‘All About Eve’ Running Sheet
(Chapters as referenced in iTunes version)
Chapter
Chapter 1 – Opening Credits
Chapter 2 – The Sarah Siddons Award
1:05
Summary
The scene opens on the dining room of the Sarah Siddons Society.
The camera is on the Sarah Siddons Award, a gold statuette about
a foot high of Sarah Siddons as The Tragic Muse.
Addison deWitt’s voice is heard explaining that the Sarah Siddons
award is for Distinguished Achievement in Theatre. At the same
time deWitt denigrates “such questionable honours as the
Pulitzer Prize an those awards presented annually by the film
society.”
Questions
1.
2.
3.
4.
The key characters of Karen Richards, Lloyd Richards, Max
Fabian and Margo Channing are introduced in turn. After lauding
Eve’s praises, she is finally given the Sarah Siddons Award. As she
reaches for the award, the picture holds to add emphasis to
deWitt’s voice.
Chapter 3 - Only last October
7:22
With Karen Richard’s voice narrating, the scene dissolves to the
exterior of a New York Theatre street at night. Margo Channing is
playing in ‘Aged in Wood’, a subtle contrast to the youthful
portrayal of Eve in Chapter 2.
Eve is ushered into the stage door of the theatre and
metaphorically into the world of the theatre. Karen’s role is
pivotal in this although viewers can argue she is manipulated into
this position by the self-deprecating Eve.
Chapter 4- Meet Margo Channing
9:44
On entering the backstage door, Eve makes a bee-line for the
curtains and the stage, describing the atmosphere as “some
magic perfume”.
In her dressing room Margo is reflecting on an interview she has
given with a reporter from the South. Lloyd, Karen and Birdie
listen on.
5.
6.
What function does the voice over play in this
opening scene?
From the outset a distinction is made
between theatre and other forms of artistic
expression. On what basis is theatre
venerated in this regard?
Comment on the setting for this opening
scene – what impression is it intended to give
and how does it achieve this?
According to Addison deWitt, what function
do writers, directors and other “minor”
players have in the process of theatre?
What is the significance of ‘The Tragic Muse’
to the story that unfolds in this film?
What is the significance of the first reference
to Macbeth in this film – “a poor player that
struts and frets his hour upon the stage”?
7.
Explain Karen’s reflection that in theatre “a
lifetime was a season and a season a lifetime”.
8. Comment on the way Mankiewicz has chosen
to portray Eve in this scene. What might her
dress and emergence from the shadows of the
doorway signify?
9. Make a list of words to describe Eve in this
scene.
10. Karen says “there isn’t another like you; there
couldn’t be”. What is it that makes Eve
Harrington so unique?
11. How might Karen’s attitude towards Eve be at
this point described?
12. What are the first impressions viewers have
of Margo Channing?
13. What might be Margo’s character flaw that
allows Eve to insert herself in Margo’s life?
14. In what way does Eve begin to manipulate
her first audience?
1
Margo is sarcastic and appears dismissive of her success and
opportunities. She describes her fans as “autograph fiends,
they’re not people”.
Lloyd seems to think that a devoted fan is like something from an
“out of print” book. Birdie makes the second reference to
Macbeth in the film describing Margo as being like Macbeth’s
mother.
As Eve begins to recount her story, Lloyd, Karen, Margo and
Birdie become Eve’s first audience, Mankiewicz arranging Eve at
the centre of the frame.
Chapter 5 - How it started
15:06
Eve begins retelling her adoration of Margo Channing with seeing
the play ‘Remembrance’ in San Francisco. Eve recounts her
childhood, growing up as an only child in Wisconsin, being a
secretary in a brewery, her marriage and the death of her
husband in WWII. There are hints at Eve’s obsession with
Margo’s inner circle when she talks about Lloyd’s air force past
according to ‘Who’s Who’.
