All about eve: Student essays
All About Eve- Practice SAC
In the world created by Mankiewicz in All About Eve, there is little room for loyalty and love. Do you agree?
The film All About Eve, directed by Joseph L. Mankiewicz, portrays the world of the theatre in post-war New York. In this insular world, melodramatics reign supreme where the performances offstage rival those on. For the characters, love and loyalty don’t always dictate what a person says or does. Other characteristics such as ambition and insecurities are what sometimes drive their motives. But in this world of prestige, the true winners are those who have the love and support of those around them.
In this exclusive world of the theatre, Mankiewicz emphasises the dramatic performances that take place off stage. ‘In this ivory green room,’ actors, producers, writers and directors constantly play the role they have been assigned, sometimes to the point that they are unable to distinguish between which is which. Margo Channing has lived her whole life in the theatre. She’s played the role of actor so well that she has begun to forget who the real her truly is. ‘And if [she] can’t tell them apart- how can [anyone else]?’ Eve Harrington also creates a persona for herself, but hers is done for a purpose. She aims to crack into this prestigious world and become an actor for herself. For the majority of the film, the tone that Eve uses towards the others is obsequious and simpering. She is constantly trying to gain sympathy from Margo and the others in order to further her plan. But when she lets her façade slip, her tone of voice changes; she becomes colder and harsher. Mankiewicz’ use of dramatic irony allows the audience to understand the true nature of Eve’s motives whilst the remainder of the characters remain unaware her true self.
When these pretences are dropped, the audience is able to realise what truly drives the characters. In a time where women are instructed to play the doting housewife, Eve has an ambition that cannot be quelled. She carefully plans and prepares each move she makes in order to gain what she wants; playing the victim to gain acceptance and obsessively emulating Margo. It is in her ambition that her cynicism truly shines through. She believes that Margo, Bill, Lloyd and Karen are so weak and horrible that she can easily manipulate them. Her amoral nature contrasts so greatly to the ultra sensitive Margo. She too is driven by a negative force; her insecurities about her age, career and Bill. At times Margo feels inferior to Eve, believing that ‘she’s so young- so feminine and helpless. So many things that I want to be for Bill.’ Her obsession with her age makes her become petty and insecure. Her melodramatic actions at the party drive Bill and the others away from her, which leaves her feeling alone and helpless. It this alienation that makes Margo realise that she is a better person and actor when she alleviates her insecurities.
Despite receiving the Sarah Siddons Award, by the end of the film Eve isn’t truly a winner. Her career is on the rise and she seemingly achieves all that she had aspired to at the start, but ultimately she is lonely. The acceptance that she desired from those she admired the most was never gained. Through her own doing, she alienates herself and this leaves her without what is most important. Through the introduction of Phoebe in the final scene, Mankiewicz is demonstrating that Eve’s stardom will only be temporary. The shot of Phoebe standing in front of the mirror with thousands of her images being reflected, shows the audience that this cycle will continue to repeat itself and that Eve was not the first and will not be the last. This notion contrasts greatly to Margo at the end of the film. Along will Bill, Lloyd and Karen, they have ‘never been more close’ and they will ‘never be farther apart.’ They are united in their love and loyalty towards one another, which can never be broken. Margo’s star is also lasting in comparison to Eve’s flickering light. ‘Margo is a great star. A true star. She never will be anything less or anything else.’ The contrast between the film’s protagonist and antagonist demonstrates that ultimately love and loyalty wins out.
In this prestigious and insular world that Mankiewicz develops, the roles the people play aim to hide who they truly are. But throughout all of the lying and deception, the love and loyalty shown in Margo, Bill, Lloyd and Karen is what ultimately reigns supreme.
