🎦 All About Eve full movie HD download (Joseph L. Mankiewicz) - Drama. 🎬
All About Eve
Year:
1950
Country:
USA
Genre:
Drama
IMDB rating:
8.3
Director:
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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Reviews
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.
2001-02-22
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.
2013-10-18
All Above Backstabbing Shines ****
The ultimate best film ever made about backstabbing individuals.

Broadway veteran pro Margo Channing is fooled into taking in Eve Harrington, who supposedly idolizes her. Channing's maid,Birdie Coonan, sees Harrington for what she is, but is unable to convince Margo that Eve is dangerous.

Eve is quite a character. In one movie, she nearly breaks up a friendship, destroys a marriage, and wins a major part in the Broadway production of "Footsteps on the Ceiling." That will be a memorable name always for me.

The cast is top rate. This film marked a comeback for Bette Davis, and what a performance she gave as Margo. Anne Baxter is memorable as the cunning Eve. Gary Merrill, Celeste Holm and George Sanders are all in top-form as characters revolving about Margo but fooled by Eve as well. It is only Sanders, who won the best supporting Oscar as the cynical writer, who is able to turn the tables on Eve.

Davis and Baxter were both up for best actress; a mistake, since Baxter belonged in the supporting division. Thanks to this divide, Judy Holliday won best actress for "Born Yesterday."

Celeste Holm, as the caring but duped friend, Karen, and Thelma Ritter, as maid Birdie, were up for best supporting actress.

The dialogue in this film is crisp.

By the end, though winning an acting award for "Footsteps," a young aspirant is hot on the heels of Eve. She no less is from Erasmus Hall High School in Brooklyn, my alma mater. A **** school in a **** film.
2005-12-23
Classic Study of Backstage Bitchiness
Separating the hype from the truth is not easy, especially with an acknowledged classic like ALL ABOUT EVE. Some of its lines have entered Hollywood lore, especially Margo Channing's (Bette Davis's) line: "Hold on to your hats. It's gonna be a bumpy night." The film won six Oscars and revived Davis's career as well as giving George Sanders the role of his life as acerbic critic Addison de Witt. The supporting actors are all superb, notably Celeste Holm as the kind but spineless Karen who takes Eve (Anne Baxter) under her wing and ends up being blackmailed as a result.

Thematically speaking, Joseph L. Mankiewicz's script exposes the emptiness of the awards culture that seemingly dominates the media landscape each year. Eve might pay tribute to those who helped her in her rise to fame, but the film shows how she wantonly abuses their generosity. All of her pronouncements are hypocritical, designed for a media accustomed to the sound-bite and the publicity photograph. Mankiewicz suggests that there is no basic division between the worlds inside and outside the theater; everyone simply plays roles and disrespects everyone else.

Cinematically speaking, the style is fairly flat, almost theatrical, with many sequences comprised of shot/reverse shots interspersed with two-shots. On the other hand Mankiewicz has a flair for the suggestive; notably the portraits of Margo in her most successful roles festooned across the staircase of her expensive home, drawing our attention to the ways in which performance dominates her life. Or what about the shot of Maego standing beside a huge cartoon of her in one of her favorite Broadway roles just inside the theater where her play is being performed? Music is also used suggestively - just before Margo utters her famous line about the bumpy night, we hear Rodgers and Hart's standard "Thou Swell" on the piano, praising the charms of a woman. Later on in that sequence Margo storms upstairs in a huff to the sound of "Stormy Weather."

Perhaps one aspect of the film that needs to be highlighted is the way in which it confirms dominant attitudes towards gender in early Fifties America, where women were expected to stay at home and support their spouses. Despite her performances as a theatrical grande dame, Margo believes that her life will not be fulfilled unless she marries Bill (Gary Merrill). And in a climactic sequence where the truth about Eve is finally exposed, Addison claims that she belongs to him.

We are presented with a paradox at the end; whereas ALL ABOUT EVE provides at least three substantial roles for leading female performers, it still reinforces patriarchal values. And there's the cynical ending, where Phoebe (Barbara Bates) begins precisely the same process of hero-worship that Eve has completed in order to achieve her ends. All Broadway heroes, it seems, have feet of clay.
2016-02-01
My all-time favorite movie
This is movie-making at its best. The performances are just incredible. Ann Baxter's impersonation of Eve Harrington is so convincing that you end up hating Baxter for the rest of your life! Bette Davis and George Sanders are superb. However, the real strength of the film lies its script. It is so well written, full of one-liners that stick to your mind forever. Here is a movie to be watched many times over, a movie to be studied by every director. Along with Sunset Boulevard, this is probably the best American film of the fifties.
1999-05-24
I was pleased...
What was I pleased about? I am still young in age and only recently decided to start viewing the classics, the movies everyone loves. When I sat down to watch All About Eve, I knew I was watching a film that so many others imitated and were inspired by. The screenplay is what everyone praises about the film, but I found the acting to be the film's biggest strong point. Bette Davis and Anne Baxter gave the best performances of their lives and it's a shame that neither one won an Oscar, though both were nominated. A great film, a masterpiece, to say the least. Won 6 Academy Awards including Best Picture (1950) and Best Director. Film is also #16 on AFI's 100 Greatest Films list.

