Sunset Boulevard · 1950 — 第 14 / 19 章 · 2'34" · B1

Norma Desmond's Comeback Falls Apart, Explained:nothing would please me more

Norma returns to Paramount expecting to work again, but DeMille answers with a warning instead of a deal. 'Pictures have changed quite a bit,' he tells her, and her script 'would be a very expensive picture.' Norma's reply — 'I don't care about the money. I just want to work again' — shows how much she still needs this.

あらすじ

Norma Desmond visits Paramount with Joe Gillis, hoping to restart her career. Cecil B. DeMille greets her fondly but admits her script would be very expensive, and that pictures have changed. Norma insists she only wants to work again. While a scene is shot, Max shows Joe the old dressing rooms and tells him about the studio's silent-era past.

Talking to the bossMeetingsAskingExplainingFriendsB1fastamericanClean
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注目の表現

sense of humorhave no ideacare aboutnothing would please me more

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このシーンの表現

nothing would please me more

I would like nothing better

DeMille says nothing would please him more, then lets the if trail off unfinished.

Nothing would please me more than to work with your team.

このシーンの他の表現

  • sense of humor

    the ability to laugh at things

  • have no idea

    not know at all

  • care about

    to be concerned about

  • pictures have changed

    the industry has moved on

  • look something over

    examine something

このシーンのメモ一覧

34 行のセリフに 25 件のメモ

表現 · B1get hold of someone

manage to reach someone

I got hold of Gordon Cole.
表現 · B1in this business

in this line of work

You know, some crazy things happen in this business, Norma.
表現 · A2come back to somewhere

return to a place

I just didn't realize what it would be like to come back to the old studio.
文法 · B1how much I'd missed it

noun clause: The how much clause is the object of had no idea, naming the unknown amount.

I had no idea how much I'd missed it.
表現 · A2miss someone

long to see someone

We've missed you, too, dear.
表現 · A2be working again

back at work

We'll be working again, won't we, Chief? We'll make our greatest picture!
表現 · A2be very expensive

costs a lot

Well, it's... It has some good things in it, yes, but, it would be a very expensive picture.
文法 · B2it would be a very expensive picture

softening would: Would be softens the verdict so the speaker avoids a flat refusal.

Well, it's... It has some good things in it, yes, but, it would be a very expensive picture.
発音don't care about

Link care into about; the t in don't is light.

Oh, I don't care about the money. I just want to work again.
表現 · B1what it means to do something

what something really means

You don't know what it means to know that you want me.
文法 · B2would please me more

subjunctive would: Would marks an imagined wish: nothing could make me happier than this.

Nothing would please me more, Norma, if...
表現 · B1be ready for the shot

set to film

We're ready for the shot, Mr. DeMille.
表現 · A2sit and watch

stay seated and observe

All right. Norma, why don't you just sit here and watch?
表現 · B1quite a bit

a fair amount

You know, pictures have changed quite a bit.
発音Hit 'em

Link hit and 'em so it sounds like one word.

Hit 'em all!
発音Roll 'em

Roll and 'em run together into one quick word.

Roll 'em!
スラング · B1Roll 'em

start the cameras — Film-set jargon; keep it out of everyday talk.

Roll 'em!
表現 · B1used to be something

was formerly

They used to be Madame's dressing room. The whole row.
表現 · B2leave much for someone

barely anything left for someone

That didn't leave much for Wallace Reid.
表現 · A2on wheels

fitted with wheels

Oh, he had a great big bungalow on wheels.
表現 · A2be covered with something

covered by something

I remember my walls were covered with black patent leather.
表現 · B1be with someone in a minute

come to you shortly

I'll be with you in a minute.
表現 · B1what's so funny about something

why is that funny

What's so funny about it?
表現 · A2be all yours

yours to keep

Just so you don't think I'm a complete swine, if there's anything in Dark Windows you can use, take it. It's all yours.
スラング · B2swine

a nasty person — An old-fashioned insult; fine in self-mockery, not at strangers.

Just so you don't think I'm a complete swine, if there's anything in Dark Windows you can use, take it. It's all yours.

「Norma Desmond's Comeback Falls Apart」を読み解く

What's really going on

This is a farewell wearing the mask of a meeting. DeMille is warm to Norma and careful never to say no outright; he praises the script ('It has some good things in it'), then buries it under cost and change. His line 'pictures have changed quite a bit' is the verdict, and Norma either cannot or will not hear it. 'Oh, I don't care about the money. I just want to work again,' she answers, which is everything in one sentence: the comeback is not a career plan but a need. DeMille's 'Nothing would please me more, Norma, if...' trails off exactly where the refusal should be. Around them the studio keeps moving — crew calls, lights, a shot — while Max walks Joe past empty dressing rooms and reminds him, 'You see where it says Readers' Department?' The place she remembers no longer exists.

Theme

DreamsNorma still believes she will make her greatest picture, while DeMille talks about cost and a business that has moved on.
MemoryMax points out the old dressing rooms, and Norma recalls her patent-leather walls, markers of a studio era that no longer exists.

このチャプターで学べること

  • DeMille says yes with his tone and no with his grammar.
  • Norma hears a promise where there is none.
  • Joe gives his story away like an apology.
  • A comeback dies inside a sentence about change.

発音のポイント

  • don't care about — Link care into about; the t in don't is light.
  • Hit 'em — Link hit and 'em so it sounds like one word.
  • Roll 'em — Roll and 'em run together into one quick word.
I hope you haven't lost your sense of humor.

DeMille's gentle warning before bad news: he is about to disappoint her and asks her not to take it too hard.

We'll be working again, won't we, Chief? We'll make our greatest picture!

Norma's idea of a comeback: she assumes the studio will hire her and that together they will make something great.

Oh, I don't care about the money. I just want to work again.

Her answer to the cost problem: money is irrelevant, because what she wants is simply to be wanted again.

You don't know what it means to know that you want me.

Norma's confession of dependence, saying that being wanted by the studio means more than the work itself.

You know, pictures have changed quite a bit.

DeMille's polite way of saying the industry, and her kind of film, have left her behind.

Just so you don't think I'm a complete swine, if there's anything in Dark Windows you can use, take it. It's all yours.

Joe's self-mocking offer of his unproduced script to the young writers, handing over Dark Windows as if to atone for his situation.

このシーンについての質問

Why does DeMille refuse Norma's comeback?

He never refuses her outright. He admires the script's good points but warns that it would be very expensive and that pictures have changed, making her return practically impossible.

Why does Norma say money doesn't matter to her?

She is not looking for profit or a career plan. Being wanted by the studio again is what she has been missing, so she waves away the cost to focus on working once more.

Why doesn't DeMille finish his sentence, 'Nothing would please me more, Norma, if...'?

Because the sentence would end in a refusal. He is fond of Norma and avoids saying no to her face, so he lets the promise trail off instead of crushing her hope.

Why does Max show Joe the old dressing rooms?

Max wants the young man to understand what the studio once was and what Norma meant to it. The empty rooms and his memories are his way of defending her legend.

What does 'swine' mean here?

It is an insult meaning a contemptible person. Joe jokingly calls himself a complete swine, then gives the young writers his script Dark Windows, as if to prove he isn't one.

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