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In his depiction of the "whole truth" behind an "old star" stuck "sleepwalking along the giddy heights of a lost career", Wilder explores how Hollywood creates a prison-like environment for individuals who dare to dream of achieving success in it. The noir offers a meta-cinematic critique of the profiteering 1950's film industry, underpinned by the Hollywood star system. It is the obsession of achieving the fabled wealth and fame of Hollywood which destroys individuals who seek it. Yet, this very obsession is rendered futile by the shallow nature of Hollywood's film industry which refuses to enable those who dare to dream. Although Wilder conveys Hollywood's shocking characteristics, he outlines how individuals can escape the prison which Hollywood creates for them through awareness of the situation and acceptance of their inevitable failure. Ultimately, Wilder warns viewers of the tempting allure of Hollywood and how it entraps those merely following their dreams.

As individuals within Hollywood cling "so desperately" to their obsession of obtaining success, Wilder highlights how this very infatuation is caused by the ensnaring allure the industry has, and its subsequent effects of people. This is immediately established through the corpse of "poor Joe Gillis" who floats in the pool "he always wanted". The low angle camera shot, combined with the posthumous narration from the "poor dope", indicates how his obsession with the riches associated with Hollywood has led to his demise - ironically symbolized by the pool, a symbol of affluence. Here, Wilder warns of the seductive attraction of Hollywood on those who seek its riches. Obsession with money is then highlighted as the film transitions to a flashback where Joe is "grinding out" stories, accompanied by the diagetic sound of a typewriter. This delineates how Joe's desperation for wealth, and to merely stay afloat in Hollywood has left him in an apartment he "can't pay for". Thus, Wilder explains how the mythological allure of wealth in the film industry is entrapping - an experience Wilder may be familiar with from his early days in the industry. The allure of wealth is coupled with the mirage that Hollywood can bring fame to those strive to achieve it. This is seen through the "forgotten star" and her Salome script. Despite the script being a "childish scrawl", she [begs Joe] in her own proud way to like it". In doing so Norma's apparent obsession with regaining fame leads to her seeking the validation of a stranger who has trespassed in her house. Consequently, Wilder establishes how the allure of fame in Hollywood causes people to lose their identity and become trapped in a world of lies as they attempt to dream. Ultimately, Wilder examines how the enticing allure of Hollywood entraps people who obsess over its mirage of fame and wealth.

Through his portrayal of the avaricious "popcorn business", Wilder reveals how dreams and obsession are futile as a result of the superficial industry, which prioritises commercial success over everything. When Joe meets with Sheldrake, the mis en scene of the mahogany desk and leather couch reinforces the producer's inclination to "put in a few numbers". Here, the incentive to make a "cute musical" is displayed due to its ability to make the producer money. Herein, Wilder conveys how any inkling of artistic integrity is destroyed by the hollow business, placing individuals in a gridlock, as they are only able to create films which provide comercial success. The superficiality of Hollywood extends to the ephemerality of the celebrity image, explored through Norma's visit to Paramount Studios. Although DeMille's career was initially propelled by the "lovely little girl", he orders for the light to go "back where it belongs". This indicates how Norma has lost her worth as she is no longer aesthetically appealing to fickle Hollywood audiences. Here, the sex appeal of the 1950's film industry is displayed to be fickle and trap female stars to limited success. The fleeting nature of fame within Hollywood is symbolised by the Isotta Fraschini which the studio "want to rent for a couple of weeks". The car showcases the ephemerality of celebrity careers, only having value when they are in demand. Thus, Wilder highlights how stars are imprisoned by the wants of the audience who perpetually consume, meaning the freedom of them is sacrificed to satisfy such need. Ultimately, Wilder alludes to Hollywood's superficiality rendering the dreams of individuals futile due to the shallow visions of the industry.

Through the relatively successful careers of "message kids", Wilder explores how the prison created by Hollywood can be escaped. The non-diegetic sound of largely underemployed bohemians singing "all we earn are buttons at the new years party is juxtaposed with Norma's desolate party. Here, it is established how people can be content within the industry despite their lowly credentials, and without the "champagne on ice" at Norma's house. Thus, Wilder positions viewers to understand how the allure of the industry can be avoided. Additionally the symbol of Betty's nose job is seen when her and Joe walk along a Hollywood set. Although Hollywood "didn't like [her] acting", she was "taught a little sense". Here, Joe and Betty are seen to have awareness of the flaws of the industry and the way it imprisons its stars, displayed via the mise en scene of Joe examining her nose with a lighter, essentially spotlighting their awareness of the grotesque industry. Therein, Wilder highlights, that it is through self-awareness that people can lead meaningful careers, avoiding the perils of Hollywood. The film concludes with Joe's realisation that he does not "qualify for the job" of being Norma's gigolo, which is combined with the mise en scene of the cage like doors. Here, Joe's realisation allows him to escape, symbolised through the cage-like doors opening, essentially freeing him from the allure of Norma, who in many ways represents the entrapping seduction Hollywood has on many. Thus, Wilder outlines how individuals can escape the prison of Hollywood by accepting the reality that they will never reach the heights of stardom. Ultimately, Wilder warns of the morbid consequences of not escaping the prison of Hollywood, as he hints at the ways to avoid its perils.

By contrasting the journeys of "a bunch of kids who didn't give a hoot" against the "heartless, so and so's" of Hollywood, Wilder explores how obsession and dreams are rendered futile by the industry itself, which imprisons people who remain dedicated to such dreams. It is through self-awareness and acceptance that individuals can lead meaningful careers and avoid the calamities of Hollywood. Wilder recognises that the dreams of success only lead to a "sad, embarrassing revelation".