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Purchase All About Eve (1950) Movie Online and Download - Joseph L. Mankiewicz 🎥
IMDB rating:
Joseph L. Mankiewicz
Bette Davis as Margo
George Sanders as Addison DeWitt
Celeste Holm as Karen
Gary Merrill as Bill Simpson
Hugh Marlowe as Lloyd Richards
Gregory Ratoff as Max Fabian
Barbara Bates as Phoebe
Marilyn Monroe as Miss Casswell
Thelma Ritter as Birdie
Walter Hampden as Aged Actor
Randy Stuart as Eve's Pal on Telephone
Craig Hill as Leading Man in 'Footsteps on the Ceiling'
Leland Harris as Doorman
Storyline: Aspiring actress Eve Harrington maneuvers her way into the lives of Broadway star Margo Channing, playwright Lloyd Richards and director Bill Sampson. This classic story of ambition and betrayal has become part of American folklore. Bette Davis claims to have based her character on the persona of film actress Talullah Bankhead. Davis' line "Fasten your seatbelts, it's going to be a bumpy night" is legendary, but, in fact, all of the film's dialog sparkles with equal brilliance.
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Superb drama
Superb drama.

The story of a woman, Eve (played by Ann Baxter), who ingratiates herself into the social circles of a famous theatre actress, Margo (played by Bette Davis), and her theatre-centric friends. After a time it starts to look as though Eve's motives and methods aren't as innocent as they seem...

A great story of manipulation, social politics and ambition. While you think you can see how everything ends up, how they get there is still very interesting. Plus, there's a twist or two in store...

Superb performance by Bette Davis as the curmudgeonly, jaded Margo. While Eve might be the character in the title, Bette Davis gets the most screen time. Just about every line she utters drips with cynicism and is worth a soundbite/videobite. Very quotable.

Ann Baxter is great as Eve. Good support from George Sanders, Gary Merrill, Celeste Holm, Hugh Marlowe and Thelma Ritter. Marilyn Monroe also has a minor role.

Davis and Baxter got Best Leading Actress Oscar nominations for their performances (losing to Judy Holliday for Born Yesterday). Holm and Ritter got Best Supporting Actress Oscar nominations (losing to Josephine Hull for Harvey).

An absolute classic.
Sharp, predatory, and bitchy - so a little hard to love
Bette Davis is so effortless and breathes fire in her performance as Margot, an aging actress who finds herself slowly and insidiously being usurped by a young fan, Eve, played by Anne Baxter. I don't think it's in a 'best ever' type of discussion, or worthy of its 14 Academy Award nominations, but its sharp dialog, predatory manipulation, and overall bitchiness make it entertaining, even if it's hard to like the characters.

There are some great lines here; in addition to the famous "Fasten your seatbelts, it's going to be a bumpy night", I loved it when Davis exclaimed "I'm not twenty-ish, I'm not thirty-ish. Three months ago I was forty years old. Forty. 4-0. That slipped out. I hadn't quite made up my mind to admit it. Now I suddenly feel as if I've taken all my clothes off." Davis herself was 42, and this line and others ring true. George Sanders (as Addison DeWitt) is also fantastic, at one point saying "You're an improbable person, Eve, and so am I. We have that in common. Also, a contempt for humanity, an inability to love and be loved, insatiable ambition, and talent. We deserve each other."

These quotes capture the spirit of the movie, which to me is simply about the difficulties that aging women face, and the cold and calculating world of the theater. There is supposedly a homosexual element, a theory put forth and apparently confirmed by writer and director Joseph L. Mankiewicz, but it's so subtle, perhaps because of the Hays Code, that it didn't even register with me, and I think it's irrelevant. These characters are in the best cases rough around the edges, and in the worse, simply awful people. We see Margot being slowly replaced and want to feel sympathy for her, but it's tough because she's so abrasive. We see the evil side of Eve slowly unveil itself as it becomes apparent she's far from being a starstruck fan or even who she says she is. And at the end we see that she, too, will be replaced. It's all a bit grim: time, a machine that grinds them down, and competition for glory that leads to Machiavellian backstabbing. It's ironic that Davis was such a diva that there was discord amongst the actors, and Baxter pushing her way into a 'Best Actress' nomination instead of 'Best Supporting Actress' would lead to a division of the vote and neither of them winning. I was happy to see Marilyn Monroe in a small part at age 24 and before she was big, just to bring some lightness into the film. This is certainly a good movie, don't get me wrong, but it's not one I'd watch again and again as I would my favorites.
A masterpiece of old-style theatre back-stabbing with a cherished, hand-picked cast.
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.
Bumpy night,indeed!
A good friend had encouraged me for years to view this film,and the day finally came.Here is my assessment:In the midst of what many believe to be Bette Davis' best work,we have Anne Baxter,in my opinion,in effect stealing the show from her.Both ladies shine brightly.Davis,as the aging stage star,and Baxter as her obsessive fan turned personal assistant who,as her ambition grows,eventually seeks to,in effect,be a reincarnation of her career.This film is a great precursor to every great obsession based film that followed it.There you have it,Rob.It took a while,but the wait was worth it.All About Eve is definitely worthy of it's classic film status.
Acclaimed, but I found it hard to watch
I am now on about my fourth attempt to watch All About Eve. I find it a very hard slog. Each time I manage about 20 minutes, and then I have to find something else to do.

