Running time 138 minutes Country United States Language English Budget $1.4 million Box office $8.4 million All About Eve is a 1950 American written and directed by, and produced. It was based on the 1946 short story ' by, although screen credit was not given for it. The film stars as Margo Channing, a highly regarded but aging star. Plays Eve Harrington, an ambitious young who insinuates herself into Channing's life, ultimately threatening Channing's career and her personal relationships. The film co-stars,, and features,,, in one of her earliest roles,, and.
Praised by critics at the time of its release, All About Eve received 14 nominations and won six, including. All About Eve is the only film in history to receive four female acting nominations (Davis and Baxter as, Holm and Ritter as ). All About Eve was selected in 1990 for preservation in the United States and was among the first 50 films to be registered. All About Eve appeared at #16 on 's 1998 list of the. As Margo Channing Margo Channing () is one of the biggest stars on. But having just turned forty she is worried about what her advancing age will mean for her career.
After a performance of Margo's latest play, Aged in Wood, Margo's close friend Karen Richards (), wife of the play's author Lloyd Richards (), brings in a besotted fan, Eve Harrington (), to meet Margo. Eve tells the group gathered in Margo's dressing room—Karen and Lloyd, Margo's boyfriend Bill Sampson (), a director who is eight years her junior, and Margo's maid Birdie ()—that she followed Margo's last theatrical tour to New York after seeing her in a play in. She tells a moving story of growing up poor and losing her young husband in. Moved, Margo quickly befriends Eve, takes her into her home, and hires her as her assistant, leaving Birdie, who instinctively dislikes Eve, feeling put out. In wig and costume as Eve Harrington, Margo Channing's understudy Eve quickly insinuates herself into Margo's life, acting as her secretary and adoring fan. She seems to anticipate Margo's every need, including placing a long-distance phone call to Bill when Margo forgets his birthday.
Margo becomes increasingly distrustful and bitter, particularly after she catches Eve trying on one of the costumes for Aged in Wood. Margo asks her producer, Max Fabian, to hire Eve at his office, but instead Eve manages to become Margo's understudy without Margo's knowledge. As Margo's irritation grows, Karen feels sorry for Eve. In hopes of humbling Margo, Karen arranges for her to miss a performance of Aged in Wood, so Eve will have to give the performance in her place. Eve invites the city's theatre critics, including the acerbic Addison DeWitt, to attend that evening's performance, which is a triumph for her. Eve tries to seduce Bill, but he rejects her.
Instead, Addison takes her under his wing and writes a column that criticizes Margo for not making way for new talents like Eve. That evening, Margo and Bill announce their engagement at dinner with the Richardses. Eve calls Karen into the ladies' room and tells her to either ask Lloyd to give her the part of Cora—the lead in Lloyd's next play, Footsteps on the Ceiling—or that she will reveal Karen's role in Margo's missed performance.
Before Karen can talk with Lloyd, Margo announces to everyone's surprise that she does not wish to play Cora and would prefer to continue in Aged in Wood. Eve is cast as Cora. Just before the out-of-town premiere of Footsteps on the Ceiling at the in, Eve presents Addison with her next plan: to marry Lloyd, who, she claims, has come to her professing his love and his eagerness to leave his wife for her. Now, Eve exults, Lloyd will write brilliant plays showcasing her. Angered that Eve believes she can manipulate him as easily as she does everyone else, Addison reveals he knows that her back story is all lies.
Her real name is Gertrude Slojinski, she was never married, and she had been paid to leave her hometown over an affair with her boss, a in Wisconsin. Addison blackmails Eve, informing her that she will not be marrying Lloyd or anyone else; in exchange for Addison's silence, she now 'belongs' to him. A year later, Eve is a shining Broadway star headed for Hollywood. At an awards banquet, she thanks Margo, Bill, Lloyd and Karen with characteristic effusion, while all four stare back at her coldly. Eve skips a party in her honor, and returns home alone, where she encounters Phoebe ()—a high-school-aged fan—who has slipped into her apartment and fallen asleep. The young girl professes her adoration and begins at once to insinuate herself into Eve's life, offering to pack Eve's trunk for Hollywood.