All About Eve- Practice SAC
“Eve and Margo both desire fame and success, but their contrasting fates suggest that loyalty and trust in relationships are far more important”
Joseph Mankiewicz’s film All About Eve is set in post war New York and offers his audience insight into the scheming and manipulation that occurs on the Broadway stage. Antagonist Eve Harrington attempts to supplant Margo Channing as the reigning star of the theatre as she endeavours belong to the theatre world through being successful and famous. Mankiewicz also allows his contemporary audience insight into the struggles of Margo Channing as she tries to maintain the fame she has enjoyed for so long and that defines her. However, after narrowly escaping the destructive force of Eve, Mankiewicz shows that the loyalty and trust which exists in the relationships surrounding Margo are of far more value than the unscrupulous machinations of Eve, which ultimately leave her unfulfilled. nice
In his film, Mankiewicz gradually reveals the true nature of Eve-desiring success and fame above all else which she believes will grant her belonging to the insular world of the theatre. The audience first sees Eve at the Sarah Siddons society, receiving the highest award. The aged actor introduces her as having ‘one wish, one prayer, one dream. To belong to us.’ Mankiewicz then freezes the shot as she reaches for her award, informing his contemporary audience of her ambition and drive for success. Mankiewicz also hints at the destruction she will bring through the ‘handle with care’ packing case which appears behind Margo and Karen as she is invited into their inner circle. As Eve gradually ingratiates herself to Margo, she inadvertently admits to her desire for fame and success at Bill’s birthday as she sits on the lowest step, on the outer edge of the group. A camera close up shows her dreamy expression as she describes the reward of being an actress a to experience the ‘waves of love coming over the footlights’ and just the knowledge that the audience ‘want you, you belong’ is ‘worth anything’. As her amoral plan is carried out, Eve eventually employs blackmail to secure the role of Cora. During her meeting with Karen, a camera close up shows the change in Eve’s demeanour as her expression turns cold and calculating, her mellifluous voice developing a hard edge. She admits to Karen that she ‘would do much more for a part that good’. Mankiewicz reveals that Eve does desire fame and success, but also public recognition of her talent. Addison identifies this desire as he says they both have ‘insatiable ambition and talent’. Mankiewicz not only conveys Eve’s aspirations of stardom to his audience but also what motivates her ruthless actions which is her desire to belong and be recognised by her audience as being as talented as the great Margo Channing. lovely
Whilst Mankiewicz clearly identifies Eve as longing for fame and success, Margo is seen to have a different struggle of maintaining the success she already has as Eve plots to supplant her. At the Sarah Siddons awards, Margo is first introduced by Addison as being a ‘great star, a true star’ all her life, ‘She never was or will be anything less’. When Margo is in her theatre dressing room, a medium camera shot shows her surrounded by her friends, not concerned about her appearance as she removes her make up. She describes her audience and supporters as ‘autograph fiends’, and ‘nobody’s fans . . . nobody’s audience’. Her disregard for her admirers indicates to the contemporary audience that she has no desire to further her career or seek further accolades from the public. However, although Margo does not desire fame and success as Eve does, Mankiewicz emphasises how she fears to lose the standing she already has in the world of the theatre. After learning that Eve is her new understudy, Margo tells Lloyd that he can ‘change this star’ for a ‘new, fresh, exciting one fully equipped with fire and music’, feeling the betrayal of those around her who, in a twist of dramatic irony have unwillingly assisted Eve in destroying Margo’s career. Margo admits her insecurities to Karen as they wait together in the car for Lloyd. A piano nocturne plays in the background as a close up camera shot shows Karen’s sorrowful expression along with Margo’s expression of vulnerability. Margo says, ‘I wish someone would tell me about me’, admitting that without the fame and success she does not know who she is. She continues to predict that ‘ten years from now, Margo Channing will have ceased to exist’ feeling she would be too old for her career to continue as it has. Mankiewicz informs his audience of Margo’s insecurities about losing her career as a result of Eve’s plotting and manipulation, which tests the relationships that surround Margo.
