Forget Eve: It's still all about Bette

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When exploring the vast catalog of classic films, continually returning to Bette Davis is inevitable. Her repertoire of films is incredibly extensive and diverse. That’s why, despite the fact I just featured her in a recent blog post about Of Human Bondage, I am once again revisiting Bette Davis. I recently re-watched the 1950 classic, All About Eve, and was struck (not for the first time) by the geniuses and fearlessness of Davis. She was the Meryl Streep of her day; or more accurately, Meryl Streep is the Bette Davis of today.

Portrait of Bette Davis: Queen of Melodrama Film.
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Taking on the turbulent and cut-throat world of professional theater, All About Eve examines both the rise and fall of stage actors, and the ruthless means they’ll take to attain or maintain stardom. This film is basically the definition of the phrase “art imitating life.” While watching the film’s depiction of Broadway, it’s impossible not to see its resemblance to Hollywood. Despite different coasts and different communication channels, these two forms of performance art are not that different from one another.They are both fueled by ambition, betrayal, ego, and greed.

"If nothing else, there's applause... like waves of love pouring over the footlights." - Eve Harrington

Much like her character, Margo Channing, Bette Davis in 1950 found herself being labeled as "an aging film star.” Davis was 42 years old and experiencing a steady decline in her career. After 18 years as Warner Brother’s reigning leading lady, they opted to not renew her contract in 1949. Everyone- including Davis- figured this was the end of her career.

Meanwhile, writer/director Joseph Mankiewicz had adapted the Cosmopolitan short story “The Wisdom of Eve” into the screenplay which would eventually become All About Eve. Darryl Zanuck of Twentieth Century Fox agreed to produce the film; his first act as producer was dubbing the film, All About Eve.

All About Eve: The Players Via.

As is with all productions, the next step was to start casting. Only the supporting cast members, including Celeste Holm and Thelma Ritter, were original cast picks who actually made it into the film. It is actually sheer luck that Bette Davis and Anne Baxter got to immortalize the lead roles of Margo and Eve. Claudette Colbert and Jeanne Crain were originally cast as Margo and Eve, respectively. Just before production was about to commence, Crain found out she was pregnant, and Baxter was brought in as a last minute substitute. Shortly after finding out Crain was pregnant, the studio received bad news from their other leading lady. Colbert had fallen while filming a fight scene for a different movie, breaking her back and forcing her to drop out of the All About Eve production. Enter Bette Davis.

"Fasten your seat belts, it's going to be a bumpy night." 

                                                       - Margo Channing

Mankiewicz and Zanuck went through several possible replacements for Colbert, before finally calling Davis, who was then deemed “box-office poison.” That however was not the only reason Zanuck loathed having to bring in Davis; he also personally detested the actress- and the feeling was mutual. But as temperamental as Davis could be, she was also shrewd enough to recognize a once in a lifetime opportunity when it landed in her lap. As soon as she read the script, she knew Margo was a dream role and could possibly be the salvation of her career.

"Margo is a great star, a true star. She never was or will be anything less or anything else." - Addison DeWitt

After Davis had been cast, the rumors and gossip spread like wild fire. Mankiewicz received numerous letters and phone calls from directors who had previously worked with Davis; they warned him that working with Davis would be a nightmare; that she would be demanding and essentially try to take over the picture. Davis’ fellow All About Eve cast members gossiped amongst themselves about what it would be like “working with the Queen Bee.”  Celeste Holm recalled Gary Merrill (who would be playing Davis’ love interest, Bill, in the film) saying at least “it’ll all be over in eight weeks.” Quickly after Merrill met Davis, however, that eight weeks turned into ten years and eight weeks.

Bette Davis and Gary Merrill on the set of All About Eve.
Their chemistry, on and off screen, was instantaneous.
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As Holm described it, “Bette had taken one look at Gary and Gary had taken one look at Bette, and something had happened." Despite early apprehension, Merrill and Davis quickly became inseparable. Just as filming wrapped up, so did Merrill and Davis’ marriages; a few days later the two were married in Mexico just hours after Merrill’s divorce was finalized.

