Sunset Boulevard’ (1950) and ‘Forever Female’ (1953)

(L–R) Max von Mayerling (Erich von Stroheim), Norma Desmond (Gloria Swanson), and Joe Gillis (William Holden), in “Sunset Boulevard.” (Paramount Pictures)

One narrative can reach two very different conclusions. Although two films’ plots can seem similar, one could be a comedy, while the other takes a tragic turn. When an actor plays a role in both films, the similarities are hard to overlook.  

The Billy Wilder-directed melodrama, “Sunset Boulevard” (1950), features one of Holden’s most acclaimed performances, earning him his first Best Actor Academy Award nomination. In contrast, the Irving Rapper-directed comedy “Forever Female” (1953) has been largely forgotten. Both are worth watching just to see how they compare.

A Melodrama and a Comedy

“Sunset Boulevard” tells the Hollywood story about an out-of-work scriptwriter, Joe Gillis (William Holden), who stumbles into the frozen-in-time mansion of eccentric, forgotten silent film star Norma Desmond (Gloria Swanson). Desperate for money, Joe agrees to revise the absurd script she wrote for her movie comeback, but he soon finds himself a prisoner in the house. The mentally imbalanced middle-aged has-been falls in love with him, and her sinister butler, Max von Mayerling (Erich von Stroheim), who is also her ex-husband, aids her delusions.  Joe sneaks out at night to work on his own script with young production assistant Betty Schaefer (Nancy Olson), and they start developing feelings for each other.

Betty Schaefer (Nancy Olson) and Joe Gillis (William Holden), in "Sunset Boulevard." (Paramount Pictures)

“Forever Female” presents a Broadway tale about an opinionated young playwright, Stanley Krown (Holden), whose script attracts the attention of producer E. Harry Phillips (Paul Douglas). Although Phillips is divorced from middle-aged Broadway star Beatrice Page (Ginger Rogers), she still is the leading lady in all his projects. Stanley’s play stars a mother and 19-year-old daughter, but Beatrice convinces Stanley to change the mother to a 29-year-old so she can believably play the part. Meanwhile, perky would-be actress Sally Carver (Pat Crowley), who changes her stage name as often as her clothes, takes a fancy to Stanley and his play, so she tries to convince him that she’s the perfect person to play the daughter.

Stanley Krown (William Holden) and Beatrice Page (Ginger Rogers), in "Forever Female." (Paramount Pictures)

“Sunset Boulevard” was nominated for 11 Academy Awards, including Best Picture, Best Director, and several acting categories. It won Best Story and Screenplay, Best Black-and-White Set Decoration, and Best Scoring. It also was nominated for several other awards, including 7 nominations and 4 Golden Globe wins. “Forever Female” was overlooked by the awards ceremonies. Pat Crowley, who made her film debut in this movie, was named the New Star of the Year at the Golden Globes.

What’s Similar

These movies have much in common. In both, Holden plays a writer, specifically, a scriptwriter. He’s involved with an older actress—a faded movie star in one film and an aging Broadway diva in the other. Both leading ladies were married to older men who helped their careers and who remain very involved with their lives, despite being divorced. While the ex-husband in both films is obviously still in love with his ex-wife, she is interested in the young writer. Both men are very supportive of their ex-wives’ careers, even to the point of doing them a disservice. Both actresses are delusional about how much they’ve aged.

Norma Desmond (Gloria Swanson) and Joe Gillis (William Holden), in "Sunset Boulevard." (Paramount Pictures)

While Beatrice is much saner than Norma, who thinks she can play the 17-year-old Salome, Beatrice still thinks she can pass for 29. The writer finds himself compromised in both stories, although far more drastically in “Sunset Boulevard.” Becoming a kept man, as he does in “Sunset Boulevard,” is a much more serious moral compromise than changing the age of your play’s heroine, but both characters are untrue to themselves. While Joe is involved with Norma only out of pity, Stanley actually becomes interested in Beatrice.

The fourth member of this love quadrangle is the younger woman, who is crazy about Holden’s character. In both movies, the younger woman’s interest in him begins professionally. Betty wants to collaborate on Joe’s script, and Sally wants a role in Stanley’s play. Both girls are persistent, since Holden’s characters are rather disagreeable. Sally becomes personally interested in him sooner than Betty, who is engaged to another man when the film begins. However, Sally has the advantage because she knows exactly what the situation is with Stanley and Beatrice, while Betty is unaware of Joe’s arrangement with Norma until the end of the movie.

Different Styles

As evidenced by these comparisons, it’s obvious that “Sunset Boulevard” and “Forever Female” have similar story elements. However, the styles and overall tones of the films are very different. Both are in black-and-white, but the tone in “Sunset Boulevard” is much darker. It’s a melodrama; although co-written and directed by Billy Wilder, who was known for comedies, it has only a few funny moments. “Forever Female,” on the other hand, is a romantic comedy; although it has some very poignant, serious moments, it’s generally lighthearted.

(L–R) Beatrice Page (Ginger Rogers), Harry Phillips (Paul Douglas), and Stanley Krown (William Holden), in “Forever Female.” (Paramount Pictures)

These two movies show Holden’s versatility. He was equally excellent playing a bitter cynic who sells his soul to keep his car, as well as a hopeful, self-made man who believes in his talent without reserve. With great supporting casts, clever scripts, and strong moral messages, these are both excellent films.

Would you like to see other kinds of arts and culture articles? Please email us your story ideas or feedback at [email protected]