The acting is mechanical and stagey. There is no reacting here, only people waiting to give their next witty riposte. An occasional witty remark is fine. It gets tiring when everyone is witty. This has nothing to do with the period. The wisecracking in 1940's His Girl Friday or 1941's Ball of Fire, for example, is much more natural and believable.

There is no doubt that a lot of the script is great, and the premise is groundbreaking for its time. But a lot of the lines are clunkers or non sequiturs, and these are delivered with the same smugness as the good ones, which adds to the impression that the characters are not thinking about what they're saying, but just reading the text and the stage directions. Celeste Holm gives the closest to what I would say is a believable performance.

Bette Davis is the biggest disappointment. Whether she's playing happy, sad, or angry, it's always reined in, without any real emotions getting through. My 7 is for the script alone. If I had to score the acting and direction separately they would be less.
All About Eve
"All About Eve" starring Bette Davis, Anne Baxter, and George Sanders was a great film because of the screenplay, the directing, and the acting. The dialog in this movie was also really good and powerful.

Eve seems very nice and kind and think that she is obsessed with Margo so they try and help her out. In reality she just uses Margo's friends to help her be successful in the theater business. This shows that Eve is sneaky and a untrustworthy instead of being nice and kind like Margo and her friends thought. Many relationships and feeling change throughout the movie and that's what makes this movie exciting. This movie was great and I would highly recommend to others.
All About Eve is a 1950 American drama film written and directed by Joseph L. Mankiewicz, and produced by Darryl F. Zanuck. It was based on the 1946 short story "The Wisdom of Eve" by Mary Orr, although screen credit was not given for it.

The film stars Bette Davis as Margo Channing, a highly regarded but aging Broadway star. Anne Baxter plays Eve Harrington, an ambitious young fan who insinuates herself into Channing's life, ultimately threatening Channing's career and her personal relationships. George Sanders, Celeste Holm, Hugh Marlowe, Barbara Bates, Gary Merrill, and Thelma Ritter also appear, and the film provided one of Marilyn Monroe's earliest important roles.
***** Perfect!
Here's perfect writing if ever a movie ever had it-where did Joseph L. Mankiewicz come up with these people? Who would have thought he could not only revive Bette Davis' career with her greatest-ever role, but actually make her even more fascinating than she ever was before? Davis plays famous and established actress Margo Channing, a self-centred and tough but vulnerable woman who is purused relentlessly by Eve Harrington (Anne Baxter), a seemingly innocent woman who worships Channing-she even becomes her personal assistant. However, her devotion soon becomes sinister, and Margo lets her friends know, though they just think she's being selfish and unfair. Celeste Holm is excellent as Margo's best friend, who at first is on Eve's side but eventually sees how conniving Eve can be and how ruthless she is in climbing to the top. The party scene early on in the film features some of the film's best lines (`Fasten your seat belts…it's going to be a bumpy night!'), though my personal favourite is when Davis tells Baxter to put her award `where you heart should be'; Margo Channing is just about the best female character of the fifties. Features Marilyn Monroe in an early role.
Where are the stage performances?
All About Eve is all about Bette Davis and Anne Baxter. One an outspoken and uninhibited diva with a kind heart. She's always honest, even if it might hurt feelings, not in the least of herself. The other an innocent and naive wallflower that can turn into a skilled devious witch in the blink of an eye.

The male leads are somewhat interchangeable, alike in looks and behaviour. Exception is DeWitt, who is slick, distinguished and amoral and therefore a rather interesting character. The scenes in which he confronts Eve are among the highlights.

Marilyn Monroe has a small part, and, though we all know of her, eh, average acting abilities, she has a radiance about her that has future stardom written all over it.

Oddly enough, for a movie about the theatre, we hardly see any scene in which theatre performances are shown. These scenes might have been left at the cutting table, but more likely it has just been a matter of indolence or incompetence. For a story about two top theatre actresses it must be quite a challenge to deliver these stage abilities on the silver screen, but quite essential too. It's nevertheless an enjoyable movie, where the interesting plot and acting power of the two lead actresses will keep you in your seat.
I had read comments about the quality of the writing in this film but I really had no idea to what extent this would elevate the experience. The fact is, it leaves me with no other choice than to give it a perfect 10. Unless you see this film, I don't think you'll have the necessary frame of reference with which to to base any expectations on. It's an incredibly engrossing, moving and often comedic experience, but time and time again what knocks you over is the absolute finesse with which this script was crafted. The fact that the acting and direction are flawless and surprisingly natural-seeming (most old movies usually seem stiff or people seem to "act" too much) only enhances it that much more. With this film, you can really imagine the *people* the actors are portraying.

"All About Eve" shows some similarity to one of my other favourite 50s films "A Face in the Crowd". Both are studies of fame and celebrity. Eve shows how a person will corrupt themselves in order to attain it, whereas A Face's premise is that fame corrupts those who find themselves in the spotlight. Both have themes that are perhaps even more resonant in our celebrity-obsessed culture now than when they were made. Interestingly, Eve predates A Face by several years.

And possibly most interesting of all is the honest and often raw way in which women are portrayed, the strength of their character and the power they wield. The male contingent is practically relegated to the back seat. One might be hard pressed to find a movie quite so "liberated" today. So what more can I say? If you love movies and you haven't yet seen it, you've suffered long enough; don't wait another day.
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