Lyrics to White Horses by All About Eve: On white horses let me ride away / To my world of dreams so far away / Let me run / To the sun.Missing. On white horses let me ride away To my world of dreams so far away Let me run To the sun. To a world my heart can understand It's a gentle warm and wonderland. All About Eve White Horses lyrics at LyricZZ.com. Lyric ZZ is proud to present to you very accurate All About Eve White Horses Song lyrics. Check them out!
While Eve rests in the other room, Phoebe dons Eve's elegant costume robe and poses in front of a multi-paned mirror, holding the award as if it were a crown. A young and then-unknown as Miss Casswell in a scene with,, and • as Margo Channing • as Eve Harrington • as Addison DeWitt • as Karen Richards • as Bill Sampson • as Lloyd Richards • as Birdie • as Max Fabian • as Miss Casswell • as Phoebe • as aged actor (Sarah Siddons Award presenter) • as Sarah Siddons Awards guest (uncredited) Production [ ] Development [ ] The story of All About Eve originated in an anecdote related to by actress. While performing in during 1943 and 1944, Bergner allowed a young fan, Martina Lawrence, to become part of her household and employed her as an assistant, but later regretted her generosity when the woman attempted to undermine her.
Referring to her only as 'the terrible girl,' Bergner related the events to Orr, who used it as the basis for her short story ' (1946). In the story, Orr gives the girl a more ruthless character and allows her to succeed in stealing the older actress' career.
Bergner later confirmed the basis of the story in her autobiography Bewundert viel, und viel gescholten ( Greatly Admired and Greatly Scolded). In 1949, Mankiewicz was considering a story about an aging actress and, upon reading 'The Wisdom of Eve,' felt the conniving girl would be a useful added element. He sent a memo to saying it 'fits in with an original idea [of mine] and can be combined.
Superb starring role for.' Mankiewicz presented a of the combined stories under the title Best Performance.
He changed the main character's name from Margola Cranston to Margo Channing and retained several of Orr's characters — Eve Harrington, Lloyd and Karen Richards, and Miss Casswell — while removing Margo Channing's husband completely and replacing him with a new character, Bill Sampson. The intention was to depict Channing in a new relationship and allow Eve Harrington to threaten both Channing's professional and personal lives. Mankiewicz also added the characters Addison DeWitt, Birdie Coonan, Max Fabian, and Phoebe. Zanuck was enthusiastic and provided numerous suggestions for improving the screenplay. In some sections, he felt Mankiewicz's writing lacked subtlety or provided excessive detail. He suggested diluting Birdie Coonan's jealousy of Eve so the audience would not recognize Eve as a villain until much later in the story. Zanuck reduced the screenplay by about 50 pages and chose the title All About Eve from the opening scenes in which Addison DeWitt says he will soon tell 'more of Eve.
All about Eve, in fact.' The principal cast of All About Eve. (Left to right),,,, and Among the actresses originally considered to play Margo Channing were Mankiewicz's original inspiration,, who was rejected by Zanuck as 'too young,', dismissed as 'too,' and, who was ruled out of contention when her lawyer insisted that Lawrence not have to drink or smoke in the film, and that the script would be rewritten to allow her to sing a. Zanuck favored, but she was not available. Was also considered, as was, who was already working on the film.
Eventually, the role went to, but she withdrew after an injury shortly before filming began. Mankiewicz briefly considered for the aging diva role, before giving it to Bette Davis. Davis, who had recently ended an 18-year association with after several poorly received films, immediately accepted the role after realizing it was one of the best she had ever read.
Channing had originally been conceived as genteel and knowingly humorous, but with the casting of Davis, Mankiewicz revised the character to be more abrasive. Mankiewicz praised Davis both for her professionalism and for the caliber of her performance. Had spent a decade in supporting roles and had won the 1946 for.
She got the role of Eve Harrington after the first choice,, became pregnant. Crain was at the height of her popularity and had established a career playing likable heroines; Zanuck believed she lacked the 'bitch virtuosity' required by the part and that audiences would not accept her as a deceitful character. The role of Bill Sampson was originally intended for. Reagan's future wife was considered for Karen Richards and for Addison DeWitt.
