Mankiewicz’ Masterpiece: ‘All About Eve’ 1950

Anne Baxter & Bette Davis face off as Eve & Margo, with the 'All About Eve' cast as their captive audience.

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All About Eve became an instant classic in 1950 and the comedic drama’s reputation has never waned. This knowing look at showbiz is legendary for several reasons.

 First, Eve was director Joseph L. Mankiewicz’ one- two punch, after A Letter to Three Wives, winning back-to-back Oscars for Best Director and Best Adapted Screenplay—a feat unmatched. Also, All About Eve is the only time four actresses from the same film were nominated for Oscars!

Bette Davis with 'Eve' writer-director Joseph L. Mankiewicz. One of Bette's best AND most benevolent collaborations!

Eve also brought Bette Davis’ career back from the dead, according to the icon. After a handful of less than stellar films, capped by Beyond the Forest, her freakish finale at WB, Eve was Bette’s big comeback.

All About Eve has long been a gossip's delight, over whether Margo Channing was a take-off on Talullah Bankhead. Not really, but the theatrical star dined out—or drank out—on that anecdote for decades.

This film, chock full with a great cast, marked the return of Marilyn Monroe to 20^th Century Fox, this time batting a homerun as starlet on the make, Miss Casswell.

'All About Eve' boasted one of the best ensemble casts ever. I think Thelma Ritter should have photobombed this publicity shot!

All About Eve still feels so adult; imagine how audiences felt in 1950. The razor sharp satire must have seemed like a slap upside the head! Eve is the elegant tale of a great theatre star whose position is being undermined by an acolyte who goes from personal assistant to a very personal adversary. The Joseph L. Mankiewicz script is one of the most literate, funny, and entertaining of all time. Director Mankiewicz was great with dialogue and actors, and it really shows here.

Bette Davis, in her career peak performance as Margo Channing, has been justly lauded. Yet, aside from Bette’s larger than life moments, it’s some of the small moments that are so honest and telling. It's really a shame there weren't more Joseph L. Mankiewicz’ in Bette's latter day professional life.

Bette Davis as Margo Channing, temperamental theater star. Davis had no doubts about looking her age, 42 in 1950.

Davis is the first star who I can think of that agreed to play... horrors ...an aging actress! Bette’s first scene, slathered in face cream, was a signal that this wasn't going to be aging ‘in dialogue’ only. The late night phone call, gives an unvarnished Bette a mini-marathon, from light banter with Bill, to Margo’s realization that Eve may be playing her. After she hangs up, I love how that scene lingers, when Bette's Margo lights a cigarette and ponders what just transpired. It’s Bette at her best; you can see her thinking, without saying a thing.

The phone call from Bill scene says so much about Bette, the actress.
What film diva in 1950 would agree to be photographed harshly with mussed up hair and no makeup? 

Claudette Colbert was supposed to play Margo Channing, but dropped out after a back injury on the war film, Three Came Home. At this point, Margo was written to suit her smooth, sophisticated persona. Obviously, Eve would have been a whole different movie with Colbert, and IMO, not as memorable. I thought Colbert was a stellar comic actress, but at best, a solid dramatic leading lady. CC out, Zanuck then brought up Marlene Dietrich, which Mankiewicz vetoed. Imagine “ageless” Dietrich agreeing to play “aging” Margo! Barbara Stanwyck was mentioned, an understated and versatile actress indeed, but not larger than life. Now, Joan Crawford was larger than life, but I can't imagine her “going there” as Margo, the way Bette did. Crawford’s own aging star saga, Torch Song, three years later, is proof of that. Also, Tallulah Bankhead, who claimed Davis appropriated her persona, gave a radio performance as Margo. While Bankhead batted out the comedy lines effortlessly, she is flat in her dramatic readings, especially compared to Bette’s virtuoso delivery. The difference was Bankhead was big on personality, light on dramatic talent, whereas Bette possessed an abundance of both.

Margo sounding off on what she thinks of playwrights! A bit like Bette blasting her opinion of most Hollywood directors?

