Around the World in 80 Days (1956)

 

Director: Michael Anderson

Cast: David Niven, Cantinflas, Shirley MacLaine, plus an enormous list of cameos
Genre: Drama, Adventure
Other Nominees: Friendly Persuasion, Giant, The King and I, The Ten Commandments

Around The World in 80 Days is an interesting movie. By today’s standards it seems slow, drawn out, and just not very exciting. With a runtime of close to three hours, an incredible portion of this film rolls by without any dialogue whatsoever. Whether we are on the back of an elephant that saunters through the Indian jungle, or on a steamship looking out at a Pacific sunset, there are many scenes where the setting is the main character on screen and the characters themselves have very little to do.

The film opens with a very unusual sequence. At first I had mistakenly thought I had started a special feature on the DVD and was accidently watching a documentary about the Jules Verne novel upon which the film is based. Upon returning to the menu of the DVD I realized that I was indeed watching the opening scene of the film and continued on with the show. The narrator of this documentary explains to us that, despite the fact that today (1956) a man can journey around the world in 80 hours, back in the late 19^th Century when Jules Verne penned the book the feat of circumnavigating the world in 80 days was a daring and impressive one. Not only was I confused regarding the use of this documentary to open the movie, but I soon wondered why a movie would go out of its way to point out that what we are about to see will not seem that impressive. That seems a bit negative. Then, just as I am pondering this, the narrator and documentary suddenly disappear and we find ourselves on the streets of 19^th Century London.

The sets in this film are varied and stunning. The recreation of 19^th Century London is breathtaking in its detail and all the more impressive knowing that most of the movie takes place elsewhere. The vast number of cities, cultures, and environments that our hero moves through are each one recreated in extreme detail. From bullfighting in Spain, travelling the Suez Canal, a journey through the Indian jungle, Calcutta, Hong Kong, San Francisco, a train ride through the Wild West; probably the best thing about this film is the fact that you genuinely feel like you are getting a world tour as you journey with the cast.

When he has something to do on screen, David Niven plays Phileas Fogg, the epitome of an English Gentleman. Phileas accepts a challenge from his peers to leave London that very evening and journey around the world in 80 days. David Niven has been quoted as saying that this was his most enjoyable role and while there is no doubt that he looks comfortable playing the English gentleman, I cannot wonder if it was his most enjoyable role because of all the travelling involved! The best scenes involving Mr. Fogg show us a refined Englishman maintaining his composure and routine amidst increasingly unfamiliar and strange environments. There is a lot of humor to be found in seeing him relaxed, enjoying his ritual cup of tea on the deck of a ship while a tempest rages around him, or to watch him almost nonchalantly react to scenes of human sacrifice or rampaging Indian braves attacking his train. He reacts to these events, but it is the restrained reaction of a gentleman, and not the excitable reaction of an action hero. Mr. Fogg is not an adventurer and does little to stir the passions of those around him. He is a man dedicated to punctuality and routine and there is a lot of comedy to be found in David Niven’s portrayal of that.

Accompanying Fogg on his journey is his valet Passepartout, played by the Mexican actor Cantinflas. Passepartout is not really a devoted servant to Fogg, having only been taken into service right before the adventure begins. But Passepartout appears to go along with the challenge for the experience of seeing as many females from as many parts of the globe as possible, than for any other reason. While in India, the two join forces with an Indian princess played by Shirley MacLaine. For me, Princess Aouda is the weakest character in the film with her attraction towards Fogg having no real chemistry or explanation. The lack of chemistry is understandable given the emotionless character of the man she is falling for, but the “love scenes” appear to be more and more random as the movie progresses and I found them to be more and more inexplicable and frustrating as time went by.