*****
2001-01-02
Possibly the smartest comedy ever to have come out of Hollywood
They say that talk is cheap but you wouldn't believe it listening to the pearls that drip from the mouths of the characters in this, the greatest of all the dialogue-driven comedies to have come out of Hollywood, (at the time it was nominated for a then record 14 Oscar nominations and won 6). It opens with a monologue that introduces all the leading players that is at once literate and cinematic at the same time and you know instantly that his is, above all, a movie to listen to. (What film-buff doesn't quote its screenplay ad-nauseum; gay men, at least according to "The Boys in the Band", are said to know the script by heart). And while drag queens the world over have always based their Bette Davis imitations on the character of Margo Channing, (Davis' greatest role and her greatest performance), the film is never merely camp. The acerbic wit that runs through the film always has a ring of truth to it; the characters, overblown as they are, are always recognizably human.

The acting alone is to die for. Can you believe that other actresses were once considered for the role of Margo? (Claudette Colbert?). Davis makes it her own not by acting Margo but by being Margo. I can't think of another role more indelibly suited to an actress than this. In a lesser film she might have swamped her co-stars but Mankiewicz, who wrote and directed, gives everyone equal credence.

Anne Baxter was never better than as the poisonous Eve; Celeste Holm, wonderful as the clipped, sophisticated Karen; George Sanders oozing epigrams as if from every pore as the screen's most famous critic, Addison DeWitt, (what a name!). These were career-best performances and in smaller parts, Thelma Ritter's cynical, wise-cracking Dresser, Birdie, and Marilyn Monroe's vacuous Miss Caswell, ('a graduate of the Copocobana school of dramatic art'), are just as unforgettable. In the seventies someone had the, not very bright, idea of turning it into a Broadway musical called 'Applause'. While not half-bad you still came away feeling you had seen a karaoke version of "All About Eve".
2007-08-08
let's hear it for Ann Baxter
I like this movie,it's full of stinging wit and dialogs,although it's written by a male chauvinist,Joe Mankiewitz. The notion seems absurd nowadays that women can't have a career and marriage,too,but it has to be taken in the context of the times. The only problem I have is Eve is so transparently phony that I'm surprised the supposedly hip theater crowd doesn't see right through her. Anyway,I love the comeuppance scene where Addison tells Eve about all her lies and how she belongs to him. Ann's voice drops from sweetly phony to guttural scowling with panache. It's almost a shocking transition. Everyone in the cast is good but I like Ann Baxter. Incidentally,Claudette Colbert was supposed to be Margo but she dropped out because of a back injury. The idea was there was supposed to be a similarity between Margo and Eve.
2007-02-09
One of the Great Films of the Fifties
"All About Eve" was the Big Film of 1950. It was a critical and commercial success and was nominated for a record 14 Academy Awards, a feat which has since been matched (by "Titanic" in 1997) but never bettered. Of those fourteen nominations it won six categories, including Best Picture. And yet it is a film completely different in style to anything likely to win Best Picture today. It perhaps illustrates the changes in film-making which took place during the second half of the 20th century better than any other Big Film of its era.

Indeed, it is very different to most other Best Picture winners of the 1950s. It is not a light-hearted musical like "An American in Paris" or "Gigi" or an action film like "The Greatest Show on Earth", "Bridge on the River Kwai" or "Ben-Hur". It is made in the "filmed theatre" style of cinema, the sort of film which was shot in the studio and concentrated on dialogue and character development rather than physical action. (Such films were usually, although not always, made in black-and-white rather than colour). This was the sort of film which had dominated during the thirties and forties but which began to lose favour in the fifties as the studios demanded more in the way of spectacle.

The film is set in the world of the theatre and reflects the mutual antipathy between Hollywood and Broadway at this period, something also referred to in "Singin' in the Rain" from two years later. Both leading characters are female. Bette Davis plays Margo Channing, a leading Broadway star- hugely popular, but beginning to show her age as she approaches forty. (Rather pointedly, her current play is titled "Aged in Wood"). Anne Baxter plays Eve Harrington, an obsessive young fan with theatrical ambitions herself. After Eve is introduced to the older woman, Margo befriends her, and offers her a job as her assistant. Eve initially seems well-intentioned and helpful, but it soon becomes clear that she is using Margo to further her own ambitions.