Throughout his film, Mankiewicz not only tells his audience of Eve’s ruthless scheming and Margo’s vulnerability but also how Eve’s destructive force has affected those in the world of the theatre. Mankiewicz demonstrates that Eve’s ruthless ambition and her tendency to judge others by her own standards has caused her to underestimate the strength of Bill and Margo’s relationship, as Bill is clearly immune to Eve’s seduction. Her shock at this is captured in a camera close up of her expression, contorting in rage as she throws down Margo’s wig and turns away. However, Mankiewicz informs his audience that others are influenced by Eve’s manipulation as Karen betrays Margo, making her miss a performance and allowing Eve to perform instead. Karen, after hearing of Margo’s insecurities is seen to regret her actions, a close up shot showing tears in her eyes as she tells Margo how ‘sorry [she] is’. At the Cub Room, after Eve’s true nature is revealed, in a medium camera shot, Margo, Bill and the Richards are seen celebrating, reaffirming their friendship after it came within a hair’s breadth of being lost due to Eve. Lloyd makes a toast, “Never have we been more close- may we never be farther apart”. Mankiewicz contrasts Eve’s fate as after receiving her award with this reassertion of unity and loyalty. She leaves it behind in the taxi and returns home alone. The camera shows Eve sitting, drinking and smoking alone, not having achieved the belonging she so desperately desired. Mankiewicz employs dramatic irony once again, as he shows Phoebe primping and preening in Eve’s evening cloak and holding her award as she bows at her reflection, indication her intention of supplanting Eve due to her own desires of success. Through the contrasting fates of Eve and Margo, Mankiewicz reveals that although many relationships were almost broken due to Eve’s machinations, ultimately the loyalty that exists prevails in the face of Eve’s unrelenting ambition for fame and success.
In his film, Mankiewicz reveals to his audience of the desire for fame and success that exists in the world of the theatre, represented through the character of Eve. Margo however faces a different struggle not wanting to lose the success she has, as she does not believe Margo Channing can exist without it. However, despite Eve almost succeeding to destroy the relationships between Margo, Bill and the Richards, the loyalty and trust which exist ultimately prevail. Mankiewicz informs his contemporary audience of Eve’s final isolation, as she is unfulfilled by her own success and without the belonging she desires. Whilst Eve does desire fame and success, the loyalty in the relationships of Margo are shown by Mankiewicz to be more important as outlast the destructive force of Eve.
In the world created by Mankiewicz in All About Eve, there is little room for loyalty and love. Do you agree?
The film All About Eve, directed by Joseph L. Mankiewicz, portrays the world of the theatre in post-war New York. In this insular world, melodramatics reign supreme where the performances offstage rival those on. For the characters, love and loyalty don’t always dictate what a person says or does. Other characteristics such as ambition and insecurities are what sometimes drive their motives. But in this world of prestige, the true winners are those who have the love and support of those around them.
In this exclusive world of the theatre, Mankiewicz emphasises the dramatic performances that take place off stage. ‘In this ivory green room,’ actors, producers, writers and directors constantly play the role they have been assigned, sometimes to the point that they are unable to distinguish between which is which. Margo Channing has lived her whole life in the theatre. She’s played the role of actor so well that she has begun to forget who the real her truly is. ‘And if [she] can’t tell them apart- how can [anyone else]?’ Eve Harrington also creates a persona for herself, but hers is done for a purpose. She aims to crack into this prestigious world and become an actor for herself. For the majority of the film, the tone that Eve uses towards the others is obsequious and simpering. She is constantly trying to gain sympathy from Margo and the others in order to further her plan. But when she lets her façade slip, her tone of voice changes; she becomes colder and harsher. Mankiewicz’ use of dramatic irony allows the audience to understand the true nature of Eve’s motives whilst the remainder of the characters remain unaware her true self.
When these pretences are dropped, the audience is able to realise what truly drives the characters. In a time where women are instructed to play the doting housewife, Eve has an ambition that cannot be quelled. She carefully plans and prepares each move she makes in order to gain what she wants; playing the victim to gain acceptance and obsessively emulating Margo. It is in her ambition that her cynicism truly shines through. She believes that Margo, Bill, Lloyd and Karen are so weak and horrible that she can easily manipulate them. Her amoral nature contrasts so greatly to the ultra sensitive Margo. She too is driven by a negative force; her insecurities about her age, career and Bill. At times Margo feels inferior to Eve, believing that ‘she’s so young- so feminine and helpless. So many things that I want to be for Bill.’ Her obsession with her age makes her become petty and insecure. Her melodramatic actions at the party drive Bill and the others away from her, which leaves her feeling alone and helpless. It this alienation that makes Margo realise that she is a better person and actor when she alleviates her insecurities.