We cannot talk about the cast of Around The World in 80 Days without discussing the enormous list of cameos that appear onscreen. A full list of the appearances can be found at the link below but there is no doubt that it represents an enormous portion of 1950’s Hollywood. I wonder if this fact alone was a major reason in the movie being so popular.

http://en.wikipedia.org/wiki/Around_the_World_in_80_Days_%281956_film%29#Cameo_appearances

Whatever the impact that the list of cameos had on its popularity, this film was as much about the locations and visuals as the actors involved. The movie has become known for being a celebration of Technicolor. And although it falls in the same year as two other renowned color spectacles in The King and I and The Ten Commandments, the combination of the Technicolor spectacle along with the thorough representation of Hollywood stars of the day may have guaranteed its victory. Today, I would recommend this film to cinematography students but not so much to anyone else.

Next up: The Bridge on the River Kwai

Marty (1955)

 

Director: Delbert Mann

Cast: Ernest Borgnine, Betsy Blair, Esther Minciotti, Jerry Paris
Genre: Drama, Romance
Other Nominees: Love is a Many Splendored Thing, Mister Roberts, Picnic, The Rose Tattoo

“Hey, you know a nice girl for my boy Marty?”

“You get married. You hear what I say!...You should be ashamed of yourself.”

“All your kid brothers and sisters married and got children. When are you gonna get married?"

If Marty thought me one lesson it’s that it’s tough to be an aging bachelor in an Italian community! Marty (Ernest Borgnine in as natural a role as I have seen any actor in) is 35, and suffering through a torrent of personal questions regarding his relationship status. When we first meet the butcher in the Bronx, we see a man exhausted by the kind of questions and comments listed above. It does not help that he has just become the only man of his household not wedded, after the recent marriage of his brother. As the patronage, mostly made up of outspoken Italian housewives, ask about the recent wedding they are inevitably moved to asking about Marty’s wedding prospects. He is pleasant enough while answering the questions but you can tell it is an enormous relief when his shift ends and he finds himself at a local bar with two beers and a newspaper spread before him.

The first half of the films deals solely with Marty. It is clear that before any possibility of a love story developing, the directors want us to understand just how alone Marty is, and how far beyond desperate he feels about it. Exhausted after his busy day, he fends off relentless pressure from his friend Tommy (Jerry Paris) to go out dancing for the night, or to do something other than sit in and drink beer. Over dinner with his mother (the brilliant Esther Minciotti) he is again pressured into going out and finding a girl. It is during these interactions that we learn of the sheer hopelessness that Marty feels when it comes to finding love. Marty is trying to accept the fact that he will remain lonely and get on with his life, but with everyone continuing to pressure him and question him he can do very little to escape the misery.

I've been looking for a girl every Saturday night of my life.

Ma, sooner or later, there comes a point in a man's life when he's gotta face some facts. And one fact I gotta face is that, whatever it is that women like, I ain't got it.

And yet, after finally agreeing to go to a dancehall, Marty’s fortunes with women take a turn for the better when he meets an equally alone Clara (Betsy Blair). Marty is a romance but it is absolutely not epic in its scale. The entire movie takes place over these few days in Marty’s life. It gives us just enough time to learn to know his misery, shows us the early glimpses of the love that he and Clara will share, and any dramatic elements of the movie revolve around Marty’s hesitation to act on his instinct. This is not an epic romance, nor is it epic drama. Even at its most depressing moments there is a sense that all Marty wants to do is just get on with things. The movie does not wish to explore the dark potential of human misery. It is just taking a look at some lonely people and in the end it is a simple story of two people who deserve to find each other. And it is precisely this simplicity that makes Marty such an easy film to connect with. With a runtime of 90 minutes Marty is the perfect movie to sit down to in the afternoon. The ending, and particularly the line that Ernest Borgnine speaks right before the camera fades out (I won't spoil it for you), is so full of joy that I challenge anyone to not leave in good spirits!

