANCER.

You’re going down, diseased cells.

(Okay, well, actually, you’re going out … of me … through surgery … yeah.)

So, yes, I’m ready to fight. Don’t let the tears fool you.

(I’m entitled to them. I have cancer.)

There are a couple of positives to this entire crapfest of a situation, however–the main one being that, while I am flat on my ass recovering from surgery, I will have ample time to watch classic movies until my eyes cross and I start deliriously imitating Joan Crawford.

And perhaps I’ll even have the time to blog about those films at some point.

But for now, True Classics will continue to be on hiatus.

Thank you for your understanding.

We’ll see you soon.

Hiatus.

True Classics will remain on hiatus for the next two weeks as Brandie recovers from an unexpected emergency surgical procedure. As such, our Movie Memories event will now kick off in June.

Thank you for your understanding and well-wishes at this time. We’ll return to our regularly-scheduled blog programming soon!

State of the Blog: May 2013

Is this month finally going to be the month in which True Classics returns to its regularly scheduled programming?

Um … here’s hoping.

We solemnly swear to be more diligent in our writing. Unless Clark Gable shows up. Then all bets are off.  --the TC crew

We solemnly swear to be more diligent in our writing. Unless Clark Gable shows up. Then all bets are off.   –the TC crew

Life seems to be moving along at a brisk pace for all of us here at the site, whether we’re respectively wrapping up a semester of graduate work, zipping along at our big-person jobs, moving to a brand-new city to start a fresh chapter, or catering to the needs of a tiny new human (yes, we are busy gals). As we begin to return our focus to True Classics, here’s what we have on our collective plate for the month ahead.

 

More Movie Memories in May

Last May, we hosted a month-long event dedicated to movie memories–whether they were recollections of the first movie someone saw in the theater, a beloved childhood favorite, or a film that in some way significantly changed a person’s life. Altogether, we posted reminiscences from thirty-eight people, ranging in age from two-and-a-half years old to eighty (and one via a 1937 diary). It was a truly spectacular series of posts, and we were honored to have such great contributions from friends, family members, and other film bloggers, among others.

This month, we are revisiting the concept of “movie memories,” albeit on a smaller scale. Throughout May, we will post more film reminiscences, and for the first time, each of us in the True Classics crew will contribute our own movie memories for this event. We are very excited for this month’s lineup, and we hope you will enjoy reading these cinematic recollections as much as we do.

 

The Mary Astor Blogathon

Two of our favorite classic film bloggers, Dorian (Tales of the Easily Distracted) and R.A. Kerr (Silver Screenings), have teamed up to honor one of our favorite actresses, the great Mary Astor. I’ll be posting my contribution on May 9th, focusing on the great pre-Code Other Men’s Women (1931). For the full lineup, check out the page dedicated to the blogathon on Dorian’s site.

 

The Child Stars Blogathon

Hosted by Jessica of Comet Over Hollywood, this one is rather self-explanatory–it pays tribute to the great child stars of classic cinema. I intend to kick in an entry for this event, though I’m debating the topic at the moment. The blogathon is scheduled for May 24-26, and more information is available at the Comet.

 

Learning to Love … Westerns

My goal to explore the Western genre has thus far only borne small (yet entertaining) fruit, so it is my intention to revisit this series this month … and to possibly drag Carrie down with me, if I can. On the agenda: some John Wayne classics (because one simply must start with Mr. Wayne when exploring this genre, right?), particularly his films with Maureen O’Hara, which come highly recommended by Nikki (the lone Western fan among our crew).

 

Saturday Morning Cartoons

This month, a return to our series on animation pioneers is on the agenda, with a look back at some of the most influential figures in early cartoons. Additionally (hopefully), my ClassicFlix animation column will finally be debuting on that site sometime this month (a delay that is finally not my fault!), so I hope you all will check that out every month.

 

We have high hopes for a great May! Thanks for tuning in! (And now it’s about time for me to get back to packing.)

To Kill a Mockingbird: Five Reasons It’s Wonderful

It’s been a while since I’ve written… apologies! I’m back in school, etc. I hope to post more this summer. Fortunately, we have awesome (and much more disciplined!)  bloggers.