Actively sought the role of Phoebe without realizing the producers were considering her, along with, for Miss Casswell. [ ] Mankiewicz greatly admired and wrote the character of Birdie Coonan for her after working with her on in 1949. As Coonan was the only one immediately suspicious of Eve Harrington, he was confident Ritter would contribute a shrewd characterization casting doubt on Eve and providing a counterpoint to the more 'theatrical' personalities of the other characters., relatively unknown at the time, was cast as Miss Casswell, referred to by DeWitt as a 'graduate of the Copacabana School of Dramatic Art.' Monroe got the part after a lobbying campaign by her agent, despite Zanuck's initial antipathy and belief that she was better suited to comedy. [ ] Angela Lansbury had been originally considered for the role.
The inexperienced Monroe was cowed by Bette Davis, and it took 11 takes to complete the scene in the theatre lobby with the star; when Davis barked at her, Monroe left the set to vomit. Smaller roles were filled by as the producer Max Fabian, as Phoebe, a young fan of Eve Harrington, and as the master of ceremonies at an award presentation.
Response [ ]. And Box office [ ] The film earned $2.9 million in box office receipts in the US during its release.
Critical reaction [ ] All About Eve received overwhelmingly positive reviews from critics upon its release on October 13, 1950 at a premiere. The film's competitor,, released the same year, drew similar praise, and the two were often favorably compared.
Film critic of loved the film, stating that 'a fine Darryl Zanuck production, excellent music and an air of ultra-class complete this superior satire.' Film critic of the praised the film, saying Bette Davis' character 'veteran actress Margo Channing in All About Eve was her greatest role.' Boxoffice.com stated that it 'is a classic of the American cinema – to this day the quintessential depiction of ruthless ambition in the entertainment industry, with legendary performances from Bette Davis, Anne Baxter and George Sanders anchoring one of the very best films from one of Hollywood's very best Golden Era filmmakers: Joseph L.
Thematic content [ ] Critics and academics have delineated various themes in the film. Rebecca Flint Marx, in her review, notes the antagonism that existed between Broadway and Hollywood at the time, stating that the 'script summoned into existence a whole array of painfully recognizable theatre types, from the aging, egomaniacal grand dame to the outwardly docile, inwardly scheming ingenue to the powerful critic who reeks of malignant charm.' , in his review in, says Eve Harrington is 'a universal type,' and focuses on the aging actress plot line, comparing the film to.
Similarly, Marc Lee's 2006 review of the film for describes a subtext 'into the darker corners of show business, exposing its inherent ageism, especially when it comes to female stars.' 's 1999 book, Figuring Age: Women, Bodies, Generations (Theories of Contemporary Culture), also discusses themes that appeared in many of the 'aging actress' films of the 1950s and 1960s, including All About Eve. She reasons that Margo has three options: 'To continue to work, she can perform the role of a young woman, one she no longer seems that interested in. She can take up the position of the angry bitch, the drama queen who holds court (the deliberate that finds in this film). Or she can accept her culture's gendered discourse of aging which figures her as in her moment of fading.
Margo ultimately chooses the latter option, accepting her position as one of loss.' Gary Merrill as Bill Sampson Professor Robert J. Corber, who has studied within the cultural context of the in the United States, posits that the foundational theme in All About Eve is that the defense of the norms of, specifically in terms of patriarchal marriage, must be upheld in the face of challenges from female agency and. The nurturing heterosexual relationships of Margo and Bill and of Karen and Lloyd serve to contrast with the loveless relationship predation and sterile careerism of the homosexual characters, Eve and Addison.