Some film critics and fans feel that Anne Baxter was not in Bette Davis' league as Eve Harrington, especially not believable as a threat to Bette's Margo. Well, outside of Godzilla, who was? Eve is a tricky role, because audiences have to believe she is demure and mousy until she shows her true colors. Fox head Darryl F. Zanuck wanted Jeanne Crain as Eve, if you can imagine. The other Fox star that comes to mind is Susan Hayward. Now, “The Brooklyn Bernhardt” you could believe as a threat to Davis, filled “with fire and music,” to quote Addison DeWitt. Would Hayward have been able to hide her light under a bushel, while trying to fool Margo and her crew? I doubt it. I think Baxter was the best choice. As early Eve, she reminds me of Joan Fontaine, with the arched eyebrow and deliberate soft voice. Amusingly, when Eve gets busted taking bows while holding Margo's costume, Baxter reacts like she got caught with a corpse! But this was the standard back then, where Baxter's Eve, The Bad Seed's Rhoda, and Mildred Pierce's Veda, were all fairly transparent in their badness.

Center, Anne Baxter as beatific Eve, in awe of power couple Bill and Margo.

When Baxter sheds Eve's veil, she's quite cunning, to me. Her arm twisting Karen over the role of Cora, her showdown with Addison DeWitt, and her post-award butch bitchiness at her plush pad—all superbly performed.

Eve, before the self-wig snatch!

I've never seen Judy Holliday in Born Yesterday, except clips, but it seems dated. While Judy’s persona was fresh at the time, was this really a stretch for her? I’ll just say it: It's hard to believe Judy Holliday won over Gloria Swanson and Bette Davis' legendary characters in Sunset Blvd. and All About Eve. In Hollywood, box office and awards matter so much at the time, but in the end, it's the movies and stars that are remembered by audiences that matter most. 

Much was made of when Anne Baxter asked for Oscar consideration as Best Actress for Eve. Well, many felt she cancelled herself and Bette out with that move. Bette certainly did! But here's a thought: Anne did play the title role and was in the movie throughout. Bette worked for 3 weeks on Eve. Plus, Anne was a Fox star, whereas Bette was freelancing. Why didn't Fox submit Bette as best supporting actress, instead? Anne probably still wouldn't have won, but Bette may have scored a third Oscar as best supporting. Yes, I know, back then, that was a comedown for a star. And yes, Bette's performance permeated the whole movie, but I wonder if anyone else thought this too?

Eve and Margo's friendship faces the final curtain in this rehearsal scene.

Some folks have argued over whether Addison DeWitt and Eve were gay. My first reaction: Who cares? But I always assumed Addison was. To which those with the opposing view say, well, what about his interest in Eve? My thought is, the same reasons that Waldo Lydecker obsessed over Laura: A trophy, a monument to his ego, and more practically, a professional “beard.” As for Eve, “Mank” made later comments that she was fluid in that she went wherever it did her career or ego the most good. A little like Faye Dunaway's Diana in Network? Still, much commented on moments where Eve makes female alliances do seem coded to me. I love the scene where she rips off her feminine curled wig after director Bill Sampson rejects her. While wigging out, Eve’s own combed-back hair looks very mannish. When Addison surprises her, Eve resumes her Bo Peep pose.

Eve's makeup mask is at odds with her short-cropped hair, but Addison is no longer fooled, anyway.

George Sanders was usually cast as acerbic, but in Eve he’s the apex of acerbic. One big difference is that here, Sanders was given a three-dimensional character in Addison DeWitt. Yes, he’s snarky and sneaky, and loves every minute of his scheming. But Addison’s also an outsider. When he describes theater people as “we,” it’s a bit of an eye roll, because we know he’s not one of them. And you feel deep down, he knows that, too. That explains DeWitt’s bitchery toward the real show folk. When Eve laughs at DeWitt for declaring his claim on her, Addison slaps her, and you see his own need for validation, to keep his image maintained. Addison DeWitt is no one-note villain, and Sanders covers the bases brilliantly.