From smushnoses.blogspot.com

However, I wanted to jump in and do one. You can say procrastinating. I’ve been wanting to review To Kill a Mockingbird for over a year, so now I’m doing it. Finally.

If you haven’t seen this movie… shame on you. Seriously. Go watch it.  Because the film and the novel are so iconic, I am not going into a lot of plot detail. For information about why the story is awesome, those comments are here.

So, without further ado, here are five reasons why this is one of the best films ever–ever.

1) Gregory Peck. I love him always, and Atticus Finch was just “the role.”  He gives an amazing performance and embodies Atticus as no one could have. It is a true “moment” in film, except it’s throughout the movie, so a long moment.

Atticus owning the courtroom! from johneaves.wordpress.com

2) Story. The story is touching and outstanding (see link above).

3) Nostalgia. I know this sounds redundant on a classic film blog (who of us isn’t nostalgic?), but it’s more than a yearning of the past or excellent film (which this fits), but it’s a nostalgia for childhood. This growing-up story is purely childhood, for all of its dark details. Scout grows up in a serious and still very special way, and watching the film, you feel Atticus is your father and that you’re growing up with her. That is great filmmaking.

Atticus and his children from lauricewithlove.blogspot.com

4) Setting. This film is set perfectly. You get the full feeling of the time and place, which is paramount to the story. If you’ve read the book (which you must), you’ll recognize it immediately. You get to know the place as well as the people.

Icons of the story from watchesinfilms.info

5) Tone. From the credits of a child humming and coloring icons from the story to the manner of speech to the speed at which they unfold the story. The film moves steadily and maintains interest, but at the same time it gives the feeling of quiet. It feels like the iconic positive childhood: passing too quickly and too slowly, but still smooth and steady.

Fix some lemonade or ice tea (or mix them, which is my favorite) and sit down with this one, especially as this weather gets warmer. It’s perfect for the muggy setting!

State of the Blog: April 2013

Hard to believe it’s April already. Life doesn’t appear to be slowing down for any of the True Classics crew anytime soon, but we will do our best to continue updating the site on a semi-regular basis until things calm down. In the meantime, here’s a few things to look forward to this month and beyond.

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A number of classic film bloggers are hosting blogathons in the upcoming weeks–here’s a sampling of the events on tap.

cagney thon banner

First up: we are signed up to participate in R.D. Finch’s Cagney-thon next week, in honor of versatile performer James Cagney. I will contribute a piece on the film The Bride Came C.O.D., a romantic comedy costarring Bette Davis. Check out R.D.’s dedicated page to the blogathon over on The Movie Projector.

Terrorthonposter

Later this month, Page from My Love of Old Hollywood and Rich of Wide Screen World are determined to scare the pee outta the blogosphere with their “Terror-thon,” focusing on some of the most frightening films of all time. For more details on how to participate in the scare-fest, check out Page’s announcement on her site.

Astorthon

In May, Dorian from Tales of the Easily Distracted and R.A. Kerr of Silver Screenings are paying tribute to one of the most fascinating (and sometimes underrated) actresses from the Golden Age, the lovely Mary Astor. I signed up to contribute a piece on Other Men’s Women (though now that I look, I do not see that listed on either blogger’s page as of yet, for whatever reason). If you are interested in participating, check out Dorian’s page devoted to the blogathon.

To wrap up the month, our pal Jessica from Comet Over Hollywood is hosting a shindig celebrating child stars from May 24th through the 26th. For more details on this just-announced event, check out the Comet and sign up to write about your favorite kiddie icon.

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Later this week, I will have the immense pleasure of traveling to Atlanta to visit friends, whereupon I will also sit down to break bread with some fellow classic film bloggers as well as our own Sarah and little Asa, the newest member of the extended True Classics family. Pictures and/or tales of debauchery/shenanigans soon to come, I’m sure. (Sarah, better get a babysitter!)

