Analysis of Temporality in Sunset Boulevard and All About Eve

Older female characters and their performance offer is a form of crisis in which time is loaded to the breaking point. The statement means that aged women in movies are depicted as temporary individuals [G1] considering their beauty, stardom and they as an image[G2] (Stacey, 2000, pp.456-464). A situation where women are involved in a movie, their influence is emphasized on their physicality than men. The way they appear becomes the most appealing aspect of the discussion[G3] (Smelik, 1998, pp.135-147). They are expected to embody a more rigid standard of beauty.  One of the main media messages in regard to women is that their primary value is based on their appearance. Obviously, the media tend to show a more negative picture of individuals as they age and mostly the most victimized people are older women than men. [G4]

Stacey, (1991) stated that, in social sciences, temporality can be described as the social organization of time and human’s perception of time. Time perception undergoes critical change over time. The definition of temporality in the film in this context [G5] is going to be discussed in two movies. Sunset Boulevard (Wilder 1950) and All About [G6] Eve (Mankiewicz 1950)

are two movies that will help in the analysis of temporality in regard to social perception and organization of time. Parish, (2003) asserted that the roles of women, men and children in the society are depicted in movies and they keep on changing as time goes by.[G7]

 Before the Second World War, women had been seen in the society as people who can only give birth to children and raise a family. As time change and people became more civilized, film has promoted the fact that; women can do what men can do. The society is changing from what it used to be where men used to dominate every aspect of life. In other movies, women had been depicted as weak people who cannot deal with the superstar lifestyle. No matter how men try to help them, they will eventually fall as time goes by or as they grow older. Therefore, temporality in the film involves women than men as it tends to favour men actors more than women.[G8] [G9]

The temporality of the commodity

The movie Sunset Boulevard (Wilder, 1950) has exhibited women as a commodity of desire for sexual pleasures. The major value commodity in a movie is the originality and imagination. Sunset Boulevard is a movie that was made after the World War II. During the war, women’s roles were much more than they used to be. They had proven themselves by participating positions previously dominated by men. Wilder (1950) Sunset Boulevard, the creator tried to emphasize on an ageing woman, Norman Desmond, whose Hollywood star had fallen. She was tryin[G10] g to be relevant in the film again[G11] . The movie exhibits the fact that as women aged; their value in the show business was also dropping. Norman Desmond had been presented in Sunset Boulevard as a star actress in comparison to the sexual convention, [G12] the industry treats her and female stars in general like a disposable commodity, product as well as the lifeless object of manifestation.[G13] [G14] [G15]

Previously, Norman had been a film superstar; she had performed other movies and played successful roles as shown in the movie Sunset Boulevard (1950). The male characters when they first meet Norman do not recognize her; the phrase ‘You used to be big’ shows that she is no longer a big character. Norman’s face has been represented as the one that has been used already and now people have forgotten who she was as she no longer counts in the big screen. She is no longer relevant to the film industry instead she is associated with her faded grandeur.

Most films have shown that ageing women exist to show proof that they have nothing left with their stardom lives apart from [G16] [G17] reminiscing about their[G18] raunchy past (Shingler, 2001, pp.46-62). This is because these women have dried up not even a real woman is needed to play a grandmother role. With the film makeup, men take their roles. A survey of 2000 movies found out that, women are offered less dialogue as they age (Johnston, 2000, pp.22-33). The survey found out that women who are 22 to 31 years of age had a 38% dialogue in a film, 32 to 41 years of age spoke 31% while 42 to 65 could only speak 20% of the entire film (LaPlace, 1987, pp.138-165). Men, on the other hand, are offered more dialogue as they age. At the age of 65, male actors had a 39% dialogue, 32 to [G19] [G20] 41 enjoyed  32% dialogue and 22 to 31 could only speak 20% of the entire movie (Taylor, 2007, pp.13-31). In terms of dialogue, male dominates in every category including age.  Ames, (2015) asserted that women in most cases struggle to attract dialogue even in those movies they are cast as the main characters.  Films especially action movies are dominated by male actors in every category. [G21] [G22] [G23]