Margo stubs out her cigarette, increasingly engrossed in Eve’s
story. Reduced to tears, Margo snaps at Birdie when she makes a
flippant comment about Eve’s story.
15. What elements of Eve’s story cement her as a
sympathetic person to Karen, Lloyd, Birdie
and Margo?
16. Given the story Eve recounts, what role did
Margo play in redirecting Eve’s energies?
17. Sampson provides the first contrast between
the world of the theatre and the world of the
silver screen. How does Mankiewicz
represent this?
18. What prompts Margo to insist that Eve stays
after she makes a move to leave?
Bill Sampson arrives and the mesmerizing quality of Eve’s
narrative is disrupted. Sampson dismisses Eve on the first
introduction, engrossed in Margo. The intrigue is cemented and
Margo insists that Eve stay so that they can talk after she
farewells Bill Sampson at the airport.
Eve makes the ominous promise that she will “never forget this
night” as long as she lives. In fact it is the rest of them who are
likely to remember it most keenly but for different reasons.
Chapter 6 - What is theatre?
21:43
Eve and Bill Sampson are left in the dressing room while Margo
changes. Eve is earnest in her questioning of Sampson while he is
laid back (literally and figuratively) at the prospect of pursuing a
career in motion picture. Sampson describes theatre as “a flea
circus”.
19. What point is Mankiewicz making with
Sampson’s monologue about the theatre?
20. What is Eve suggesting when she says about
Hollywood “so few come back”?
21. What is significant about Sampson’s
observation “real diamonds in a wig”?
Sampson questions the elitist attitude of those who see the
theatre as the only pure form of performance.
2
Chapter 7 - At the Airport
24:55
Margo and Eve are at the airport with Bill Sampson. Sampson
observes that Eve has a “lack of pretense”.
Margo’s insecurities are manifest when she warns Bill about
getting “stuck on some glamour puss”. Bill chides Margo for her
obsession with her age.
22. What might explain the protective feeling
Margo has towards Eve, “a lamb loose in our
big stone jungle:?
23. What function dos the voice over of Margo
play in transitioning from the airport to
Margo’s apartment.
Mankiewicz positions Eve and Margo side by side at the gate.
Bill’s final admonition directed towards Margo is picked up by
Eve who responds that she will look after Margo.
Chapter 8 - Eve moves in
27:32
Margo describes Eve as being her “sister, lawyer, mother, friend,
psychiatrist and cop”.
AS Margo takes a curtain call, Eve looks on adoringly. The
dressing room has been transformed with Eve’s touches
including new curtains which she made herself.
24. As this scene opens, what contrast is seen in
the roles played by Eve and Birdie?
25. Why might Margo be describing this period
as a honeymoon?
26. How might we describe Margo’s reaction to
seeing Eve pretending to bow to the
audience?
Eve takes Margo’s costume under the guise of returning it to the
wardrobe department. Margo finds her holding the dress and
pretending to bow to the audience.
Chapter 9 - Midnight caller
31:40
Eve arranges a call from Margo to Bill Sampson in Beverly Hills
for his birthday. Margo learns that Eve has been corresponding
with Bill, providing him updates and has also made arrangements
for his welcome home party.
Margo seeks Birdie’s opinion on Eve but then defends her
devotion, struggling to be as cynical as Birdie.
Eve interrupts modeling a hand-me-down suit that Margo has
given her. Eve explains that “It’s my job” to think of things,
including placing the midnight call to Bill Sampson. She then
takes off to run a series of errands for Margo.
Chapter 10 - Paranoiac Insecurity
37:43
Margo is dressing for Bill’s welcome home birthday party. Margo
says she could “smell disaster in the air”.
Bill sees Margo’s “age obsession” as petty. After dismissing
Birdie’s comment, Margo now repeats her analysis that Eve is
studying her like she is a “play or a blueprint”. Bill becomes
protective of Eve, insisting she is still a “idealistic, dreamy-eyed
27. What causes the initial change in Margo’s
attitude towards Eve? How might this be
explained?
