Norma’s closeup (dramatic irony)
By asserting that the cameras are at her house to film Salome, the police, homicide detectives, and Max—literally incapable of shattering Norma’s illusions—convince her to descend the stairs into police custody after murdering Joe. When Norma says, “Alright, Mr. DeMille, I’m ready for my closeup,” the irony is abundantly clear. Norma falsely believes the cameras are there to capture her movie star glamour and triumphant comeback, not a disturbing event. This dramatic irony speaks to the full extent of Norma’s final, absolute immersion in her delusional fantasy world.
Joe telling Norma, “Next time I’ll bring my autograph album along, or maybe a hunk of cement and ask for your footprints” (verbal irony)
Joe retorts this verbally ironic comment to Norma after her self-centered diatribe on her supposed abiding stardom and the demise of film. Joe means the opposite of what he says: he doesn’t wish for Norma’s autograph or footprints, but rather wishes to derisively illustrate the absurdity of her lament. Therefore, Joe uses sarcasm—a specific type of verbal irony—to ridicule her dramatic, illusionary beliefs.
The first scene (dramatic irony and situational irony)
Joe’s introduction to the film as a dead floating corpse showcases a bleak dramatic irony. We know from the beginning what will happen to Joe, while (with the important exception of Joe's from-beyond-the-grave narration) none of the characters do. Joe's narration also turns this into situational irony when he contrasts this outcome with what he had wanted in life: “The poor dope. He always wanted a pool. Well, in the end he got himself a pool.” As a Hollywood screenwriter, Joe “always wanted a pool”; in other words, he dreamed of fame, success, and grandeur, which are three common notions associated with in-ground pools, a symbol of status in 1950. However, by the time he gets “himself a pool,” he is dead, ironically drowned in his own dreams.
Betty and Joe’s writing collaboration (situational irony)
Betty and Joe embody diametrically opposed views toward Hollywood and screenwriting. After copious rejection and hackwork, Joe feels cynically toward the film industry and demonstrates a disinterest in his stories. On the other hand, Betty upholds an infectious optimism toward the artifice of Hollywood; she believes movies “should say a little something” and crowns a fake street in the Paramount lot as her favorite street in the world. Unsurprisingly, Joe and Betty’s respective cynicism and optimism clash during their first encounters, but they end up efficiently collaborating on a script together. Their effective writing partnership ironically subverts audience expectations: because of their different attitudes, we are set up to think their collaboration would be disastrous, but the film proceeds to prove the opposite.
Joe telling Norma, “It sure would have made attractive headlines—‘Great star kills herself for unknown writer'” (verbal and dramatic irony)
Joe makes this callous remark to Norma after her New Year’s Eve suicide attempt. This quote additionally invokes dramatic irony—Joe imagines the newspaper headlines if Norma died, not knowing he himself will become the subject of sensational headlines himself after his death. The dramatic irony instills dread and suspense within the audience as we approach the film’s tragic ending.
Norma saying, “And teach your friend some manners. Tell him without me he wouldn't have any job, because without me there wouldn't be any Paramount Studio” (dramatic irony)
After a young guard didn't recognize Norma or her name, she makes this self-absorbed statement to his older coworker who let her in Paramount Studio without a pass. She promotes her star power as if it her stardom has enabled the existence and survival of Paramount. This statement acquires dramatic irony for the viewer, who realizes that the younger guard's failure to recognize her as a star reveals how Hollywood has abandoned Norma and thrived without her for decades.
When Norma says, “I’ll fill the pool for you!” to Joe (dramatic irony)
Norma’s promise to refill the pool for Joe ironically foreshadows his death. Since the film’s prologue, the audience knows the police, press, and homicide detectives find Joe’s corpse floating in the pool. Obviously, Joe is not aware that the pool will become the iconic image of his death at this point, thereby infusing this statement with dramatic ironic—we know something Joe doesn’t.