Next Up: Around the World in 80 Days

On The Waterfront (1954)

 

Director: Elia Kazan

Cast: Marlon Brando, Eva Marie Saint, Rod Steiger, Karl Malden, Lee J. Cobb
Genre: Drama
Other Nominees: The Caine Mutiny, The Country Girl, Seven Brides for Seven Brothers, Three Coins in the Fountain

On The Waterfront boasts one of the most well recognized and memorable scenes in Hollywood history, the famous “contender” scene. I have to admit that since seeing the film I have experienced a full blown obsession with this scene and have watched it repeatedly. While there is certainly a lot more to this film than just this one scene, I have found that to reflect on On The Waterfront is to reflect on this one, grand slam, scene.  

The scene takes place in the back of a small cab where two characters sit uncomfortably together. A Venetian blink covers the back window and the camera never gives us any external or wide shots of the conversation. Conditions are cramped and claustrophobic throughout. We see the well dressed mob lawyer Charlie “The Gent” (played by Rod Steiger) attempt to convince his little brother, the subdued Terry Malloy, not to testify against the mob gang that operates out of the local waterfront (Terry is played by Marlon Brando, who deservedly won an Oscar for his role). At first Charlie resorts to typical mob tactics and attempts to bribe his little brother with a high paying job. But Terry has seen too much, been implicated in too much, and life is no longer simple. He tells his brother that “there’s more to this than I thought… much more.” He cannot make money and be ignorant to the corruption around him. The first of many great moments in the scene comes with a sudden shift from relaxed conversation between two brothers, to an immediate anxiety about what will happen next. After failing with the bribe, Charlie begins to get desperate, and in not so many words lets slip the fact that this cab ride is actually a last ditch effort to convince Terry not to rat, and that should he be unmoved the cab is taking Terry to his death. In a moment of frustration, Charlie reveals these details:

Well make up your mind before we get to 437 River Street!!!

I cannot recall seeing a better example of building tension within a scene. This explosive comment is followed up by a shocked silence and you can physically see the realization of what is being said dawn in Terry’s mind. Suddenly, any trace of the relaxed conversation is gone. But for Charlie the tension held within the silence is even worse and in a state of shock he resorts to pulling a gun on his kid brother. It is a final desperate attempt to get him to take the job and to stay quiet. I understand that Marlon Brando had a real problem with how his character was initially written to “play it cool” when the gun was pulled. It is a testament to Brando’s genius that he transformed the scene into the emotional powerhouse it is. Terry does not play it cool. How could he? His older brother has just pulled a gun on him, an act that has destroyed their relationship once and for all and that cannot be taken back. In the most dramatic way Charlie has just shown how bad things have gotten between the two brothers. Instead of being cool, Brando took the scene in another direction. With eyes full of sadness he almost caresses the gun to one side, and shaking his head he whispers “Oh Charlie”. With these words he disarms his brother, who then slumps back in his chair, defeated. In this deflated moment Charlie also knows that by not quieting his brother, and by not being able to kill him, he has signed his own death warrant.

The brilliant thing about On The Waterfront is the sense of history it gives to its characters and location. I think the really good films accomplish this. They instill in us an understanding that what we are seeing is happening in a timeline, that there is an unseen past which plays into the action. A great film makes us feel that it is a part of a bigger picture, a chapter in a story. It is easy to believe that the characters in On The Waterfront have a past and the movie hints continuously at their past without showing us flash backs or fade outs to memories. Neither character is given time to explain the details of their past to a lover or friend, and in turn to us as the audience. And yet their pasts are all around them, living in every scene. As these two men confront each other in the back of their cab a sad history weighs on them and even though we were not privy to all the details we know enough to notice it.

By the time this scene plays out we have pieced together some major aspects of their sad back story. We know that the brothers were raised in an orphanage, that one brother turned to crime and another to sport in an effort to escape their bleak future. We understand that the older brother looked out for himself and, like the mob that controls the town, used his friends to get ahead. We have also learned that Terry is a failed boxer, and that he was convinced to fix fights for the mobs benefit. In this cab scene the weight of all those years is clearly felt by both. We see the pain that has built up for decades spill out as Terry finally explains his anger at his older brother for not looking out for him, and much worse, for robbing him of his future. Both actors manage to attribute to their characters an entire life that has played out off screen. This is why I consider it to be such a fine example of acting, culminating in the classic Marlon Brando line:

You don't understand. I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let's face it.