28. What is significant about the distinction
Birdie makes between Eve thinking “only of
me [Margo]” and “only about you [Margo]”?
29. As the scene ends an unspoken conversation
occurs between Birdie and Margo. What do
their knowing looks reveal?
30. What fuels Margo’s insecurity over her age?
31. Margo makes a snide comment about
interrupting a story that isn’t for “grownups”.
What point is she subtly making?
32. Make a list of the words/ phrases Margo and
Bill use to describe Eve.
33. Comment on the way Eve’s attire has changed
3
kid” which infuriates Margo further.
Chapter 11 - Bills Party
43:08
Margo’s criticism of Eve continues when Karen, Lloyd and Max
arrive.
Lloyd introduces the third reference to Macbeth when he says
“the general atmosphere is very Macbeth-ish”.
Addison DeWitt arrives and is formally introduced to Eve.
Margo’s melancholy is manifested in the music she insists the
pianist keeps playing. Birdie tries to sober Margo up with coffee
which she rejects.
from the first scene to this point. How is
Mankiewicz using this to illustrate the
transformation of her character?
34. Add Lloyd’s description of Eve to the list from
Question 31.
35. Analyse the references to Macbeth so far in
the film.
36. How does DeWitt add to Margo’s feeling of
marginalization?
37. What does Max suggest is the basis of his
relationship with Margo?
38. What concern does Margo express over
Lloyd’s new play and what is at the heart of
her insecurity over her age?
Margo attempts to rid herself of Eve by asking Max to give her a
job. Margo continues her subtle criticism of Hollywood. Lloyd
assures Margo of her popularity and surmises that Margo’s
concern is more about her argument with Bill.
Chapter 12 - The New Understudy
53:29
Karen is getting ready to leave when Eve arrives with a
Hollywood movie star’s sable fur coat.
Eve is gushing in her appreciation of Margo suggesting that
“there should be a new word for happiness.” With Margo’s affairs
in order, Eve looks for other opportunities.
Karen suggests that the women have more power in the affairs of
the theatre than the writer/ director saying that Lloyd and Bill
will “do as they are told”.
39. How does Eve’s self deprecating nature work
to her advantage?
40. What favour does Eve ask of Karen?
41. What does Karen mean by her comment
“Margo must go on”?
42. What is significant about the speedy arrival
and departure of the guest with the sable
coat?
Karen promises to discuss Eve’s request with Max.
Chapter 13 - A Breed Apart
56:31
This scene begins with Addison offering a commentary on actors
and actresses, suggesting that theatre folk “are a breed apart”.
Bill gives voice to Eve’s view about dedication to the theatre. Eve
is swept up in reflection of the power of the applause of the
audience.
43. What role does Miss Caswell play in this
scene? What does her cameo inclusion in the
film offer the storyline?
44. What is the essence of Addison’s monologue?
45. Review Bill’s monologue and summarise it.
46. What does Eve suggest is the reward of the
theatre? What does this suggest about her
motivation?
4
Chapter 14 - The Party's Over
59:19
A drunk Margo arrives, breaking the romantic picture that Eve’s
reflection has painted. Margo is critical of Eve’s acts of
adoration/ respect and Bill retorts suggesting that “outside of a
bee hive Margo, your [her] behavior would hardly be considered
either queenly or motherly”.
Margo points to her working class background and is critical of
Karen’s privilege.
47. What is Bill implying with his comment about
Margo’s behavior?
48. What is the significance of the beehive
analogy?
49. What underlying tensions does the
interaction in this scene reveal?
50. What is the significance of the close up at the
end of this scene?
Addison comments that the third act is going to be played off
stage, suggesting that Margo and Bill have not yet finished their
argument.
Eve is visibly upset by Margo’s attack and Karen reassures her
that sometimes Margo deserves “a kick right square in the pants”.
The scene concludes with a close up of ‘The Tragic Muse’.