Eve uses her physical femininity as a weapon to try to break up the marriages of both couples, and Addison's extreme cynicism serves as a model of Eve's future. Even film reviewer Kenneth Geist, despite being critical of the emphasis that Sam Staggs' book All About All About Eve places on the film's homosexual elements, nonetheless acknowledged that Eve's seemed apparent; specifically, Geist states that 'manifestations of Eve’s lesbianism are only twice briefly discernible.' Geist asserted that Mankiewicz 'was highly contemptuous of both male and female homosexuals,' although Mankiewicz himself suggested otherwise in an interview in which he argued that society should 'drop its vendetta against them.' George Sanders as Addison DeWitt was often linked to during the 's and critics have written about film's subtle, yet central, Cold War narrative. The fair amount of subtlety employed in All About Eve is seen as primarily being due to restrictions on the depiction of homosexuals in the media during this time. However, notwithstanding those restrictions, Corber cites the film as but one example of a recurrent theme within American film of the homosexual as an emotionally bereft predator. The documentary also affirms this theme to which Corber refers, including citing numerous other film examples from the same Production Code time period in which All About Eve was made.
Another important theme of the film, in terms of war politics and sexuality, involves the post- pressure placed upon women to acquiesce. This pressure to resume 'traditional' female roles is especially illustrated in this film in the contrast between Margo's mockery of Karen Richards for being a 'happy little housewife' and her lengthy and inspired monologue, as a reformed woman later, about the virtuousness of marriage, including how a woman is not truly a woman without having a man beside her. This submissive and effeminate Margo is contrasted with the theatricality, combativeness, and egotism of the earlier career woman Margo, and the film's two homosexual characters. Margo quips that Eve should place her award 'where her heart should be,' and Eve is shown bereft at the end of the film. At dinner, the two married couples see Eve and Addison in a similarly negative light, with Margo wondering aloud what schemes Eve was constructing in her 'feverish little brain.' Additionally, Eve's utility as a personal assistant to Margo early in the film, which is a subtle construct of a same-sex intimate relationship, is decried by Birdie, the same working-class character who immediately detected the theatricality in Eve's story about her 'husband.' Birdie sees such agency as being unnatural, and the film contrasts its predatory nature ('studying you like a blueprint') with the love and warmth of her later reliance upon Bill.
The pressure to acquiesce agency and more highly value patriarchy, following the return of men from the war, after having been shown propaganda promoting agency such as and after having occupied traditionally male roles such as bomb-building factory worker, was deemed 'the problem that has no name' by well-known. Despite what critics such as Corber have described as the homophobia pervasive in the movie, All About Eve has long been a favored film among gay audiences, likely due to its overtones (in part due to the casting of Davis) and its general sophistication. Davis, who long had a strong gay fan base, expressed support for gay men in her 1972 interview with. Awards and honors [ ] Awards and nominations [ ] Date of ceremony Award Category Recipients and nominees Result All About Eve Won Joseph L. Mankiewicz Won All About Eve Nominated Nominated Nominated Nominated Nominated All About Eve (producer: ) Won Won and Won Won Won Won Anne Baxter Nominated Bette Davis Nominated Celeste Holm Nominated Thelma Ritter Nominated Art Direction: George W. Davis and Lyle R.
Wheeler; Set Decoration: Thomas Little and Walter M. Scott Nominated Milton R. Krasner Nominated Barbara McLean Nominated Alfred Newman Nominated Bette Davis Won All About Eve Won All About Eve Nominated May 27, 1951 Joseph L. Mankiewicz Won All About Eve Won Joseph L.
Mankiewicz Won Bette Davis Won Later recognition and rankings [ ] In 1990, All About Eve was selected for preservation in the United States by the as being 'culturally, historically, or aesthetically significant.' The preserved All About Eve in 2000. The film received in 1997 a placement on the Hall of Fame. The film also has a 100% rating on.
The film has been selected by the for many of their lists. Year Category Nominee Rank 1998 All About Eve 16 2003 Eve Harrington (Villain) 23 2005 'Fasten your seatbelts. It's going to be a bumpy night.'
9 2007 All About Eve 28 When named Bette Davis #2 on its list of the, All About Eve was the film selected to highlight Davis' legendary career. The has ranked the film's screenplay as the fifth greatest ever written.