"All About Eve" remains the only film ever to receive four female acting Oscar nominations. (Besides Davis and Baxter for Best Actress, the others went to Celeste Holm, who plays Margo's close friend Karen Richards, and Thelma Ritter as her maid Birdie for Best Supporting Actress). Despite this galaxy of female talent, however, the only acting award it actually won went to George Sanders as Best Supporting Actor. Sanders plays the gossipy, spiteful and sarcastic theatre critic Addison DeWitt, who both acts as the film's narrator and also plays an important role in the action. "Addison DeWitt", actually, sounds a much more plausible name for an American than for an Englishman- Sanders makes no attempt to hide his British accent- but the name seems to have been chosen symbolically, "Addison" being a reference to the eighteenth-century critic and "DeWitt" presumably a pun on "the wit".

The role of Margo has become so closely associated with Bette Davis that it seems strange to think that she was not the first choice for it. Claudette Colbert was cast in the role, but had to withdraw with a back injury, and several other actresses were considered. Davis, however, was precisely the right choice to play the ageing Margo. (Coincidentally, "Sunset Boulevard", probably "All About Eve" 's closest rival for "Best Picture", is also about an ageing actress). In her youth in the 1930s, Davis was considered a beauty, known for her large, limpid eyes, but by 1950 her looks had faded although she was only in her early forties. (Colbert was five years older but looked much younger). She delivers what has become a legendary performance- arrogant and bitchy, yet also vulnerable to Eve's scheming in the battle of youth versus age. The film did much to re-establish Davis's career after something of a slump in the late forties.

This film changed the way in which I regarded Anne Baxter. I had previously seen her as primarily a supporting actress, someone who only achieved leading lady status in films like "I Confess" or "The Ten Commandments" where the emphasis is much more on the male characters. Here, however, she emerges as a real star in her own right and gives a great performance as the cunning, manipulative Eve. (She also look stunning with that short, boyish haircut, something not all actresses could have pulled off). I can well understand why she insisted on being Oscar-nominated for "Best Actress", even though she might well have won for "Best Supporting Actress". In the event she and Davis both lost out to Judy Holliday in "Born Yesterday"; as I have never seen that film I will not comment on the wisdom of the Academy's decision. Holm and Ritter are also very good, and there is a brief but vital contribution at the end from Barbara Bates, an actress I had not previously come across.

I will not enter into the controversy about whether both Eve and Addison are supposedly gay, except to say that this was not an interpretation that occurred to me, and that Eve's predatory designs on Margo's boyfriend Bill argue against it. There are films from this era, such as "Caught" and "Strangers on a Train", which strike me as having a possible homosexual subtext, but this is not one of them.

"All About Eve" is not, officially, a comedy, but it has a brilliantly witty script, written by director Joseph L. Mankiewicz, with far more wit and humour than many so-called comedies, and manages to combine that wit with a gripping psychological drama and some first-class acting. It is a long time since I last saw "Sunset Boulevard", so will not attempt to compare the two directly, but both must count among the finest films not just of the year but also of the decade. 9/10
2011-01-25
Simply the Perfect Film
All About Eve is simply the perfect film. Fact follows fiction in the casting of Bette Davis, a star who was an incredible actress but fighting the inevitable - the passage of time. First off, Better Davis was always an incredible actress, no matter what part she took and this was the perfect part for her. Anne Baxter is tremendous in the part of Eve - she plays the part well. It's multi-faceted and challenging and she definitely rose to the challenge. Celeste Holm is great, too. She's got a smaller part but does a great job with it. Celeste Holm is an actress who has incredible stature, even in the later years of her career, like when she was in that television show "Promised Land." But Addison DeWitt - takes the cake. I can see why he won the Oscar. I don't want to say much about the story. The film is one that has to be taken in as a whole to be truly appreciated. Enjoy it - it's as tasty as honey! One thing - please never let them make a re-make of this film - it's perfect. It's off limits. It would be painting a new version of the Mona Lisa. This one is perfect!
2004-12-26
📹 All About Eve full movie HD download 1950 - Bette Davis, Anne Baxter, George Sanders, Celeste Holm, Gary Merrill, Hugh Marlowe, Gregory Ratoff, Barbara Bates, Marilyn Monroe, Thelma Ritter, Walter Hampden, Randy Stuart, Craig Hill, Leland Harris, Barbara White - USA. 📀
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