---
title: "All About Eve"
year: 1950
kind: "film"
canonical: "https://film.one/film/all-about-eve"
fi1m_id: "all-about-eve"
imdb_id: "tt0042192"
tmdb_id: 705
wikidata_id: "Q200299"
fi1m_score: 90
critics_score: 93
critics_reviews: 7
published: "2026-09-15"
updated: "2026-09-18T08:38:10.951962+00:00"
region: "PH"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# All About Eve (1950)

Directed by Joseph L. Mankiewicz · 2h 19m · Drama

## Identity

All About Eve

- **Canonical:** https://film.one/film/all-about-eve
- **Type:** Film
- **Fi1m ID:** all-about-eve
- **IMDb ID:** tt0042192
- **TMDB ID:** 705
- **Wikidata ID:** Q200299
- **Same entity:** https://www.imdb.com/title/tt0042192/, https://www.themoviedb.org/movie/705, https://www.wikidata.org/wiki/Q200299

**Fi1m score: 90** · Critics 93 from 7 reviews

*In a sentence:* Bette Davis makes being difficult seem the only sensible response to the available company

> Joseph L. Mankiewicz’s theatre satire is cruelly funny, with Bette Davis making Margo Channing’s vanity unexpectedly moving. The flashback structure can feel stiff, but the writing and performances make this company worth keeping for 139 minutes.

## Synopsis

Margo Channing (Bette Davis) belongs to the New York theatre world that Eve Harrington (Anne Baxter) wants to enter. Approaching as an admirer, Eve finds her way into Margo’s circle, where friendship and professional rivalry overlap. Around them are Addison DeWitt (George Sanders), Karen Richards (Celeste Holm) and Bill Sampson (Gary Merrill). As Eve becomes part of this society, admiration and ambition become difficult to separate. Joseph L. Mankiewicz writes and directs a drama about theatrical rivalry, the attraction of fame and the expectations placed on women who make their living performing.

## Review

We would recommend *All About Eve* to anyone who enjoys listening to people behave badly. Joseph L. Mankiewicz, writing and directing, makes the rivalries of New York theatre both entertaining and worth taking seriously. He understands the appeal of being admitted to such company, even when its members give us ample reason to stay outside. There is some stiffness in the telling, but the pleasure of the dialogue lasts well beyond the moment of an insult landing.

The starting point is simple: Eve Harrington approaches Margo Channing as an admirer and gains access to her circle. Anne Baxter makes Eve’s attentiveness insistent enough to be interesting, though her wide-eyed manner occasionally looks worked at beside Davis’s confidence. The difference is useful even when it is not entirely convincing. Mankiewicz gets considerable mileage from the question of how clearly people can see someone who appears to think so highly of them.

Davis is the reason the film never settles for enjoying its own nastiness. Margo can be appalling company, yet Davis makes her sensitivity to other people feel painfully credible. We laughed at Margo’s acid replies, then felt protective of her. The sharpness of Davis’s delivery gives us the joke; the hurt audible beneath it explains why Margo needs to make it. We are allowed to find her unreasonable without being asked to stop caring about her.

George Sanders’s Addison DeWitt supplies a colder sort of amusement. Sanders makes verbal superiority sound habitual, so that the pleasure lies in how little effort he appears to expend. Celeste Holm’s Karen Richards gives the surrounding company a welcome sense of independent life. With so much carefully written speech, everybody could easily sound like the same clever author, but the actors give the lines different weights and different reasons for being said.

The screenplay is unusually alert to the work involved in being a woman who performs for a living. Professional confidence is admired until it becomes inconvenient to somebody else, and Margo’s difficult temperament is never the whole explanation for her difficulties. Mankiewicz gives us enough reason to question the people judging her. As a satire of theatrical vanity, this is far richer than a succession of jokes about actors, because the desire to be admired remains understandable even at its least attractive.

Milton Krasner’s cinematography is less distinctive than the acting, and the film can feel confined by its devotion to talk. Barbara McLean’s editing does not entirely disguise the awkwardness of the flashback structure. The music credited to Alfred Newman and Urban Thielmann leaves less of an impression than the voices, which seems a sensible proportion here. These are modest reservations about a film whose principal pleasure is hearing what somebody will dare to say next. At 139 minutes, though, a little less explanation would help.

