Eve (Anne Baxter) is waiting backstage to meet her idol, aging Broadway star Margo Channing (Bette Davis). It seems innocent enough as Eve explains that she has seen Margo in EVERY performance of her current play. Only playwright/critic DeWitt (George Sanders) sees through Eve's evil plan, which is to take her parts and her fiancé, Bill Simpson (Gary Merrill). When the fiancé shows no interest, she tries for playwright Lloyd Richards (Hugh Marlowe), but DeWitt stops her. After she accepts her award, she decides to skip the after-party and goes to her room, where a young woman named Phoebe has sneaked into her room and fallen asleep. This is where the "Circle of Life" now comes to fruition as Eve will get played like she played Margo.
Though most of the score is original music by Alfred Newman, the music during the car scene with Karen and Margo is an instrumental version of "Liebestraum" ("Love's Dream") by Franz Liszt, the same music the drunken, maudlin Margo had the pianist play over and over again during the party scene. The joke is that when she hears it again in the car (now sober, of course), she condemns it as "cheap sentiment" and quickly turns it off. See more »
When Eve and Addison De Witt are walking down the street in New Haven from the Schubert Theater, the pedestrians behind them are walking at a faster pace, but never gain any ground on them. This is because "back projection" is being used; George Sanders and Anne Baxter are not really walking down a street. They are "walking in place" and the background is actually projected film being shown behind them. See more »
What a genius Joseph L Manckiewicz was. A literary script that is totally accessible. A melodrama for the thinking man. A film that is as engrossing and entertaining every time you see it. Bette Davis touches all the raw nerves of her mythological career. Anne Baxter never went this far. Thelma Ritter became a sort of icon. Marilyn Monroe gives us a preview of forthcoming attractions as a graduated from the "Copacabana" academy of dramatic arts. Celeste Holm represents us, all of us and George Sanders creates a prototype for a cultured monster that is immediately recognizable. I don't recall another film in which the nature of selfishness is so wittily dissected. A total triumph.
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