The Finance collectors played by Larry J. Blake and Charles Dayton are the forces that drive Joe Gillis to seek job opportunities at any cost, appearing in the first chronological scene of Sunset Boulevard (1950). They are established “quickly, efficiently and distinctively” in appearance and tone. (Christian P106) Joe is established as a writer down on his luck, unable to sell any of his scripts as of late. The Finance collectors represent the danger and consequences that come from Joe’s setbacks as a writer. When they arrive at his apartment, the collectors demand the keys to Joe’s car, since he is behind on several payments to the finance company on paying his insurance. They are forward, laying out that there are no more excuses for Joe left to use. Without his car, Joe’s career as a writer would be neutered without the use of his car to travel around Hollywood. Luckily for Joe, they believe a story that he doesn’t have the car on him, but they retort with the threat of Joe either having to bring them the car tomorrow or he would face legal consequences. The reason this opening works is due to “the members of ensembles play off the received perceptions of themselves held by other cast members and audiences.” (Ernest P90) The mistake of financers is that they believe Joe wouldn’t be dumb enough to fight back, but we see that Joe, while unable to fight directly, is sly enough to redirect them. However, his desperation forces Joe to quickly go around town to secure the money he needs. By chance, the Finance collectors spot Joe in his car, leading him to hide out at Norma’s to avoid them, setting him down his fate with the woman. The last we see of the collectors is when they discovered Joe’s car, and are toeing it away. The consequences of not paying his debts finally catches up with Joe. No matter how much he avoided it, the finance collectors were able to track him down and collect the debt he owed. Without his car, they leave Joe stranded, forcing him to live with Norma. This act seals Joe’s fate, as without his car, he loses his autonomy as a man, being forced to rely on Norma or Max for transport, as well as spins Norma and Joe closer and closer up to her deadly obsession with him.
Works Cited
Ernest Mathijs, Referential acting and the ensemble cast, Screen, Volume 52, Issue 1, Spring 2011, Pages 89–96, https://doi.org/10.1093/screen/hjq063
Wilder, Billy, director. Sunset Boulevard. Paramount Pictures, 1950.
Christian Keathley, Pass the salt … and other bits of business, Screen, Volume 52, Issue 1, Spring 2011, Pages 105–113, https://doi.org/10.1093/screen/hjq065
Provide Feedback