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Next month brings about another installment of our “Movie Memories in May” series. Last year, we featured a number of interesting “first film” experiences from friends, relatives, bloggers, and other acquaintances around the world, and we will continue the tradition this year with even more stories of early movie magic, including a few from some of our favorite classic film folks. This is quickly becoming my favorite time of the year around these parts, and I hope you’ll all enjoy the newest batch of cinematic remembrances we will have to offer.

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Last but not least, I’d like to present to all of you the newest addition to my household: Bette Davis.

bette davis

She is very much the diva, as you can likely tell, and quite lives up to her name.

We hope you’ll stick around for what will (fingers crossed!) be a much more productive month on the site!

“If that don’t beat all. I never saw such a dog.”

This week, I bring you an animal edition of Maudlin Monday. I can be deeply moved by films about wars or tragic romances, but few things disturb me greater than stories about innocent, loving animals that lose their lives. Animals have brought me so much joy in life, whether I’m running in the yard with my happy-go-lucky dog or cuddling with my affectionate cat. It is my sincere belief that if everyone had an adoring pet in their lives, the world would be a much better place. There have been so many touching films about animals–The Adventures of Milo and Otis (1989), The Fox and the Hound (1981), The Three Lives of Thomasina (1963)–but none demonstrates the loyalty and friendship shared between human and animal quite like Disney’s 1957 film Old Yeller.

old yeller poster

The story begins with a Texas frontier family whose father, Jim (Fess Parker), leaves Travis (Tommy Kirk), his oldest son, in charge of the farm and home as he goes to drive cattle. Travis is a young boy who takes on the responsibility of protecting and caring for his younger brother Arliss (Kevin Corcoran) and their mother, Katie, played by the beautiful and serene Dorothy McGuire. As Jim says his goodbyes to his family, his son reminds him that he wants a horse.

Travis: “Now, Papa, you know I been achin’ all over for a horse to ride. Now I told you time and again.”

Papa: “What you’re needin’ worse than a horse is a good dog.”

Travis: “Yessir, but what I’m wantin’ worse is a horse.”

Papa: “Alright boy, you act a man’s part, and I’ll bring you a man’s horse.”

The father has not even been gone more than a day when Old Yeller shows up on the family farm causing trouble. He frightens Jumper the mule while Travis is plowing the field, which causes the mule to drag Travis and knock down the fence. Old Yeller has unknowingly made himself an enemy. Travis is convinced that the dog will be nothing but trouble: “I know one thing: that old dog better not come around here while I got me a gun in my hands!”

When younger brother Arliss meets the dog, he instantly falls in love with the prospect of a new friend. Mama scolds Travis, explaining to him that his younger brother is lonely without a companion to entertain him. She reminds him that he had a dog when he was Arliss’s age.

Younger brother Arliss and Old Yeller become inseparable. Yeller becomes the boy’s companion, swimming, hunting, and even fishing with him.

old yeller

The faithful dog dives into the pond to catch a fish for Arliss. Arliss thanks the dog, and then proceeds to tell his mother that he was the one who caught the fish in a fantastic tale:

Arliss: “Mama, Mama, look at this fish that I got; ain’t he a whopper?! … I had to dive way down deep under to catch this fish. He was way down deep under … there was this cave and it was real dark and muddy. And there was about a million other fish, and they all tried to eat me! And I had to throw rocks at’ em, and then there was these two big snakes …”

Travis: “Mama, you know them is just big windies Arliss was tellin’.”

Mama: “Now, Travis, let him tell his stories the way he wants to.”

Travis: “But Mama, I just seen that old yellow dog catch this fish.”

Mama: “Arliss is just a little boy with a big imagination. Won’t hurt him to let him use it.”

Travis: “We keep that old yellow dog much longer and it’s going to make Arliss the biggest liar in Texas!”