Sarah Siddons Award [ ] The film opens with the image of a fictitious award trophy, described by DeWitt as the 'highest honor our theater knows: the for Distinguished Achievement.' The statuette is modelled after the famous costumed as the tragic Muse by Joshua Reynolds, a copy of which hangs in the entrance of Margo's apartment and often visible during the party scene. In 1952, a small group of distinguished theater-goers began to give, which was sculpted to look like the one used in the film. It has been given annually, with past honorees including Bette Davis and Celeste Holm. Adaptations [ ] The first radio adaptation was broadcast on the on NBC on October 1, 1951 starring Bette Davis, Gary Merrill and Anne Baxter. A second radio version of All About Eve starring as Margo Channing was presented on 's by the Theatre Guild of the Air on November 16, 1952.
Bankhead and many contemporary critics felt that the characterization of Margo Channing was patterned on her, a long-rumored charge denied by both Mankiewicz and Davis, but attested by costume designer. Additionally, Bankhead's rivalry with her understudy () during the production of is cited as an alternative hypothesis for the origin of 's The Wisdom of Eve, the original short story that formed the basis for the film. Ironically, Bette Davis played three roles on film that had been originated by Tallulah Bankhead —, and, much to Bankhead's chagrin.
Bankhead and Davis were considered to be somewhat similar in style. Ironically, several decades later Davis would call Channing 'the essence of a Tallulah Bankhead kind of actress' in an interview with. The production is notable in that Mary Orr, of The Wisdom of Eve, played the role of Karen Richards. The cast also featured Alan Hewitt as Addison DeWitt (who narrated), as Eve Harrington, Don Briggs as Lloyd Richards, as Bill Samson, Florence Robinson as Birdie Coonan, and Stefan Schnabel as Max Fabian. In 1970, All About Eve was the inspiration for the, with book by and, lyrics by, and music. The original production starred as Margo Channing, and it won the for that season.
It ran for four previews and 896 performances at the on. After Bacall left the production, she was replaced by Anne Baxter in the role of Margo Channing. In popular culture [ ] • The plot of the film has been used numerous times, frequently as an outright homage to the film, with one notable example being a 1974 episode of, 'A New Sue Ann.' In the episode, the character of (), hostess of a popular local cooking show, hires a young, pretty and very eager fan as her apprentice and assistant, but the neophyte quickly begins to sabotage her mentor, in an attempt to replace her as host of the show. Sue Ann, however, unlike Margo Channing, prevails in the end, countering the young woman's attempts to steal her success and sending her on her way. • The took their name from the film. • A 2008 episode of, ',' is influenced by this film.
In the episode, becomes 's assistant, eventually taking his place on television and receiving an entertainment award. • 's 1999 -winning film, ( ), has elements similar to those found in All About Eve. The title of the film itself is an homage to the 1950 film.
In the first scene, the character of Manuela and her son, Esteban, are watching a dubbed version of the film on television when the film is introduced as 'Eve Unveiled.' Esteban comments that the film should be called 'Todo Sobre Eva' ('All About Eva'). Later in the scene, he begins writing about his mother in his notebook and calls the piece 'Todo sobre Eva.' Additionally, Manuela replaces Nina Cruz as Stella for a night in a production of, leading a furious Nina to accuse her of learning the part 'just like Eve Harrington!' • In a season 3 episode of, titled 'Enough About Eve,' has a dream where she is Margo Channing.
• In the fifth season of, a fan becomes 's assistant while she is directing a movie; later the fan blackmails the movie studio into letting her direct and she proceeds to take over Jenny's life. • In the second season of, calls his fellow glee club member 'a Latina Eve Harrington,' after learning she is blackmailing a closeted jock into becoming her 'beard' and running mate for Prom Queen and King. • In the first season of, Grace becomes dependent on a maid to give her a confidence boost during a design competition. This prompts her drunken assistant Karen to suspect a plot and she confronts the maid, exclaiming 'I've seen 'All About Eve.'
