i was hoping someone could read and give me feed back on this essay.
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‘In All About Eve, Margo ultimately triumphs over Eve.’ To what extent do you agree?Joseph Mankiewicz 1950’s ‘film du theatre’ All About Eve, provides an insight into the qualities needed to succeed in the star-studded world of the theatre. In particular, the protagonists, Margo Channing and her “carbon copy”, Eve Harrington, are portrayed as flawed characters because of their single-minded pursuit of fame and fortune. Whilst Margo eventually recognizes the absurdity of her dreams in a 1950s socially-conservative chauvinistic world, Eve appears to emerge triumphantly but discredited due to her wily, manipulative streak.
Deceptive and manipulative qualities as seen in the character Eve Harrington are what allow her to reach stardom in a matter of a few short months. Eve is seen to stop at nothing to reach celebrity status, this is inclusive of walking all over her ‘first friend in the theatre’ Karen Richards otherwise known as Margo Channing’s best friend. Director Mankiewicz first foretells Eve’s master plan during her first meeting with Karen. Through the mise-en-scene the director reveals a mid-shot of Karen, whose face is framed by two steps, foreshadowing Eve’s desire to climb the ladder of success by exploiting Karen’s kind and helpful nature. After ‘worm[ing]’ her way into Margo’s life by posing as ‘just another tongue-tied gushing fan’ upon their first meeting, Eve goes on to infiltrate every aspect of Margo’s life. She learns how to ‘walk, talk, eat, think [and] sleep’ just like Margo and eventually robs her of her position in the spotlight. Eve’s take over results in her winning the most prestigious ‘Sarah Siddons award for distinguished achievement in the theatre’ and the fame she whole-heartedly desired. Her newfound fame makes her the golden girl, the cover girl, the girl next door, the girl on the moon’, the girl that everyone supposedly loves and applauds. It is this applause that Eve claims to crave above all else and as she later reveals she just wants to belong to the theatre ‘as that alone is worth anything’, which seems to include ruining another woman's career and lifestyle.
Female ambition and the characterisation of female leads with masculine characteristics as portrayed by Margo reinforces what she must ‘drop’ to pursue success in a man’s world. Margo has a deep voice and the mise-en-scene of the dressing room scene, reveals a close-up shot of Margo, without her makeup and a flat light that accentuates her wrinkles. She appears concerned and dishevelled like ‘a junkyard’, however, she still has Bill who loves her for who she is. This until Eve’s scheming sheds light on how Margo ‘treats her [friends] like her supporting cast’ in particular during Bill’s birthday party where she drinks herself into oblivion, leading her closest friends to turn against her. Margo maintains her dramatic stance on Eve’s ploy at the expense of her career, Karen’s loyalty, Lloyd’s support and most importantly Bill’s love. Bill and the Richards believe that Margo’s childish act is no longer going to cut it. As Bill leaves Margo on the bed on stage Mankiewicz makes the audience aware that Eve has cheated Margo out of everything she holds close to her and the retreating long camera shot reveals that all Margo has left is her act. However, even that will soon belong to Eve, as she takes the stage and fulfils her duty as an understudy while Margo stranded on the side of the road. It is this performance of Eves that compels the audience to believe that she had, in fact, prevailed over Margo.
Truth and love ultimately reign over manipulation and lies this is demonstrated as Mankiewicz juxtaposes Margo’s epiphany about marital happiness with Eve’s despair as she becomes psychologically imprisoned by Addison de Witt. Margo’s epiphany comes after, she “lets her hair down” and confides in Karen, in this private setting, Margo is seen to be humble by apologising and revealing her insecurities. This side of Margo is far from the arrogant “Queen Mother” she is perceived to be leading up to this scene. Margo’s fears of ageing and being anything less than a star all seem to fade away once she is engaged to Bill and ‘finally [has] a life to live’, this is indicative of the patriarchal society of the 1950’s that dictates that women who best conform to the domestic ideal are more likely to achieve happiness. Eve however as much as she tries to fit into the mould of a perfect woman, seen in her attempts to seduce Bill and Lloyd, even going as far as to fabricate a story in which she is to marry Lloyd. During the first half of this scene, Eve is filmed from below signifying the power she believes she holds over Addison and her future. However, the balance of power is rightfully resumed and Addison is now filmed from below to emphasise his control as he unravels all of Eve’s lies. Preceding Addison’s unpacking of Eve's forgery he claims ownership of her, she now belongs to Addison. The only thing she has left is the Sarah Siddons award which Margo insinuates can fill the cavity ‘where [her] heart ought to be’ this is also reflective of Addison’s comment that he and Eve have ‘an inability to love and be loved’ both who which suffer from the burden of “insatiable ambition” and from their ruthless desire to control others. All the while Margo is content with her life and she is supported and loved by those who matter most to her.
Ultimately All about Eve ends by commending a traditional view of women’s role. Mankiewicz depicts Margo and Eve to both experience elation and turmoil, however, Eve’s victory is one of the pyrrhic nature in that is she is isolated and left without fulfilment or long-lasting satisfaction. Conversely, Margo learns to appreciate herself, her friends and her life experience which has prepared her for the emotional security that comes with marrying Bill at the expense of her career, nonetheless Margo prospers in happiness while Eve becomes increasingly unhappy and desperate as she chases her dream of becoming “somebody”.
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