I can do nothing to hide the fact that this one scene has dominated my On The Waterfront experience. I believe this film is worth seeing for the 5 minutes and 18 seconds I have described above but I can assure you that this scene is not just a diamond in the rough. The film was filmed on location in Hoboken, New Jersey and everything about the neighborhood is authentic from the dockyards to the slum dwellings and bars, the alleys to the rooftops. The supporting cast give fantastic performances, with Karl Malden as the local priest roused into action by the escalating violence, Lee J. Cobb as the mob boss Johnny Friendly who rules the entire neighborhood through fear and intimidation, and Eva Marie Saint as Terry’s love interest, a sister to a murdered brother, and a catalyst for change within both the slumbering priest and Terry. There is a very real threat of danger present and these characters decide to stand up against oppression no matter what the outcome. Terry Malloy knows first hand what the mob is capable of and, as he holds one of his pigeons on his rooftop, he explains to Eva the true nature of the neighborhood.

You know this city's full of hawks? That's a fact. They hang around on the top of the big hotels. And they spot a pigeon in the park. Right down on him.

The “contender scene” is here: http://www.youtube.com/watch?v=eeVq1e6JKlw

Next Up: Marty

 

From Here to Eternity (1953)

 

Director: Fred Zinnemann

Cast: Burt Lancaster, Montgomery Clift, Deborah Kerr, Donna Reed, Frank Sinatra, Ernest Borgnine
Genre: Drama/Romance/War
Other Nominees: Julius Caesar, The Robe, Roman Holiday, Shane

From Here to Eternity is a film about the sacrifice demanded by a military life. The interesting thing is that these sacrifices are not the ones we typically expect from military films, as the majority of this film takes place in peacetime. It is the summer and fall just before the surprise Japanese attack on Pearl Harbor in 1941, and the film takes place on a Hawaiian barracks where three military men suffer for the army, and appear to get nothing in return.

Robert E. Lee Prewitt (Montgomery Clift) is a new transfer to the barracks, and both an excellent bugler and boxer. Upon his arrival he finds that the brutal base commander pulled some strings to have him transferred there as it is his personal wish to build a championship boxing team at the base, an achievement which the commander sees leading him directly to promotion. But Prewitt refuses to fight for the commander, eventually revealing details of a tragedy that prevents him from entering the ring. The commander is not impressed by these details:

You might as well say 'stop war' because one man got killed. Our fighting program is the best morale builder we have.

In response to his refusal to fight Prewitt receives “The Treatment”, an onslaught of abuse, both physical and mental, from some of the higher ranking officers at the base, most of them belonging to the boxing team. In one scene we see him dig a six foot grave to bury a newspaper, before being asked to fill it back in. Scene after scene of forced marches up the side of mountains, running laps of the fields in full gear, and other punishments are seen, all of them unjust punishments for a man who just wants to be a soldier. But even as the severity of the punishments and the pressure to submit to the commanders wishes increases, Prewitt insists on being his own man and refuses to give in:

I know where I stand. A man don't go his own way, he's nothin'.

On his first day at the base Prewitt meets Private Angelo Maggio and the two quickly become friends (Frank Sinatra won a Best Supporting Actor award for this role, considered his comeback role after a string of unsuccessful movies in the 1940’s). Maggio, on numerous occasions, defends Prewitt’s decision not to box and as a result of his support often ends up sharing the punishment being heaped onto his friend. But Maggio’s sacrifice ultimately stems from his own battle against corruption, centered on the malicious stockade sergeant "Fatso" Judson (Ernest Borgnine).

From the beginning “Fatso” had taken a disliking to Maggio and after a number of altercations between the two shouts a warning that guys like Maggio sooner or later end up in the stockade and under his jurisdiction. When that very scenario presents itself the sergeant unleashes all of his pent up frustration and anger on Maggio, brutally beating him where marks will not show, knowing that the pride of the young soldier will prevent him making complaints. Maggio’s death at the hands of the warden begins a chain of violence that escalates until it is interrupted by the Japanese attack.