• In the pilot episode of, when Susan suspects Georgia, a fellow reporter, has a crush on her boyfriend and is attempting to outshine her at the newspaper, she says, 'If Eve Harrington were an actual person today, she would look like Georgia. She would bake cupcakes, and she would have a blog.' • In the third season of, the episode 'All About Eva' concerns a character coming on the island and taking over Ginger's persona, with both roles played by actress. • In the fifth season of, the plot of the episode 'Goodbye Norma Jean' mirrors that of All About Eve.
In it, Sam Beckett leaps into 's chauffeur and finds himself pitted against an aspiring actress who is trying to steal Monroe's part for the film. Sam succeeds in stopping Monroe's rival, and she rightfully takes her place as 's leading lady. • In the 's film, Vivian, an amateur actress played by Sara Simmonds, says to Wilson, played by: 'I just don't think people out here have the raw ambition that I do.' And he replies: 'You are a real All About Eve.' • is a 2009 American comedy film.
See also [ ] •, a film review aggregator website References [ ] Informational notes. October 2, 1950. Retrieved December 6, 2014.
• Solomon, Aubrey (1989). Twentieth Century Fox: A Corporate and Financial History. Lanham, Maryland: Scarecrow Press, p. • Rudy Behlmer, Behind the Scenes, Samuel French, 1990 p 208 •. Retrieved November 11, 2012. Retrieved 8 August 2009. • Gussow, Mel (1 October 2000)..
The New York Times. Retrieved 24 July 2017. • ^ Staggs, Sam: All About 'All About Eve'. St Martin's Press, 2001. • ^ TCM on •.
Retrieved April 20, 2016. • ^ Miller, Frank on • Solomon, Audrey (2002) Rowman & Littlefield. (October 14, 1950) • Ebert, Roger Chicago Sun-Times (11 June 2000) • [ ] • Marx, Rebecca Flint. On AllMovie.com.
Retrieved 8 August 2009. • Ebert, Roger., 'Great Movies by Roger Ebert' on, 6-11-2000. (7 July 2006). Retrieved 8 August 2009.
• Woodward, Kathleen M. Figuring Age: Women, Bodies, Generations (Theories of Contemporary Culture) Indiana University Press, 1999, p.
• ^ Field, Douglas. 'Gender and Sexuality – All about the Subversive Femme – Cold War Homophobia in All About Eve' in, Edinburgh University Press, 2005, • White, Patricia. 'A Star is Beaten' in, Indiana University Press, 1999. 202-12., • ^ Geist, Kenneth.. Films in Review, 2000 • Mankiewicz, Joseph L. And Dauth, Brian.
University Press of Mississippi, 2008) • Corber, Robert.. GLQ Journal, 2005 11(1):1–22;: • Russo, Vito.. New York: Harper & Row, 1981, • Hunt, Heather. February 2, 2009, at the., University of Maryland, 1999 • Burston, Paul., of London (22 November 2007) • Cleto, Fabio., University of Michigan Press, 1999, • Sikov, Ed.
Dark Victory: The Life of Bette Davis. New York: Macmillan, 2007, •..
Retrieved August 10, 2014. • March 28, 2013, at the., accessed October 28, 2011. Academy Film Archive. Writers Guild of America, West. Retrieved December 23, 2016.
Retrieved April 20, 2016. Turner Classic Movies. Retrieved April 20, 2016. Retrieved April 20, 2016.
• Mary Orr, 'The Wisdom of Eve,' Cosmopolitan, May 1946, pp. 72–75, 191–95 • Bruce Kirle (Southern Illinois University Press; 1st edition, October 24, 2005), Unfinished Show Business: Broadway Musicals as Works-in-process, p. 191 • Dorothy Kilgallen (Thursday, June 24, 1943), 'The $64 Questions,' The Voice Of Broadway, Times Herald (Olean, New York), p. 13 • ^ Source: liner notes, All About Eve, Moving Finger LP MF002 •.
June 1, 2008. Retrieved April 20, 2016 – via YouTube. • Starpulse.com • Strong, Martin C.. The Great Rock Bible. Retrieved 24 July 2015. • TVGuide.com.
Retrieved 18 April 2009. • De Vito, John; Tropea, Frank (2007).. United States: Scarecrow Press. Retrieved March 6, 2015.
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