![]() ![]() Sunset Boulevard continues, moreover, in a manner that alternates between film noir and the macabre and absurdist worksof Tod Browning two decades earlier. (Dead on Arrival), in which a poisoned Edmond O’Brien (as Frank Bigelow) must convince the police of his murder before he actually dies, cannot compare with Wilder’s talking corpse. ![]() Few films have attempted such audacious narrative stances-even Raymond Maté’s movie of the same year, D.O.A. There is perhaps no better example of a voice speaking from the dead than the man lying face down in the pool at the beginning of Billy Wilder’s film Sunset Boulevard (1950), a voice which, despite the murder of the body it inhabits, proceeds to “narrate” the rest of the movie. ![]() THE VOICE FROM THE BODY LYING FACE DOWN IN THE POOLĬharles Brackett, Billy Wilder, and D. ![]()
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