The third example of personal sacrifice is seen in First Sergeant Milton Warden (Burt Lancaster). Disillusioned by operations at the base and at reporting directly to the corrupt base commander, Warden seeks the affection of the commander’s wife Karen, a crime that is punishable by up to twenty years in army prison. The wife has a promiscuous reputation on the base that, once the affair begins, creates a lot of tension. It is clear, even as the two bicker, that at the root of the affair are very strong feelings for each other. The most famous scene in From Here to Eternity, one that has been parodied again and again in film (my favorite parody being Airplane!) is the love making scene on the sandy Oahu beach. This scene was incredibly torrid for its day and remains one of the more erotic scenes in Hollywood history.

Another love story begins to gain momentum as the movie progresses towards that fateful day at Pearl Harbor. This is between Prewitt and a hostess (or prostitute) at a local gentleman’s club. Attracted to each other mostly because of the intense loneliness of their lives, the relationship struggles to gain traction, the nature of both of their careers being the biggest problems. Prewitt is understandably jealous when it comes to Alma’s work while Alma is seeking a man of higher social standing to help her climb out of her current life.

Both relationships play out and result in talk of marriage. And both prospects of marriage or a future together are dashed by the men’s love for the military. It is especially difficult for Alma to understand Prewitt’s love for the army, an institution that not only abuses him on a daily basis, but that is responsible for the death of his best friend. Prewitt tries to explain to her that even after all those things he does not hate the army, that the military was and is all he has got in this life, and that when "A man loves a thing. That don't mean it's gotta love him back".

With Warden there comes a clear opportunity to progress in his relationship with Karen and choose the woman he loves over his love for the army. It would require him to become and officer, take a desk job, and leave the barracks and in the end he cannot do it. Warden is not being selfish when he chooses not to be an officer. Although he knows that the job is not for him I believe that he would still do it to be with Karen. Instead he is sacrificing his passion and happiness for the army because he knows that he will make a poor officer and as a poor officer he would not be giving his best to the army. And this reasoning is after years of seeing injustice and brutality performed by the very institution he loves. Karen is understandably devastated but manages to say what the reality is:

You just don't want to marry me. You're already married - to the Army.

The true test of the men’s heroic dedication to the army comes when the attack on Pearl Harbor begins. At the time of the attack Prewitt is AWOL and in hiding. Suddenly, whatever negativity he is feeling is replaced with pride for the military. Rushing to confront the invaders as a proud soldier, he shouts “Who do they think they're fighting? They're pickin' trouble with the best Army in the world.” Warden, having sacrificed a better life and the potential for love and happiness, leads the men in the defense of the barracks, the attack solidifying him as the soldier he is. Both men have chosen to let their devotion to the army shape their destinies. 

War is the sacrifice of human life and of human spirit but From Here to Eternity deals with sacrifices that occur primarily in peacetime. During this time we see prostitution, adultery, military injustice, corruption and violence, alcohol abuse, and murder. While the last moments of the film cover the barracks heroic reacting the invasion, by then the sacrifices have already been made, and the blood has already been spilled. Even sadder is the moment that you realize the characters who survived to make it to the battle are about to be dragged into a horrifying endeavor, one that will demand even more sacrifice than they have already given and that we have just watched them give.

Next Up: On The Waterfront

 

The Greatest Show on Earth (1952)

I am working on tracking down a copy of this film. In the meantime I will post my review of the 1953 winner, From Here to Eternity.