The film does not favour the old women in Hollywood. Women tend to struggle to be relevant after their youthful days are gone[G24] [G25] (Brabazon, 2001). It is not easy to find an older woman in any film taking a leading role, practically has shown in Sunset Boulevard, an older woman cannot be considered attractive enough to lead various movie roles. The audience has been used to the fact that women are the symbol of beauty; therefore, their position in the [G26] film is to enhance the role of a man and even act as supporting characters. [G27]

Norman in Sunset Boulevard

tried to get back to the big screens with no success. She attempts to make a comeback in a decrypted mansion, which serves badly as a metaphor for her body too. The house is in a bad situation, old and decaying in contrast to what it used to be when she was young and beautiful. Now she stays in a poor house and her star cannot shine anymore, she practically exhibits signs of temporality in the commodity. She was temporarily a star, [G28] and now that she is not at her level best, Norman is no longer an object of desire.

In All About Eve[G29] (Mankiewicz, 1950) the story is less the same. Margo, as she becomes older she gets married. She then gives up her role to get married to Bill. The role she took was given to Eve who was younger than her. She is no longer beautiful to take on serious roles in movies[G30] . It further provides evidence that indeed women have been commoditized making true the statement of Brook in regard to women temporality of the commodity.[G31] [G32]

Women in many cases have been made commodities for men and that after a certain period of time; they do not get the limelight they used to have when they were young and pretty (Taylor and Francis, 1991, pp.201-209). As women age their roles in the film[G33] become limited. The film industry does not offer serious roles or rather roles that excite women when they are older (White, 1998, pp.117-131). Some people have described this fact as a total disaster as it might never change. Older male characters are given leading roles in the film[G34] . In most cases, male actors career peak at the age of 46, the pinnacle for women is 30 years of age.[G35]

The fact that Eve took Margo’s character eventually is interesting. She is young and sexy, she appeals to the audience and at that moment she is a valuable commodity. In comparing the two situations, it is not hard to notice the juxtaposition of the situation. Margo is dumped due to her age[G36] as Eve is picked to replace her.

The temporality of stardom for women

The temporality of stardom in women is a big problem when it comes to film. Women become stars when they are young and beautiful. They are respected by everyone including film producers. It becomes a temporary affair when they become older. As time goes, their value in the market reduces. They cannot replicate the success they had when they were younger and pretty (Brooks, 1999, pp.232-247). A woman is a seasoned star and that makes their careers in acting temporary (Haskell, 1987, pp. 231-276). In the movie All About Eve[G37] (Mankiewicz, 1950), the story is the same. [G38]

In All About Eve[G39] (Mankiewicz, 1950), mirrors have been used to conceptualize the fact that, a woman whose career in film is peaking has someone prepared to take her place immediately their star stops to shine. In Margo’s dressing room, there is a mirror. It serves as an Icon. Eve is exhibited as a fan but she was actually readying a plan to take the identity of Margo. In the final parts of the movie, Phoebe comes into Eve’s room and does the same thing. It is a recycled behaviour in the film industry. The one who is tipped to take Eve’s place is Phoebe (Barbara Bates). This has exhibited the temporality of being a star in the film. Someone is ready to take the place of an ageing individual. Film writers also tend to give less importance top stories evolving around older women. Men are stars [G40] [G41] [G42] [G43] even at their advanced age. In All About[G44] Eve (Mankiewicz, 1950), men have been exhibited as very important individuals who don’t have to do much to be successful in film. The fact that the cinematography uses imagery to show the past of Margo and her future is so interesting.[G45] [G46] [G47]