Travis is not a fan of the dog, believing him to be a bad influence on his younger brother. But Travis finally changes his mind about the dog when Yeller saves Arliss from an angry mother bear. Arliss tempts a young cub with bread, then attempts to capture it. The mother bear hears the cub calling for help and comes charging toward the small boy. Although Travis and the mother come running to Arliss’s aid, it doesn’t seem like it would have gone well for the child had his courageous dog not intervened and fought off the mother bear.

old_yeller

Once Travis realized the dog’s bravery in defending Arliss, he allows the dog to begin sleeping in bed with him and his brother. Unfortunately, it isn’t long after the event that Travis learns from a neighbor, Elizabeth Searcy, that Yeller is indeed the thief that he originally believed him to be. She explains that she has seen Yeller stealing food from her family, but she promises not to tell on him.

Elizabeth: “I didn’t want to tell you at the house … but it was him what done it …what stole all the eggs and bread and meat and stuff … I seen him swipe a pan of grandma’s cornbread, too. But I ain’t gonna tell.”

Travis: “I bet you do.”

Elizabeth: “No, I won’t. Wasn’t goin’ to, even before I knowed it was your dog.”

Travis: “How come?”

Elizabeth: “Because Miss Priss is gonna have pups, and your dog will be their papa, and I wouldn’t want him to get shot for stealin’.”

Elizabeth Searcy isn’t the only person who has heard of Old Yeller’s thievery. At one point, the dog’s former owner comes to claim him. He tells the family that although the dog robs everyone blind, he’s great help to him. Arliss refuses to allow the stranger to take Old Yeller back, throwing rocks at him and demanding that he leave the dog. Luckily for the family, the man is kind and allows Arliss to keep Old Yeller, trading him a toad and a warm meal.

The kind Mr. Sanderson warns Travis that he has seen multiple cases of hydrophobia (rabies)  in the region. He instructs Travis that he will have to act quickly in killing any animal that he suspects is infected.

One day, Travis and Old Yeller go on a mission to mark the Coates family hogs. Old Yeller does a fantastic job herding the hogs for Travis, but when Travis falls from a tree, he is viciously attacked by one of the hogs. The hog rips his leg to the bone, but Old Yeller comes running to save him. Travis is able to get away, but poor Old Yeller is injured even worse. The family nurses the pair back to health, and Old Yeller has once again successfully saved a member of the Coates family.

old yeller

It isn’t long before Old Yeller has saved every single member of the Coates family. While Mama and Elizabeth are standing next to a fire, burning the carcass of the rabies-infected family cow, they are jumped by a rabid wolf. Luckily for the women, Old Yeller comes to their defense. Travis is able to shoot the wolf, but not before it has bitten and scratched Old Yeller repeatedly. Mama believes that no healthy, sane wolf would have attacked them, and therefore she fears that they will have to kill Old Yeller, as he is likely to have been infected as well.

Mama: “I’ll shoot him if you can’t, but either way we’ve got it to do.”

Travis: “Mama, listen, Old Yeller just saved your life, and Elizabeth too, and he saved mine and Arliss’s. We can’t; we don’t know for certain. I’ll pen him up where he can’t get out, and then we’ll wait. We can’t just shoot him like he was nothin’! Don’t you understand?”

Mama: “Alright, son, if you think there’s a chance.”

After two weeks of keeping Old Yeller penned up, he shows no signs of the suspected infection. The family is hopeful that he is not suck. But a few days from when the family plans to release him from his dog prison, Travis brings Yeller some food, only to discover the dog growling maliciously. Travis tries to deny to himself and his family that the dog is ill, but when young Arliss sneaks out at night to try to set the dog free, the family is forced to confront the heartbreaking situation. Mama gets the gun, knowing what painful but necessary event must unfold.

Travis: “No, Mama.”

Mama: “There’s no hope for him now, Travis. He’s sufferin’. You know we’ve got to do it.”

Travis: “I know, Mama, but he was my dog. I’ll do it.”

With a single blow from the shotgun, Old Yeller is gone, and a young boy is devastated.

old yeller

Following the heart-wrenching scene is a happy reunion, as Mr. Coates returns to his family bearing gifts and affection. His wife relates the story of Old Yeller’s impact on their family, and the father attempts to comfort his grieving son with a speech about loss:

“That was rough, son … but I’m mighty proud of how my boy stood up to it. Couldn’t ask no more of a grown man … Life’s like that sometimes. Now and then, for no good reason a man can figure out, life will just haul off and knock him flat, slamming him in the ground so hard it seems like all his insides are busted. But it’s not all like that. A lot of it’s mighty fine, and you can’t afford to waste the good part frettin’ about the bad. That makes it all bad. You understand what I’m tryin’ to get at? … When you start lookin’ around for somethin’ good to take the place of the bad, as a general rule, you can find it.”

