Gillis, portrayed by William Holden, finds himself in a difficult situation as a struggling screenwriter facing financial hardship. Having experienced a dry spell professionally, he's about to lose his car and his former employer, Sheldrake, has no work for him. While evading the repossession agents, he accidentally drives into the driveway of an aging estate. Mistakenly identified as an undertaker by the homeowner—who has a pressing matter requiring attention—he’s asked to leave after explaining his profession. Before doing so, however, he learns that she possesses a lengthy script and offers him employment: to edit and polish it for Norma Desmond, played by Gloria Swanson, with the hope of securing Cecil B. DeMille's interest in reviving her career, along with champagne and caviar. Initially motivated solely by money, Gillis accepts, and what follows is a skillfully told story exploring themes of love, dependence, ambition, and illusion, where Swanson delivers an exceptional performance. From the beginning, it’s apparent that her connection to reality is tenuous; without the steadfast support of her loyal assistant, Max (Erich von Stroheim), she might have succumbed to depression long ago. Holden also performs admirably, his initial self-interest gradually evolving into genuine concern for this woman whose grip on reality loosens as she becomes increasingly reliant upon him. The film’s dialogue is presented through a combination of Gillis' straightforward narration and the interactions between characters, which contain some of the most memorable lines in cinema – “I’m still big - it’s the world that’s got smaller!”. Swanson expertly conveys Desmond’s mental deterioration and instability, drawing on her own experiences within the silent film era to infuse her performance with nuance through facial expressions, mannerisms, and an undeniable star quality. The audience slowly comes to understand that events will not unfold as expected or desired. Von Stroheim delivers a restrained yet impactful supporting role. While I wasn’t particularly fond of the subplot involving Nancy Olson's character, Betty Schaefer—as it detracted from the intensity of the central narrative—it did effectively demonstrate the power of jealousy. Overall, this is an outstanding film that continues to enthrall audiences when viewed on a large screen and is highly recommended.

Source on TMDB