Chapter 15 - A Mass of Fire and Music
1:02:51
Margo arrives for her reading with Miss Caswell. Pulling up
under the theatre sign ‘The Devil’s Disciple’ with another sign
‘Lost in the Stars’ in the background.
Addison is waiting for Miss Caswell in the foyer. Margo arrives
typically late and admits that she should start wearing a watch.
Addison informs Margo that her new understudy read with Miss
Caswell. It is obvious that Margo has not been informed that Eve
has taken on this role.
Addison makes an analogy between faith and the theatre and
applauds Eve’s performance.
51. What subtle point is Mankiewicz making in
the opening of this scene? Who is he referring
to?
52. Why might Margo have formed the habit of
not wearing a watch?
53. Why might Margo’s circle have omitted
telling her about Eve’s new role as her
understudy?
54. What agenda is Addison fuelling with his
remarks?
55. Why does Addison suggest Miss Caswell
redirect her attentions towards television?
What is the implication of this statement?
Addison fuels Margo’s insecurity by recounting Bill and Lloyd’s
reaction to Eve’s performance.
Chapter 16 - Coming Unglued
1:06:26
Margo arrives and storms on to the stage, pretending she is there
for the reading even though she knows that it has ended. Margo
is dismissive of Eve’s role as the understudy, implying that there
are so many people backstage she hardly would notice one other.
Max is clearly uncomfortable, realizing that he has not kept up his
end of the bargain.
Margo reveals that she is aware of what has happened and Bill
56. Describe Margo’s reaction to hearing from
Lloyd that Eve is her understudy.
57. Why is Eve so critical of her own
performance?
58. What does Margo mean when she responds
to Lloyd’s comment about Eve being a
“revelation”, “to you to”?
59. Summarise and explain Lloyd’s reaction to
5
realizes that Addison must have spoken to Margo already. Lloyd
describes Addison as a “venomous fishwife”. Lloyd describes the
situation as an “innocent misunderstanding” which infuriates
Margo even further.
the “bar room brawl” that Margo creates.
60. What is the “unconditional surrender” that
Margo says is too high a price?
Lloyd describes Margo as “a body with a voice” suggesting that
she is taking far too many liberties and seeing herself as more
important than she is. This reinforces the central lesson of
humility that her friends wish Margo would learn. Margo
continues directing her anger towards Lloyd and then suggests
that Bill had a hand in helping Eve achieve the success that she
did with the reading. Bill suggests that Margo is ruining herself
and their relationship by her paranoiac outbursts.
Chapter 17 - A Perfectly Harmless Joke
1:15:52
Lloyd arrives home furious at Margo’s behavior. He articulates
again that Margo needs “that boot in the rear she needs and
deserves”. Karen comes up with the idea to teach Margo a lesson.
The weekend passes and Karen and Lloyd are taking Margo back
to the station on Monday afternoon. The car runs out of petrol
and they find themselves stuck3-4 miles from the station with
only 10 minutes to get there.
61. List the adjectives Lloyd uses to describe Eve.
62. What is Karen’s “boot in the rear” plan?
63. What is the function of Karen’s voice over in
articulating her thoughts in this scene?
64. What makes Karen think that Margo will
appreciate the joke “in time”?
65. What realisations does Margo make as she
and Karen wait in the car?
Margo admits to the immaturity of her behviour and admits to a
vunerability that she hasn’t done before. Karen is moved by
Margo’s admission.
Chapter 18 - Forward Pass
1:25:03
The scene begins with Addison at the stage door explaining that
Eve’s performance was a success. He also elaborates on the steps
that Eve put in place to make sure that she was recognized.
Addison overhears a conversation between Eve and Bill at the
end of the performance and realizes what Eve is trying to do. Bill
rebukes Eve’s advances and Margo is crushes as one avenue to
her success closes. In much the same way that Margo began to
become unstuck, we see hints of this with Eve. Addison suggests
that Eve needs to be less humble. As Eve changes, Eve starts
finding the cracks in Eve’s story. Audiences still are unaware of
the extent of Eve’s fabrication.