Do not come to it expecting natural conversation: these people are far more articulate than is healthy for any friendship. Accept that degree of polish and the film offers a particularly satisfying evening of disagreeable company. Watch it with someone who enjoys an argument and does not need a nice character to support.

*Fi1m score 90, published 15 September 2026.*

## What the critics say

The consensus is firmly positive, with praise concentrated on Mankiewicz’s witty screenplay and the performances that give its theatrical rivalries their bite. Most critics single out Bette Davis, finding both authority and sympathy in her portrayal of Margo Channing, while the wider cast earns credit for making the barbed exchanges entertaining. The reviews also value the film’s cynicism about fame and ambition, with several drawing attention to its treatment of womanhood and feminine power.

The differences concern relatively small reservations rather than any substantial dissent. Radio Times finds minor weaknesses in the flashback structure and Anne Baxter’s performance, while Eye for Film considers the film stagey and lengthy by modern standards. Collider acknowledges visual shortcomings but finds ample compensation in the dialogue and acting. Across the reviews, these caveats leave the shared enthusiasm for the writing and performances intact.

## Straight answers

**Is All About Eve worth watching?**

*All About Eve* is worth watching for anyone who enjoys listening to articulate people behave badly, and we scored it 90. Bette Davis makes Margo Channing's vanity funny and then unexpectedly moving, and the dialogue rewards close attention. The flashback structure feels stiff and the film is devoted to talk, so it suits viewers who prefer wit to action.

**How long is All About Eve, and what is it rated?**

*All About Eve* runs 2h 19m. It is a drama film.

**Where can I watch All About Eve in the Philippines?**

*All About Eve* is not on any streaming or rental service in the Philippines at the moment. It is available in 30 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How does All About Eve compare to Sunset Boulevard?**

*All About Eve* and [*Sunset Boulevard*](https://film.one/film/sunset-boulevard) are both accounts of performance, vanity and the fear of being forgotten, and they sit well together. Mankiewicz's film is the warmer and funnier of the two, staying in the theatre and letting Davis earn our sympathy; Wilder's Hollywood drama is more frightening and merciless, and sometimes enjoys humiliating its faded star more than it should.

**What should I watch after All About Eve?**

After *All About Eve*, try [*Sunset Boulevard*](https://film.one/film/sunset-boulevard) (1950, Fi1m 91): Another sharp account of performance, vanity and the terror of being forgotten. Then [*The Servant*](https://film.one/film/the-servant) (1963, Fi1m 89): For more uncomfortable company, with deference that never feels entirely innocent.

### Reviews we read (11)

- **Radio Times**, Tony Sloman (5/5): Mankiewicz's witty, cynical tale of theatrical rivalries features first-rate performances and especially clever dialogue that today's audiences revel in. Minor flaws in the flashback structure and Anne Baxter's performance are outweighed by its status as a sophisticated classic. [Read](https://www.radiotimes.com/movie-guide/b-0mbbxf/all-about-eve/)
- **Time Out**, Ben Walters (5/5): The film dissects the narcissism and hypocrisy of the spotlight as sharply as Sunset Blvd, with equal attention to the challenges of enacting womanhood. Anne Baxter's Eve is the wide-eyed hanger-on who insinuates her way into Bette Davis's world. [Read](https://www.timeout.com/movies/all-about-eve)
- **Total Film** (85/100, inferred): The film is a caustic critique of New York theatre folk that skewers their pomposity with devastating accuracy, but a superlative cast, witty screenplay and top-drawer direction from Mankiewicz make it one of the most entertaining. [Read](https://www.gamesradar.com/all-about-eve-review/)
- **Empire**, David Parkinson (80/100, inferred): Mankiewicz's showbiz bitchfest remains rousing and endlessly amusing thanks to its witty script and strong performances, especially the showdown between Baxter and Davis. The merciless demythologising of fame's trappings is acutely relevant. [Read](https://www.empireonline.com/movies/reviews/eve-review/)
- **The New Yorker**, John McCarten: The critic finds the film a thoroughly entertaining movie thanks to Mankiewicz's ingenious treatment of the familiar story. He singles out Bette Davis's high-voltage, authoritative performance that transforms a difficult character into a sympathetic one. [Read](https://www.newyorker.com/magazine/1950/10/21/bonanza-for-bette)
- **The New York Times**, Bosley Crowther: The critic praises this withering, witty and mature satire as the movies letting Broadway have it with claws out. He singles out the gallery of dazzling, horrifying and fascinating characters, especially Bette Davis's central performance as the focal figure. [Read](https://www.nytimes.com/1950/10/14/archives/the-screen-in-review-bette-davis-and-anne-baxter-star-in-all-about.html)
- **Variety**, Abel Green: The critic calls it a literate, adult film of the calibre that will do big league, big town business with all the elements for the general runs. He singles out the exceedingly well-cast performances and the purposeful, intelligent intra-trade references and dialogue. [Read](https://variety.com/1950/film/reviews/all-about-eve-4-1200416775/)
- **Den of Geek**, Joseph Ewens (5/5): The critic praises the film's script and performances, particularly Bette Davis's nuanced portrayal of Margo Channing and the witty, poignant dialogue, calling it a bona fide classic. They single out the gender politics monologue for praise. [Read](https://www.denofgeek.com/movies/all-about-eve-blu-ray-review/)
- **The Skinny**, Laura Smith (★★★★★): The review hails it as one of the most enjoyable films ever made, praising Bette Davis's towering, acid-tongued performance as Margo Channing and the pyrotechnic dialogue. It notes the restored print and timing with Davis's centennial. [Read](https://www.theskinny.co.uk/film/new-releases/all-about-eve-film_review)
- **Eye for Film**, Anton Bitel (85/100, inferred): The critic praises the film's sharp dialogue, precise performances, and cynical portrayal of ambition and feminine power, noting its classic status and Bette Davis's iconic role, while acknowledging it feels stagey and lengthy by modern standards. [Read](https://www.eyeforfilm.co.uk/review/all-about-eve-film-review-by-anton-bitel)
- **Collider**, Andre Dellamorte: The critic finds All About Eve a wonderful classic whose witty, quotable dialogue and strong performances more than compensate for any visual shortcomings. They single out the crackling script and the cycle of ambition it depicts for particular praise. [Read](https://collider.com/anaffair-to-remember-all-about-eve-blu-ray-review/)

