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All About Eve (1950)

Passed | | Drama | 27 October 1950 (USA)
Trailer
3:06 | Trailer
An ingénue insinuates herself into the lives of an established but aging stage actress and her circle of theater friends.

Writer:

Joseph L. Mankiewicz (written for the screen by)
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Popularity
3,666 ( 20)
Top Rated Movies #136 | Won 6 Oscars. Another 17 wins & 18 nominations. See more awards »

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Cast

Cast overview, first billed only:
Bette Davis ... Margo Channing
Anne Baxter ... Eve Harrington
George Sanders ... Addison DeWitt
Celeste Holm ... Karen Richards
Gary Merrill ... Bill Simpson
Hugh Marlowe ... Lloyd Richards
Gregory Ratoff ... Max Fabian
Barbara Bates ... Phoebe
Marilyn Monroe ... Miss Casswell
Thelma Ritter ... Birdie Coonan
Walter Hampden ... Aged Actor
Randy Stuart ... Girl
Craig Hill ... Leading Man
Leland Harris Leland Harris ... Doorman
Barbara White Barbara White ... Autograph Seeker
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Storyline

Eve (Anne Baxter) is waiting backstage to meet her idol, aging Broadway star Margo Channing (Bette Davis). It seems innocent enough as Eve explains that she has seen Margo in EVERY performance of her current play. Only playwright/critic DeWitt (George Sanders) sees through Eve's evil plan, which is to take her parts and her fiancé, Bill Simpson (Gary Merrill). When the fiancé shows no interest, she tries for playwright Lloyd Richards (Hugh Marlowe), but DeWitt stops her. After she accepts her award, she decides to skip the after-party and goes to her room, where a young woman named Phoebe has sneaked into her room and fallen asleep. This is where the "Circle of Life" now comes to fruition as Eve will get played like she played Margo.

Plot Summary | Plot Synopsis

Taglines:

It's all about women---and their men!

Genres:

Drama

Certificate:

Passed | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site

Country:

USA

Language:

English | French

Release Date:

27 October 1950 (USA) See more »

Also Known As:

Best Performance See more »

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Box Office

Budget:

$1,400,000 (estimated)

Opening Weekend USA:

$10,177, 8 October 2000

Gross USA:

$63,463

Cumulative Worldwide Gross:

$150,438
See more on IMDbPro »

Company Credits

Production Co:

Twentieth Century Fox See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

During the scene in the out-of-gas car, Margo tells Karen that she loves Bill, but she's afraid that Bill is actually in love with "Margo Channing", the stage persona, instead of Margo Channing the woman: "Bill's in love with Margo Channing. He's fought with her, worked with her, loved her... but ten years from now -- Margo Channing will have ceased to exist. And what's left will be, what?" Bette Davis and Gary Merrill, who married after filming this movie together, did indeed divorce almost exactly ten years to the day after their wedding. Davis was quoted as saying that they had married their characters from the movie, rather than the actual people. See more »

Goofs

In the car, the snow tracks seen through the back window behind Karen curve to the left, whilst those behind Margo curve to the right. See more »

Quotes

Lloyd Richards: You've been talking to that venomous fishwife Addison DeWitt!
Margo: In this case, apparently as trustworthy as the World Almanac!
See more »

Crazy Credits

The film opens straightaway with its own theme, without the ubiquitous "Fox Fanfare". See more »

Connections

Featured in Slipstream (2007) See more »

Soundtracks

Linger Awhile
(uncredited)
Music by Vincent Rose
Played in the Cub Room after Eve & Karen's ladies room meeting
See more »

Frequently Asked Questions

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User Reviews

 
A masterpiece of old-style theatre back-stabbing with a cherished, hand-picked cast.
22 February 2001 | by gbrumburghSee all my reviews

THE definitive saga of backstage brouhaha ever dished out by Hollywood. A triumph of screen-writing, never will one see such ripe, acrid dialogue spewed out like this again -- every indelible scene gloriously stained with classic one-liners. An actress wanna-be looking for her big break carefully worms her way into the glamorous life of a legendary Broadway star, then tries to supplant her privately and professionally.

A sterling, incandescent cast provides the fire and music to this concerto of theatre attitude. Bette Davis knew she was handed a dream role when she was cast as Margo Channing, the indomitable diva caught up in the throes of mid-life crisis both on- and off-stage. Not willing at all to deal with it tactfully, she makes life a living hell for anyone within knife-throwing distance. This juicy, once-in-a-lifetime part turned Davis' own flagging middle-aged career back on its feet, especially coming on the heels of one of her biggest "dumps" ever, "Beyond the Forest." Remarkable as it may seem, Bette was not the first choice here, replacing an injured Claudette Colbert. With all due respect to Colbert, Bette Davis was BORN to play Margo Channing. A mauling lioness one minute, a coy, declawed pussycat the next, Davis relishes every wickedly bitchy scene she gets to tear into. Yet in her more introspective moments, she evokes real sympathy for Margo (as only a true star can) especially when her character missteps. It's a resounding victory for the Queen Bee in every way, shape and form.

Her "supporting cast" also manage to create a buzz of excitement. Gary Merrill and Hugh Marlowe, known for their relative blandness, are splendid here in their respective roles as queen bee's lover and playwright. While Merrill's Bill Sampson tames Margo the woman with gutsy directness and virile passion, Marlowe's Lloyd Richards appeases Margo the star with flattery, great dialogue and a calm resolve. Worth watching, then, are their fireworks scenes with Margo when intelligence and restraint no longer work. Debonair George Sanders gives customary snob appeal and dry cynicism to his waspish, ultimately loathsome columnist Addison DeWitt, who swarms around Broadway's elite knowledgeable in the fact his lack of heart and poison pen yield exclusive rights and power. The most sensitive and sensible one in the collective bunch, the one lacking a true stinger, is Karen Richards (played wonderfully by Celeste Holm), Margo's best friend and confidante, who finds herself caught between the queen and a hard place when she accidentally makes a pact with the devil. Thelma Ritter couldn't be overlooked if she tried. An inveterate scene-stealer, she weathers strong competition this time in a movie crammed with clever conversation and pungent zingers. As coarse but well-meaning Birdie Coonan, a brash ex-vaudevillian now the queen's ever-loyal "drone", Ritter's character properly handles her boss's antics with amusing grit and backbone. On the periphery of this Broadway beehive is mop-faced Gregory Ratoff as an edgy, gullible, thick-accented producer, Marilyn Monroe as a hopelessly vacuous starlet, and Barbara Bates, as a novice schemer with a very bright future, all making their few scenes count -- especially Bates, who is forever enshrined in the film's stunning final shot.

The chief thorn in Margo's (and everybody's) side, and the other real star of this picture, is the queen's titular lady-in-waiting, Eve Harrington. As played by Anne Baxter, this role is probably the most delicate and difficult of all for the weight and believability of this drama falls squarely on her shoulders. Unfairly overlooked all these years by the flashier posturings of Davis, Baxter does a beautiful job of drawing initial pathos then panic as she slowly unveils her own lethal stinger. By film's end, Baxter is directly on par with her scenery-chewing co-star. Killer to killer. Champion to champion.

Six Oscars including Best Picture, Best Director (Joseph L. Mankiewicz), Best Screenplay (also Mankiewicz) and Supporting Actor (George Sanders) went to this cinematic bon mot. Had Bette Davis and Anne Baxter not competed as Best Actress (Baxter refused to place herself in the Supporting Actress category), it would have drummed up two more awards to be sure.

Developing a faithful cult following over the years, this film deserves to be on everybody's "top ten" list.


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