Most films are made assuming that the audience will be dominated by men. This is a great injustice to women in the film industry. [G48] According to Brown, (2004), literally, it exposes the discrimination that exists between men and women in the acting industry. The fact that women [G49] are not given equal opportunities in the film is a matter of discussion.  Women were considered male possessions even from the early contemporary silent films. Most films display the female body in regard to norms deemed beautiful by their intended audiences[G50] (Dixon, 2003, pp.81-100).  Sunset Boulevard (1950) film emphasized on an ageing woman trying to replicate her youthful success in the film but her age becomes the biggest barrier. The ageing actress is Norma Desmond who is no longer sought after actress in recent movies. She used to be a star during Hollywood’s silent era. [G51] [G52] [G53] Sunset Boulevard (Wilder, 1950) educates its audience that female actors do not last long in the film. They only shine when they are young and pretty, as they become older, they are mistreated. This confirms the statement [G54] temporality of stardom for women in Hollywood. [G55]

Ford and Mitchell, (2004) said that, mostly, films which involve women characters insist on conventional norms and it is about beauty. This beauty idea is always expressed from the perspective of the film’s audience. The creators of films also believe that their audience is dominated by men. The fact that younger women are always beautiful and are preferred by the audiences renders ageing actresses irrelevant[G56] (Garde-Hansen, 2012, pp.161-170). The fact that Margo cannot be regarded highly as she used to be when she was a youth shows the temporality of stardom when it comes to film.

            All About Eve[G57] (Mankiewicz, 1950), has some few explanations on why women’s stardom is temporary. For instance, the film has female characters most of them wanting to make it on the big screens regardless of their age and status in life. Margo who is 40 years old felt that she was not woman enough without a husband. She gets married to a man younger than her as she gave up her role in her upcoming movie. Director Bill Simpson becomes tired of Margo’s melodrama when she tries to bring theatre drama into real life. Eve is then introduced, a young and sexy actor who eventually takes on the role of [G58] Margo in the film. The age became a factor in this instance, whereby Margo is now irrelevant in movies. Her best days in movies are gone and she cannot be offered a leading role [G59] in the film[G60] . Ultimately Eve also has someone (Phoebe) who will definitely dethrone her when she reaches an advanced age. As soon as a female star soars and acquires her status in the film industry, someone else younger, beautiful and talented is waiting on the wings to take her place (Taylor and Francis, 1991, pp.169-185).[G61] [G62]

Once someone else has come to the limelight of film, the older actors become a thing of the past. They cannot be offered serious roles because these younger actresses take their positions and the ageing[G63] ones are forgotten (Michelakis and Wyke, 2013). This further confirms the fact that temporality of stardom for women can be real. [G64]

The temporality of woman as image

The image is basically how a woman is portrayed in most films. She can be portrayed as a man’s possession or as a commodity that is disposable. The woman’s image has been temporary in movies. Most actresses fade away when they become older. They are replaced by the new artists; therefore, their image fades away. Stacey, (1993) said that film appreciates the beauty of women than the values they represent in the industry. The movie producers tend to impose women in movies assuming that their audience is going to be men. The beauty of a woman is seasoned, that is why they shine for a specific period of time (Weuve et al., 2004 pp.1454-1461). As they grow older their value in the film industry diminishes. They end up missing roles that could appreciate them the same way[G65] compared to when they were younger.

Male characters always become better with age. Many movies tend to value men at their advanced age. Regarding the few exceptions in film, the content of television rather film is a reflection of and of course has an influence on how the society perceive the elderly (Mathers, Lane and Zimmerman, 1996). Television is only a transmitter of realities in the society. Therefore, what is shown on our television set[G66] s has some critical ideas about life. Television has a complex way to influence its audiences and this differs by age group (Diawara, 1993). As children grow older, their passion for [G67] [G68] film also decreases; it increases again when they are old enough.  Gender has also been found to interact with age in that women are misrepresented in film. [G69] [G70]