## Details

- **Director:** Joseph L. Mankiewicz
- **Director:** Joseph L. Mankiewicz
- **Screenplay:** Joseph L. Mankiewicz
- **Cinematography:** Milton Krasner
- **Editor:** Barbara McLean
- **Music:** Alfred Newman, Urban Thielmann
- **Costume design:** Edith Head
- **Producer:** Darryl F. Zanuck
- **Cast:** Bette Davis as Margo Channing; Anne Baxter as Eve Harrington; George Sanders as Addison DeWitt; Celeste Holm as Karen Richards; Gary Merrill as Bill Sampson; Hugh Marlowe as Lloyd Richards; Thelma Ritter as Birdie Coonan; Gregory Ratoff as Max Fabian
- **Runtime:** 2h 19m
- **First release (France):** 13 October 1950
- **Genres:** Drama
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Winner, 1950); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Winner, 1950); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Nominee, 1950)
- **Budget:** $1 million
- **Box office:** $8 million
- **Trailer:** https://www.youtube.com/watch?v=MILphnfj2mo

## Where to watch in the Philippines

Not streaming, renting or buying in the Philippines at the last check.

Also available in: AE, AT, BE, BG, CA, CH, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HU, IE, IL, IT, JP, LT, NL, NO, NZ, PL, PT, SE, UA, US, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 1951: Best Actress (nominated); Best Art Direction, Black and White (nominated); Best Cinematography, Black-and-White (nominated); Best Film Editing (nominated); Best Original Dramatic or Comedy Score (nominated); Best Supporting Actress (nominated); Best Costume Design, Black-and-White (won); Best Director (won); Best Picture (won); Best Sound (won); Best Supporting Actor (won); Best Writing, Adapted Screenplay (won)

## If you liked this

- *Sunset Boulevard* (1950), Fi1m 91: Another sharp account of performance, vanity and the terror of being forgotten. — [Fi1m page](https://film.one/film/sunset-boulevard.md)
- *The Servant* (1963), Fi1m 89: For more uncomfortable company, with deference that never feels entirely innocent. — [Fi1m page](https://film.one/film/the-servant.md)
- *The Bitter Tears of Petra von Kant* (1972): Cruel intimacy and professional power, with nobody inclined to suffer quietly.
- *Opening Night* (1977): An actress’s working life becomes a searching study of identity and fear.
- *Clouds of Sils Maria* (2014): An actress and her assistant make professional dependence feel intimate and precarious.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/all-about-eve