Old Yeller is as maudlin as they come, demanding tears from all viewers, young or old. This was one of my favorite films as a child, and it is no less moving to me today than it was all those years ago. It teaches children about the importance of responsibility, about losing those we love, and about loyalty. It’s one of the saddest movies ever produced, but definitely one of the most important, in my humble opinion.

maudlin tear rating 5Old Yeller earns a big fat maximum of five (heaving, sobbing) teardrops on the Maudlin Meter.

“Madame has moments of melancholy.”

“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. If so, you’ve come to the right party.”

Joe Gillis (William Holden) is a struggling screenwriter. He hasn’t been able to land a contract for a film in quite some time, and he is behind in his bills. While this starving writer is attempting to outrun some repo men in his beloved car, he gets a flat tire and is forced to pull into the driveway of a home on Sunset Boulevard.

sunset blvd poster

The setting gives this film its title: Sunset Boulevard (1950). It was directed by Billy Wilder; in fact, Wilder co-wrote the story (originally titled “A Can of Beans”) with Charles Brackett and D.M. Marshman Jr., and what superb writing it is. This was the last film that Wilder and Brackett collaborated on, and clearly the two were able to create magic: the film won numerous Oscars and Academy Award nominations. The dialogue in the film reads like a well-written novel.

Although narrated from the afterlife by Joe the starving artist, the main focus of the film is a forgotten silent film star: Norma Desmond, played by the powerful Gloria Swanson, herself a legendary silent film star. The part was perfect for Swanson, who had experienced a similar career shift as silent films turned to “talkies.” Many other real-life silent film-era stars make appearances in this film as Norma’s friends, including Buster Keaton and Anna Q. Nilsson; even director Cecil B. DeMille makes an appearance as himself.

sunset blvd opening

“The poor dope, he always wanted a pool. Well, in the end, he got himself a pool.”

When Joe accidentally arrives at the dilapidated mansion on Sunset, he assumes it is uninhabited because of its poor condition: “It was a great big white elephant of a place: the kind crazy movie people built in the crazy 20s. A neglected house gets an unhappy look. This one had it in spades. It was like that old woman in Great Expectations: that Miss Havisham and her rotting wedding dress and her torn veil, taking it out on the world because she’d been given the go-by.” Indeed, Norma is quite similar to the reclusive and proud Miss Havisham. Both women live in lonely and decaying homes; both were jilted–one by a fiance, the other by her fans. When Joe first meets Norma, she mistakes him for a casket-maker. Her pet chimp has died, and she means to bury him in her backyard. This isn’t the only unusual happening in this bizarre home on Sunset…

Before he leaves, Joe realizes that he recognizes the curious woman: “Wait a minute, hadn’t I seen you before? … You’re Norma Desmond. You used to be in silent pictures. You used to be big.”

“I am big!” she insists. “It’s the pictures that got small.”

The only other inhabitant of the once great estate is the faithful (and slightly creepy) butler, Max (Erich von Stroheim, yet another real-life silent film era actor and director). Joe believes him to be crazy as well, as Max clearly worships the woman: ”She was the greatest of them all; you wouldn’t know. You’re too young. In one week, she received 17,000 fan letters. Men bribed her hairdresser to get a lock of her hair. And there was a maharajah who came all the way from India to get one of her silk stockings. He later strangled himself with it.” Max is an incredibly loyal employee, and we discover why later in the film. He caters to Norma’s every whim and protects her from potential pain. It’s more than loyalty that drives Max: it’s guilt and, ultimately, love.

sunset boulevard

“Madame is the greatest star of them all.”