The early years of an actress become so good. She becomes an ambassador, an embodiment of beauty and a sexual simulation in the film[G71] [G72] (Smith and Osborn, 2004, pp.229-254). This is only meant to please men cast alongside the actress. After they become older, they become less attractive for the roles in the film. A new face is identified to replace an ageing actress. This is evident in [G73] [G74] All about Eve (Mankiewicz, 1950) where Margo used to be what Eve was representing in that film. The film practically exhibits that, a woman can be disposed of if she no longer has that youthful spark every man want in a film. Ultimately, the main challenge with age is maintaining beauty [G75] [G76] which is a major ingredient in the film[G77] (Moen, 1992). Margo was made to feel less woman without a husband, therefore, she resolved to give up on her career to get married to a much younger man. She gave up her role in the film which was eventually done by Eve. In the final scene of the movie [G78] [G79] All About Eve (Mankiewicz, 1950), Phoebe (Barbara Bates) comes to Eve’s room appearing as an adoring fan. She does the same thing that Eve did to Margo. Therefore, after Eve’s best days are gone, someone else is ready and willing to take her place.

In the 1950s, the [G80] [G81] film had advanced with both sound and music blended in motion pictures. During the silent film Era, Norma Desmond was a big and famous star Sunset Boulevard, (Wilder 1950). When Norma met Joe accidentally in her house, she realized that he was a scriptwriter. She requested Joe to help her finish her script. The film goes ahead to show how Norma was left alone without no one appreciating her grand role in the film during the silent era. The queen had fallen and became a normal person. Even Joe wants to remove some scenes from her own script because she was appearing too much. She wanted to be a star forever.  This was not even possible because she was not beautiful enough or good enough to star even in her own scripted film.[G82]

The temporality of the image is evident in Hollywood films. The image of Norma in the silent era was not the same in the sound and motion pictures era. Her pictures on the wall show how adorable she used to be. But due to her age, she is no longer a film star she used to be. People don’t recognize her as a big star or a celebrity. In one scene, she actually appears to be left alone by the people who should know her (Fans). This showed that women are disposable and a temporary commodity.[G83] [G84] [G85]

Conclusion

The statement ‘What these characters [the ageing Diva] and their performances offer is a form of crisis in which time is loaded to breaking point – the temporality of the commodity, the temporality of stardom for women, the temporality of woman as image’ (Brooks, 2001) is true and I totally agree with it. First of all, from the two movies emphasized in this text, women have been portrayed as a temporary commodity whose value is time bound. They are seen as individuals with no much influence in the screens apart from being pretty with men on their sides. After they become old, a little bit older, another sexy actress takes their position and this commodifies them. Literally, a commodity is something you use for a specific period of time and after serving you well, you throw it away. The two films Sunset Boulevard (1950) and All About Eve (1950)[G86] both express the value of women in film in their old age.[G87]

The temporality of stardom has also been expressed. Women become stars in their youthful years, but after becoming older, another pretty woman is selected to replace the ageing diva. This makes sense in that their beauty is seasoned. The statement defines some realities in the film industry where women lose their stardom earlier than their male counterparts. Women receive limited dialogue in films than men. A 60-year-old woman cannot receive dialogue equal to that of a man. Practically, as men grow older, their roles in the film are expanded but with women, their roles go downward as they grow older.[G88] [G89] [G90] [G91] [G92] [G93]

After a woman becomes old, their image is not portrayed as sexually attractive or as desirable. The producers assume that their audience is dominated by men. Therefore, they tend to pick young and sexy ladies to include in their cast in order to please their audience.  Therefore, their image is all about beauty and a man’s possession. The film is a true reflection on how the society perceives gender and equality. The industry has tried very much to appreciate other emerging social issues in a film like gays but the issue of gender equality is still a debatable issue that is yet to be solved.[G94]

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Brooks, J. (1999) ‘Performing Aging/Performance Crisis (for Norma Desmond, Baby Jane, Margo Channing, Sister George, and Myrtle)’ in Woodward, K. Figuring Age: women, bodies, generations. Bloomington, Ind: Indiana University Press, pp.232-247.

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