Thelma Ritter is brilliant as Birdie, Margo's gal Friday. I love this moment in 'Eve,'
when the supporting character is observed by the star. A rarity!

Mankiewicz gave Thelma Ritter the role of a lifetime, written specifically for her. As Birdie Coonan, Thelma gets to fly, after scene-stealing bits in Miracle on 34^th Street and A Letter to Three Wives. Next to Addison, Birdie has the best lines in the movie, and Ritter hits them out of the theater. Ritter got the first of four consecutive Best Supporting Actress Oscar nominations. And for All About Eve, Thelma lost to Josephine Hull in Harvey? OK, Oscar. Celeste Holm’s Karen, next to fiery friend Margo, may seem too serene. But watch closely, and you’ll see Celeste is knowing, warm and straightforward, immersed in the character of the playwright’s wife. Marilyn Monroe had one of her two memorable cameos that year, in The Asphalt Jungle and here as Miss Casswell. She's sly fun and already displays good comedy timing.

Bette Davis & Gary Merrill fell in love during 'Eve's' filming, which gave Margot & Bill's romance extra intensity.

With the exception of George Sanders’ Addison DeWitt, the men are more or less straight men, so to speak, and not as dynamic. Still, Gary Merrill and Hugh Marlowe are solid and intelligent as director Bill Sampson and playwright Lloyd Richards.

While Bette Davis plays Margo Channing larger than life, she skirts caricature skillfully.

In the end, All About Eve is all about the women, and what memorable women they are, thanks to Mankiewicz’ witty words and the wonderful actresses speaking them.

Busted! Watch your back, Margo!

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Hitchcock’s 'Rear Window' Still Thrills 1954

James Stewart eyes Grace Kelly in Alfred Hitchcock's 'Rear Window.'

Rear Window remains one of Alfred Hitchcock’s best Technicolor blockbusters. The suspense classic combines the thrills of The Man Who Knew Too Much and North by Northwest with the twisted undercurrents of Vertigo.

Huge hit in '54, much imitated, never equaled. 

The much-imitated 1954 movie begins with risk-taking news photographer L.B. “Jeff” Jeffries, sidelined with a broken leg. During a hot New York City summer, the bored patient has taken to spying on his Greenwich Village neighbors for entertainment. Wheelchair-bound, Jeff follows their lives like a favorite reality TV show: “Miss Torso” is a dancer always in motion and various stages of undress; “Miss Lonelyhearts” is desperately seeking romance; the newlyweds keep house mostly in the bedroom; the aspiring songwriter is looking for a hit; and there are several other neighbor archetypes, whose behavior figures into the storyline. One neighbor piques peeper Jeff’s interest in particular: Lars Thorwald, a brooding jewelry salesman with a nagging invalid wife. Late one rainy night, Jeff hears a scream. Later, he notices Thorwald leaving his apartment several times, into the wee hours. This lifts Jeff out of his lethargy. The next day, the lensman notices that the salesman’s Mrs. seems to be missing.

A chain of events leads Jeff to assume the worst. He even calls upon detective pal, Tom Doyle. When nothing incriminating is found, Jeff’s suspicions are still aroused and he decides to flush Thorwald out. Soon enough, the neighbor is on to Jeff, as well.

Good guy Jimmy Stewart shows a dark side as the voyeur in 'Rear Window.'

Director Hitchcock found in James Stewart the perfect common man, the ideal stand-in for audiences. Stewart, open, relaxed, is the perfect film actor—a great reactor. Even at his best, James Stewart may always seem to be playing “Jimmy Stewart,” the homespun hero, but Hitch also gave the folksy actor some darker traits. In Vertigo, Stewart is obsessed with Kim Novak; in The Man Who Knew Too Much, Stewart is a controlling doctor, whose life spins out of control. And in Rear Window, Stewart’s character is a voyeur. While scolding Jeff, his nurse declares that people are becoming “a nation of Peeping Toms.” Jimmy’s inherent decency gives his character empathy, and makes his questionable actions palatable.