Love this one. Via.

 Despite the whirlwind start of their romance and marriage, ten years later it came to an end. Davis once confessed to her All About Eve co-star, Anne Baxter, that it took her and Gary ten years to realize that “he married Margo Channing, not Bette Davis. And she married Bill Sampson, not Gary Merrill.”

When filming for All About Eve began, Merrill was not the only one caught off guard by Davis; director Joseph Mankiewicz was also surprised. After all the warnings he had received, Davis was a complete professional on set, readily listening to and accepting direction and advice from Mankiewicz. When Mankiewicz confessed his early fears and the warnings he had received, Davis herself admitted the gossip was warranted. She said she could be difficult- but only when she “had no confidence in the script or the director.” After recognizing early on what an accomplished scrip All About Eve was, Davis had nothing but respect for Mankiewicz. 

On set of All About Eve. Via.

Even years later, Davis still credited him for saving her career with All About Eve and the character of Margo Channing. “He handed me the beginning of a new life professionally and personally,” Davis exalted in her autobiography. Davis also had nothing but nice things to say about the cast, crew, and production of All About Eve.

"I can think of no project that from the outset was as rewarding from the first day to the last. It is easy to understand why. It was a great script, had a great director, and was a cast of professionals all with parts they liked. It was a charmed production from the word go."- Bette Davis

Despite the last-minute casting and the forewarning rumors, All About Eve came together seamlessly. All the performances are outstanding. I can't even imagine Claudette Colbert playing Margo, because Davis was such a perfect fit for the role; she effortlessly captured both the diva-esque temperament, and also the self-doubting venerability of Margo Channing. Similarly Anne Baxter wowed in the titular role of Eve. She balanced the sweet and innocent facade of Eve, as well as the manipulative, fame-seeking harpy that lies beneath the surface. 

Baxter and Davis face off as Eve and Margo.
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The cast rounds out with supporting performances that are just as impressive, most notably George Sanders in the role of Addison DeWitt, the slimy theater critic who observes- and encourages- the drama that unfolds. There is also an entertaining cameo by the then-newcomer Marilyn Monroe; another example of art imitating life (and vise versa), Monroe plays an ingenue actress who flirts and charms industry decision-makers in hopes of securing her big break.  

Monroe and Sanders in All About Eve. Via.

All About Eve opened to both critical and public acclaim, and earned 14 nomination- a record that has yet to be surpassed and was only recently matched by Titanic in 1997. That isn't the only record All About Eve can boast; it was also the first time that two actresses from the same film were both nominated for Best Actress. When the 1951 nomination season came around, Anne Baxter demanded Twentieth Century put her name in for the Best Actress category not Supporting Actress- an ambitious move that definitely reflects her character Eve. This put Baxter and Davis in direct competition for the Oscar. Neither won the race, the award going instead to Judy Holliday for Born Yesterday. 

Samples from Anne Baxter's All About Eve wardrobe tests.
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Many speculate that the Academy was divided by Baxter and Davis, and as a result the underdog won. Whether or not that’s true is still up for debate, however Baxter even said herself in the Oscar aftermath that she should have stuck with the Best Supporting category. Bette Davis responded in a very Margo Channing manner saying, “Yes, she should have.”

Art imitating life.
Davis, Merrill, and Baxter in All About Eve. Via.

Even though no All About Eve leading lady went home with a trophy, the film has stood the test of time (much more so than Holliday’s Born Yesterday). The film (which was adapted into the Broadway musical Applause in 1970) is still considered one of the best screenplays and one of greatest ensemble performances to be captured on screen. 

A Fun alternative poster for All About Eve.
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Lisa Helene. 

The Recipe for the Perfect Sting

"You have to keep this con even after you take his money. 

                            He can't know you took him." -Henry Gondorff 

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One great script, two gorgeous men, and a lot of good acting; that, in essence, sums up the classic 1973 con movie, The Sting. In all seriousness though, there is so much to keep you entertained while watching The Sting -from the acting to the fast paced dialogue to all the plot twists and turns- I’m not quite sure how someone could not like this movie.