Despite receiving the Sarah Siddons Award, by the end of the film Eve isn’t truly a winner. Her career is on the rise and she seemingly achieves all that she had aspired to at the start, but ultimately she is lonely. The acceptance that she desired from those she admired the most was never gained. Through her own doing, she alienates herself and this leaves her without what is most important. Through the introduction of Phoebe in the final scene, Mankiewicz is demonstrating that Eve’s stardom will only be temporary. The shot of Phoebe standing in front of the mirror with thousands of her images being reflected, shows the audience that this cycle will continue to repeat itself and that Eve was not the first and will not be the last. This notion contrasts greatly to Margo at the end of the film. Along will Bill, Lloyd and Karen, they have ‘never been more close’ and they will ‘never be farther apart.’ They are united in their love and loyalty towards one another, which can never be broken. Margo’s star is also lasting in comparison to Eve’s flickering light. ‘Margo is a great star. A true star. She never will be anything less or anything else.’ The contrast between the film’s protagonist and antagonist demonstrates that ultimately love and loyalty wins out.
In this prestigious and insular world that Mankiewicz develops, the roles the people play aim to hide who they truly are. But throughout all of the lying and deception, the love and loyalty shown in Margo, Bill, Lloyd and Karen is what ultimately reigns supreme.
All About Eve- Practice SAC
“Eve and Margo both desire fame and success, but their contrasting fates suggest that loyalty and trust in relationships are far more important”
Joseph Mankiewicz’s film All About Eve is set in post war New York and offers his audience insight into the scheming and manipulation that occurs on the Broadway stage. Antagonist Eve Harrington attempts to supplant Margo Channing as the reigning star of the theatre as she endeavours belong to the theatre world through being successful and famous. Mankiewicz also allows his contemporary audience insight into the struggles of Margo Channing as she tries to maintain the fame she has enjoyed for so long and that defines her. However, after narrowly escaping the destructive force of Eve, Mankiewicz shows that the loyalty and trust which exists in the relationships surrounding Margo are of far more value than the unscrupulous machinations of Eve, which ultimately leave her unfulfilled. nice
In his film, Mankiewicz gradually reveals the true nature of Eve-desiring success and fame above all else which she believes will grant her belonging to the insular world of the theatre. The audience first sees Eve at the Sarah Siddons society, receiving the highest award. The aged actor introduces her as having ‘one wish, one prayer, one dream. To belong to us.’ Mankiewicz then freezes the shot as she reaches for her award, informing his contemporary audience of her ambition and drive for success. Mankiewicz also hints at the destruction she will bring through the ‘handle with care’ packing case which appears behind Margo and Karen as she is invited into their inner circle. As Eve gradually ingratiates herself to Margo, she inadvertently admits to her desire for fame and success at Bill’s birthday as she sits on the lowest step, on the outer edge of the group. A camera close up shows her dreamy expression as she describes the reward of being an actress a to experience the ‘waves of love coming over the footlights’ and just the knowledge that the audience ‘want you, you belong’ is ‘worth anything’. As her amoral plan is carried out, Eve eventually employs blackmail to secure the role of Cora. During her meeting with Karen, a camera close up shows the change in Eve’s demeanour as her expression turns cold and calculating, her mellifluous voice developing a hard edge. She admits to Karen that she ‘would do much more for a part that good’. Mankiewicz reveals that Eve does desire fame and success, but also public recognition of her talent. Addison identifies this desire as he says they both have ‘insatiable ambition and talent’. Mankiewicz not only conveys Eve’s aspirations of stardom to his audience but also what motivates her ruthless actions which is her desire to belong and be recognised by her audience as being as talented as the great Margo Channing. lovely