An American In Paris (1951)

Director: Vincente Minnelli

Cast: Gene Kelly, Leslie Caron, Oscar Levant, Nina Foch
Genre: Musical/Romance
Other Nominees: Decision Before Dawn, A Place in the Sun, Quo Vadis?, A Streetcar Named Desire

To begin with, I have to be bluntly honest and say that I found it very difficult to get through to An American in Paris. I think we can put this down to the fact that I list very few musicals among my favorite films. My childhood did have its musical movie moments with the likes of Oliver!, Chitty Chitty Bang Bang, and Mary Poppins but even my love for those once cherished films has diminished over the years. I think it is fair to say that musicals and me just do not mix well.

That being said, when I set out to watch all Best Picture Oscar winning movies I knew that there would be some that I would struggle through. I made a promise that when those films came along I would go beyond my dislike for the film and try to see just what about the film made it the Academy’s choice for Best Picture of that year. So here, with An American in Paris, I am choosing not to focus on why this film did not have a lasting impact on me and instead focus on the positives and wonder why it did impress, and why it continues to be loved by so many others. What is so special about An American in Paris?

The first impressive thing about this film is the setting, the city of Paris, or “La Ville-Lumière”, simply shines in this film. If American cinema goers were not infatuated with the city after Casablanca, it makes sense why this city has gone on to be the romantic capital of the world after it’s representation in this film. The movie centers on Jerry Mulligan (Gene Kelly) who remained in Paris after the war as a struggling painter. As he puts it “back home everyone said I didn't have any talent. They might be saying the same thing over here but it sounds better in French.” Even though his career is less than  profitable, Jerry makes it clear that the beauty of the city is fulfilling enough for him, and we see this beauty in every single shot of this film. He lives in a one bedroom studio above a café on a picturesque Parisian corner. The cobblestoned streets are bustling with small markets, local vegetable sellers, and quaint cafés. The residents and workers seem to have accepted Jerry as a native to the street, and his coffee fueled days are filled with singing and dancing at the café with his best friend Adam, a struggling pianist. This life is not the miserably poor life of a struggling Parisian artist we have seen in other films (The Life of Emile Zola, for example) but rather Jerry’s jovial life is the one that artists fantasize about when they entertain thoughts of Parisian life.

As is likely to happen to any character in a story set in Paris, Jerry falls in love. The romance that blossoms between him and Lise Bouvier (Leslie Caron) is complicated by the fact that Jerry is attempting to fend off a suitor, who happens to finance his work, and further complicated by the fact that Lise is an engaged woman. The drama centers on these complications but plays out in settings that, with the use of exquisitely painted backdrops, show us more of this beautiful city. The two express their love on the banks of the Seine, under the shadow of an arched bridge, with the Notre-Dame looming in the distance. In the many scenes set in cafés, bars, or jazz clubs, we see the Bohemian side which Paris prides itself on. Paris takes center stage in this film, even when we have a solo dance routine the actor or actress is immersed in the beauty of their surroundings. With less than a decade since Casablanca, here we have another film that romanticizes Paris. I could not help but think of Humphrey Bogart’s immortal words, “We’ll always have Paris” when Jerry and Lise speak about the city:

Lise: Maybe Paris has a way of making people forget.

Jerry: Paris? No. Not this city. It's too real and too beautiful to ever let you forget anything.

I can also see the attraction of this film for the many fans of musicals that are out there. A French twist is applied to very American, Gershwin songs such as “Our Love is Here to Stay”, “I Got Rhythm”, and “Nice Work if You Can Get It”. The dance routines were choreographed by Gene Kelly who received an Academy Honorary Award that same year for his “versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film.” And the whole musical extravaganza climaxes with the “An American in Paris ballet”, a whopping 16 minute musical number that takes place in Jerry’s mind as he imagines his life in Paris with Lise. Almost the last twenty minutes of screen time have no dialogue whatsoever. This ballet is the curtain closing number of the movie and is epic in scale.

I could talk about the problems I had with this film but I think it would make for dull reading and may even insult those fans of the film whom I can respect. The fact that it is not one of my favorites does not mean that I cannot acknowledge that there are fans out there and at the very least try to see what the attraction is.