Joe and Norma begin a relationship as writing “partners” when she hires him to edit a screenplay she has written. Joe knows immediately that the screenplay will not be successful, but he needs the money, and she has plenty of it to spare. Norma is determined to make a return to the big screen, and she plans to star in the film. She is desperate for Joe’s help:  ”She sat coiled up like a watch spring, her cigarette planted in a curious holder. I could sense her eyes on me from behind those dark glasses, defying me not to like what I read, or maybe begging me to in her own proud way to like it; it meant so much to her.”

After Joe agrees to help her, she becomes very demanding and possessive. She insists that Joe live in her house while they are working together. Although she pays many of his debts for him, she rarely provides him with cash, making him completely dependent upon her for purchases. She buys him a lavish new wardrobe, expensive watches, and accessories. She denies him his own transportation by allowing his car to be repossessed, insisting that Max can chauffeur them in her luxury vintage car. In return, Joe is not only an editor to her screenplay, but a companion to her in her loneliness. She insists that they watch her old films for hours: “They were always her pictures. That’s all she wanted to see.”

"Oh, those idiot producers! Those imbeciles! Haven't they got any eyes? Have they forgotten what a star looks like? I'll show them! I'll be up there again! So help me!"

“Oh, those idiot producers! Those imbeciles! Haven’t they got any eyes? Have they forgotten what a star looks like? I’ll show them! I’ll be up there again, so help me!”

Norma’s desperation for fame drives her to be not only delusional, but also suicidal. Max explains that there are no locks in the home, as it is too dangerous to allow Norma to lock herself away: “Madame has moments of melancholy. There have been some attempts at suicide. We have to be very careful: no sleeping pills, no razor blades; we shut off the gas in Madame’s bedroom.” When Joe goes out to a party on New Year’s and leaves Norma at home, her desperation overcomes her, and Max informs Joe that she has taken a razor to her wrists. It is at this point, perhaps out of guilt, that Joe begins a romantic relationship with her.

Joe quits writing his own screenplays, and although the arrangement is rather suffocating, he seems to become fairly content in his pampered lifestyle; that is, until he begins working on a new film with twenty-two-year-old Betty (Nancy Olson). Betty is the fiance of one of Joe’s friends, and she works in the film industry as a reader. Although she has worked her way up to this position, she is dissatisfied with it, and wants to become a writer herself. The two begin to secretly work on a screenplay together, and naturally, a romantic relationship develops.

"Don't you sometimes hate yourself?"  "Constantly."

“Don’t you sometimes hate yourself?” “Constantly.”

When Norma discovers the relationship, she destroys it by calling Betty and explaining the nature of her own relationship with Joe. After the incident, Joe has had enough of the pampered lifestyle. As he attempts to leave her, Norma shoots him three times with the gun that she had recently purchased to end her own life. Authorities find his body floating face down in Norma’s swimming pool. It may seem strange, but I felt more sympathy for Norma in this case than her victim; there’s no doubt in my mind that she would successfully plead insanity in a trial.

The story was so successful and moving that it was adapted into a musical and performed in London and on Broadway. A score was written for the musical by none other than the incredible Andrew Lloyd Webber, and although the show received seven Tony Awards, it ended its run in 1997.

"You see, this is my life! It always will be! Nothing else! Just us, the cameras, and those wonderful people out there in the dark!... All right, Mr. DeMille, I'm ready for my close-up."

“You see, this is my life! It always will be! Nothing else! Just us, the cameras, and those wonderful people out there in the dark! … All right, Mr. DeMille, I’m ready for my close-up.”

This behind-the-scenes story of an aging and forgotten star, once worshiped by so many, is a sometimes acerbic, witty, and biting satire of Hollywood. But there is also something inherently nostalgic and moving about Sunset Boulevard that makes it an appropriate subject for this series. Although I can’t say that this film made me cry, its dark themes of failure and loneliness allow it to be classified as a wonderfully maudlin piece, for despite her narcissism and snobbery, Norma’s heartbreaking desperation to be loved once more surely must pull at the heartstrings of even the most cynical viewer.

 

3tears      Sunset Boulevard merits a three on the “Maudlin Meter” tear scale.