Jeff likes to people-watch a little too much for his own good—and yet also has a problem with paying proper attention to his girlfriend. According to nitpicky Jeff, Lisa Fremont, played by Grace Kelly, is too perfect. Stewart’s character seems irritated at having a gorgeous girlfriend twenty something years his junior, who tries to seduce him with sexy negligees and gourmet takeout food. Sounds like male menopause movie star problems to me!

Grace Kelly has one of the most perfect movie entrances ever in 'Rear Window.'
Helps when you look like this!

Grace Kelly is great fun here, not to mention subtly sexy and blindingly beautiful. Kelly is self-assured, intelligent, and romantic—plus, Grace gets a chance to react to Stewart’s criticism of her already princess-like persona. Unlike Hitchcock’s painstaking efforts regarding Tippi Hedren’s acting, Hitch merely got Grace to tone down her acting school mannerisms and just act natural. Pat Hitchcock, the director’s daughter, said all Hitch had to do was say a few words to Kelly, and she knew just what to do. How about a shout-out for Kelly’s introductory scene? Leaning in to kiss her awakened photographer prince, Grace in a huge slow-motion close-up—is movie magic.

Thelma Ritter as Stella, a nurse who dispenses medical and marital advice!

The great supporting cast is led by the inimitable Thelma Ritter as Stella, the nurse who alternately tends to Jeff’s leg while tossing off pragmatic romantic advice. Ritter is wisecracking yet warm, as always. Ritter and Kelly are especially endearing together when they do the legwork for Jimmy’s wheelchair detective, which provides some of the more hair-raising moments. It’s always a jolt to see Raymond Burr, usually on the right side of the law in Perry Mason and Ironside, as the villain. Burr, with his glowering eyes, is a most unnerving neighbor to have. And Wendell Corey, who practically invented the word laconic, is the deadpan detective who’s skeptical of Stewart’s character.

Hitchcock truly took advantage of the slowly eroding censorship code. I was amazed at what slipped by, but Hitch cannily put in salacious content that he knew wouldn’t get by the code, while the scenes and dialogue he really wanted to keep slipped by. All the voyeuristic titillating bits were filmed from Jeff’s point of view at a discreet distance. Hence, Miss Torso is undressing with her back to the camera, Miss Lonelyhearts fights off lotharios, and The Honeymooners are mostly seen between sexual rounds in the sack. 

Raymond Burr, often on the right side of the law, is a scary neighbor.

This film has the trademark Hitchcock thrills but effectively mixed with his take on humanity. The scenarios played out in the other apartments are a slice of life, but shaken when one of their neighbors displays aberrant behavior. For a stylized filmmaker, Alfred Hitchcock had a realistic view on life: the good and the bad intermingle together, and there are no safe havens.

Rear Window is unique because, unlike most thrillers of the era, it doesn’t rely on a scary musical score. The soundtrack is spare, mostly jazzy, but is filled with incidental sounds of city life and from the neighbors’ homes. Music occasionally wafts from the various apartments. Also pleasing is that Paramount films from the ‘50s have lush crisp color, unlike MGM’s grainy MetroColor or WB’s unflattering hues, or Fox’s gaudy color, for example.

The elaborate apartment complex set for 'Rear Window.'
The lighting had timers, to depict different times of the day.

Paramount gave Hitch free rein for Rear Window, and the “apartment complex” was one of the biggest sets ever constructed…and deepest. To allow for the proper amount of apartment “floors,” the Paramount construction crew cut out the floor soundstage and turned the basement into the courtyard.

Hitch was at the height of his powers and sensationally in sync with studio style filmmaking during its last hurrah. The sets were stylized but in keeping with the era; the sexy elements of the story were highly charged, but implied, not explicit.

What’s amazing about Rear Window is that the storytelling is so engaging, while ratcheting up the suspense, you don’t realize until it’s over that the whole story took place in the apartment complex. And that’s a perfect example of why Alfred Hitchcock was called The Master of Suspense.

Grace Kelly, picture perfect in one of Hollywood's most perfect suspense films.

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