Whilst Mankiewicz clearly identifies Eve as longing for fame and success, Margo is seen to have a different struggle of maintaining the success she already has as Eve plots to supplant her. At the Sarah Siddons awards, Margo is first introduced by Addison as being a ‘great star, a true star’ all her life, ‘She never was or will be anything less’. When Margo is in her theatre dressing room, a medium camera shot shows her surrounded by her friends, not concerned about her appearance as she removes her make up. She describes her audience and supporters as ‘autograph fiends’, and ‘nobody’s fans . . . nobody’s audience’. Her disregard for her admirers indicates to the contemporary audience that she has no desire to further her career or seek further accolades from the public. However, although Margo does not desire fame and success as Eve does, Mankiewicz emphasises how she fears to lose the standing she already has in the world of the theatre. After learning that Eve is her new understudy, Margo tells Lloyd that he can ‘change this star’ for a ‘new, fresh, exciting one fully equipped with fire and music’, feeling the betrayal of those around her who, in a twist of dramatic irony have unwillingly assisted Eve in destroying Margo’s career. Margo admits her insecurities to Karen as they wait together in the car for Lloyd. A piano nocturne plays in the background as a close up camera shot shows Karen’s sorrowful expression along with Margo’s expression of vulnerability. Margo says, ‘I wish someone would tell me about me’, admitting that without the fame and success she does not know who she is. She continues to predict that ‘ten years from now, Margo Channing will have ceased to exist’ feeling she would be too old for her career to continue as it has. Mankiewicz informs his audience of Margo’s insecurities about losing her career as a result of Eve’s plotting and manipulation, which tests the relationships that surround Margo.
Throughout his film, Mankiewicz not only tells his audience of Eve’s ruthless scheming and Margo’s vulnerability but also how Eve’s destructive force has affected those in the world of the theatre. Mankiewicz demonstrates that Eve’s ruthless ambition and her tendency to judge others by her own standards has caused her to underestimate the strength of Bill and Margo’s relationship, as Bill is clearly immune to Eve’s seduction. Her shock at this is captured in a camera close up of her expression, contorting in rage as she throws down Margo’s wig and turns away. However, Mankiewicz informs his audience that others are influenced by Eve’s manipulation as Karen betrays Margo, making her miss a performance and allowing Eve to perform instead. Karen, after hearing of Margo’s insecurities is seen to regret her actions, a close up shot showing tears in her eyes as she tells Margo how ‘sorry [she] is’. At the Cub Room, after Eve’s true nature is revealed, in a medium camera shot, Margo, Bill and the Richards are seen celebrating, reaffirming their friendship after it came within a hair’s breadth of being lost due to Eve. Lloyd makes a toast, “Never have we been more close- may we never be farther apart”. Mankiewicz contrasts Eve’s fate as after receiving her award with this reassertion of unity and loyalty. She leaves it behind in the taxi and returns home alone. The camera shows Eve sitting, drinking and smoking alone, not having achieved the belonging she so desperately desired. Mankiewicz employs dramatic irony once again, as he shows Phoebe primping and preening in Eve’s evening cloak and holding her award as she bows at her reflection, indication her intention of supplanting Eve due to her own desires of success. Through the contrasting fates of Eve and Margo, Mankiewicz reveals that although many relationships were almost broken due to Eve’s machinations, ultimately the loyalty that exists prevails in the face of Eve’s unrelenting ambition for fame and success.
In his film, Mankiewicz reveals to his audience of the desire for fame and success that exists in the world of the theatre, represented through the character of Eve. Margo however faces a different struggle not wanting to lose the success she has, as she does not believe Margo Channing can exist without it. However, despite Eve almost succeeding to destroy the relationships between Margo, Bill and the Richards, the loyalty and trust which exist ultimately prevail. Mankiewicz informs his contemporary audience of Eve’s final isolation, as she is unfulfilled by her own success and without the belonging she desires. Whilst Eve does desire fame and success, the loyalty in the relationships of Margo are shown by Mankiewicz to be more important as outlast the destructive force of Eve.