The gorgeous men of The Sting. Via.

After the box-office success of the 1967 film, Bonnie and Clyde, 1930’s gangster films experienced a resurgence in Hollywood. While researching the art and crime of pickpocketing for a previous film, screenwriter David S. Ward became fascinating with old time confidence men. Through his research, he got the idea for The Sting: an elaborate script with twists and turns, comedy and action, and one elaborate con job.

The lead character of Johnny Hooker was actually written with Robert Redford in mind, however the box office star needed a little convincing before finally agreeing to take on the role. Even after filming began, Redford never believed the movie would be such a hit, let alone an Academy Award-winning film that would still be revered today.

That grin...Via.

Ironically, Paul Newman’s part of Henry Gondorff was originally written as a much smaller, more supporting role. Once Newman showed interest in joining the film, the part was re-written in order to take advantage of the great (and lucrative) on-screen chemistry between Newman and Redford.

Those eyes... Via.

This wasn’t the first time the duo had worked together. In 1969 Newman and Redford worked together in another crime film: Butch Cassidy and the Sundance Kid. After the critical and box office success of Butch Cassidy, the studio was more than excited to pair these two actors together again. Joining them on The Sting as well, was Butch Cassidy director George Roy Hill. The comfortable and compatible nature of the trio’s partnership is obvious in both films.

Redford and Newman on set. Via.

With just the screenplay and the amazing actors behind the camera, The Sting was a guaranteed success (despite Redford’s doubts), but once they added the great sets, costumes, and music into the mix, The Sting became a classic.

Being a Chicagoan myself, I love movies that take place in my city, especially those that depict a historical Chicago. Despite the majority of the movie being filmed on Hollywood sets, The Sting offers an authentic look at Chicago in the 1930’s. From LaSalle Street Station to the 43^rd Street el stop, you can get a glimpse of the city as it use to be and visualize what it would have been like back in the day. The color scheme of the film is great too- with muted browns, dark maroons, and forest greens, it effectively produces the perfect tone for a depression-struck, but still-tough city that has too much character to give in.

Shot of LaSalle Street Station. Via.

In addition to the authentic sets, you also have the costumes designed by the great Edith Head. Head actually won her 8^th and final Academy Award for the wardrobe she designed for The Sting. During her acceptance speech, she summed up the honor explaining, “Just imagine, dressing the two handsomest men in the world and then getting this." I think we can all agree with Edith’s sentiments.

Costume designer, Edith Head, with Robert Redford. Via.

But even more than the costumes or scenery, what I love most is the music. The Sting features several hits of turn-of-the-century composer, Scott Joplin. His ragtime compositions, including his most recognizable “The Entertainer,” set the scene in The Sting adding the perfect syncopated rhythm. Ironically, the ragtime tunes are not of the 1930’s time period; ragtime actually hit its peak during the first decade of the 20^th century, meaning that Joplin’s music would have already faded into obscurity in the real 1930’s. Despite this historical misrepresentation, the Joplin-inspired score fits the movie perfectly, and actually created a temporary ragtime revival in the early 1970’s.

To top off The Sting's perfect combination of visual and auditory components, you have the fantastic Saturday Evening Post-inspired inter-title cards that narrate the progression of the con. These fabulous illustrations and titles are so unique and one of a kind. They make the audience feel like they’re flipping through a con playbook while watching the swindle unfold.

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All of these features- the script, the actors, the sets, the costumes, and the music- all piece together to make a classic and timeless film. The Sting went on to win 7 Oscars, including Best Picture, Best Director, and Best Screenplay. It is also (surprisingly) the only film for which Robert Redford was nominated for Best Actor. The Sting also went on to influence future con movies, including the 2001 revamp of Oceans 11, which in my opinion displays more characteristic of The Sting rather than its original.

I definitely recommend watching The Sting if you haven’t; it’s a clever and entertaining film that will probably fool you a couple times too.

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Lisa Helene. 

And just because: 

So dapper... Via.