Next Up: The Greatest Show on Earth

 

All About Eve (1950)

 

Director: Joseph L. Mankiewicz

Cast: Bette Davis, Anne Baxter, George Sanders, Celeste Holm, Hugh Marlowe
Genre: Drama
Other Nominees: Born Yesterday, Father of the Bride, King Solomon’s Mines, Sunset Boulevard

While the title of the film is All About Eve it is less about the character of Eve and more about the impact that she has when she enters the life of the aging actress, Margo Channing. The greatest scene in All About Eve is delivered by Bette Davis as Margo when she pauses on her staircase, turns to her anxious guests, and mischievously declares, “Fasten your seatbelts, it's going to be a bumpy night!” Eve is the reason for this line being spoken. She is a catalyst that brings all of Margo’s fears and anxieties to the surface, and all of Margo’s petulant behavior comes right along with them.

The movie opens to a lavish awards ceremony where we meet the recipient of the night’s biggest award, the beautiful Eve Harrington. As Eve accepts the award that recognizes her as the brightest star in theatre she is greeted by rapturous applause. As the camera pans the room we focus in on two women in the audience who are neither clapping nor smiling. Instead these women brood darkly and watch the proceedings with bitter looks. As Eve is about to make her speech the narrator informs us that we shall now learn “all about Eve”.

From there we flashback one year and take another look at the two brooding women from the audience. Margo Channing is a talented actress sitting at the top of the theatre world. When we first meet her she has just finished a performance and is plastering her face with all manner of beauty treatments. It is clear that Margo struggles with the concept of her aging and with the inevitable effect it will soon have on her career. She is at this time a maturing woman playing twenty year old women on stage. The stress of her situation causes her to be prone to bouts of acting the teenage drama queen, a habit that has no doubt been encouraged by her position of fame.

Karen Richards, played by Celeste Holm, is the second of the brooding women, best friend to Margo, and wife to the playwright Lloyd Richards. It is Karen who introduces Margo to Eve, a timid and mousy girl who Karen has seen waiting outside the theatre night after night.

Eve is introduced as Margo’s biggest fan, a young girl who has stood in the rain to catch a glimpse of her day after day, and who has seen every single performance of Margo’s current play. When she does get a chance to explain her devotion to Margo her life story is touching and full of sadness. Those in the room instantly sympathize and like the impressionable young woman, so much so that Eve is almost instantly accepted by the group as a friend. It is only after a few months of this friendship has passed that we get to see behind the innocent little girl to the manipulating one out to seek her own fame and glory.

She quickly manipulates the men involved, most notably Margo’s lover, theatre director Bill Sampson, and Karen’s husband Lloyd. Before long, and against Margo’s wishes, Eve has become understudy to Margo, who has already figured out what motivates the young aspiring actress and attempted to put distance between them. I will leave the remainder of Eve’s machinations a mystery. As Eve’s reputation and status rises, Margo’s reputation begins to plummet and the better Eve is appreciated by everyone and the more innocent she appears, the more cruel, unkind, and full of bitterness Margo appears to her lover and friends. And honestly, it makes for great entertainment.

A special mention should be made to George Sanders as Addison DeWitt, a role that won him the Best Supporting Actor Oscar. Addison is our narrator and the only character in the film that appears immune to Eve’s Machiavellian ways, although it is clear that this immunity stems from his own slippery and conniving ways. Working as a theatre critic, and with an ever present sense of his own self importance, Addison DeWitt was one of the things I enjoyed most about this film. In one scene he arrives at a party with a blonde bombshell on his arm (an early role for the then new to the scene Marilyn Monroe), and immediately and effortlessly takes center stage. He is a socialite and a powerhouse in this theatre world and he knows it. His arrogance is great fun to watch.

I walked into All About Eve with little expectations and was stunned by how great of a movie it is. Nominated for a staggering 14 Oscars (a record that it held firm for 47 years until it was equaled by Titanic in 1997) this is a true classic and a film that has stood, and will stand, the tests of time.

Next Up: An American in Paris