66. In what way has Mankiewicz achieved the
transformation of Eve into Margo’s character?
What changes do we see in Eve in her
conversation with Bill?
67. What does Bill mean when he says he has
never been called Svengali?
68. Eve describes herself as “a carbon copy when
you can’t find the original”. What is she
suggesting?
69. What is Addison’s motivation in beginning to
unpick Eve’s fictional persona?
Eve invites Addison to “take charge” of their plans for the evening
and he agrees with a much more substantial meaning.
6
Chapter 19 - Addison's Review
1:31:06
This chapter begins with a voice over of Karen explaining the
events of the last 24 hours and admitting her feelings of guilt.
Karen finds Eve having lunch with Addison and a Hollywood
talent scout – “a sunburnt eager beaver”. Her guilt is
compounded when she reads Addison’s review.
70. We get the first hint in this scene that
Addison plans to control Eve. How is this
manifested?
71. What does this scene show us about Margo?
72. What is Karen’s reaction when Bill arrives?
The chapter continues in Margo’s apartment with an incessant
Margo reading the review. The review claims that Eve is critical
of the “lamentable practice… of permitting… mature actresses to
continue playing roles requiring a youth and vigour which they
retain but a dim memory”.
Margo is perplexed at how so many critics knew Eve was
standing in for Margo. Bill arrives to be by Margo’s side.
Chapter 20 - Lloyd's Deal
1:35:15
The scene begins with Lloyd and Karen discussing Addison’s
review. Eve has told Lloyd that Addison twisted her words in the
review.
Lloyd suggests putting ‘Footsteps on the Ceiling’ into production
and sending Margo on tour with ‘Aged in Wood’. Karen has
become finally aware of Eve’s manipulation as is apparent in her
sarcastic tone.
73. What elements have contributed to Karen’s
realization of Eve’s agenda?
74. Why does Lloyd say that the has
compromised in the casting of his plays?
75. What role does Karen assume in this scene?
Who is she sounding like?
Chapter 21 - The Cub Room
1:38:41
Margo, Bill, Karen and Lloyd are dining in The Cub Room after the
theatre. Bill is praising Margo’s performance. They toast Margo’s
success and Margo and Bill’s engagement. Just as they drink to
the enduring nature of their friendship, Karen received a note
from Eve. The curiosity of the group force Karen to meet Eve.
76. What accounts for the performance that
Margo gives this evening?
77. What are Margo, Bill and Lloyd so insistent
that Karen meets Eve?
Chapter 22 - A Simple Exchange of
Favours
1:42:27
Karen sits to listen to Eve, skeptical about what she is about to
hear. Eve lays blame on Addison for the contents of the review.
Eve accepts “responsibility and disgrace” for what happened in
the review.
78. What accounts for Karen’s softening attitude
as the conversation continues?
79. What does Karen mean when she says
“nothing is forever in the theatre”? What
previous sentiment is this echoing?
80. What dilemma does Karen now face? What
are the implications of each option that she
has?
81. Why does Eve not report the true
conversation to Addison?
Karen softens the longer she speaks to Eve. Eve admits a
realization that Addison is controlling her to an extent. Karen
offers to assist Eve and Eve seizes on this. The softening in Karen
disappears as she realizes she is now caught in an impossible
situation.
Eve’s true colours are shown in the request she makes of Karen.
7
Chapter 23 - What's so funny?
1:49:32
Karen returns to the table and Margo guesses the way in which
Eve went about apologizing. Karen is unusually quiet and Margo
asks that people just “shut up about Eve”. Margo plays on words
with “Little Miss Eve-il”, showing that despite her claims to
forgive Eve she still sees her as a menace.
82. Why does Margo decide to relinquish the role
of Cora? What might this suggest about why
she was so attached to the roles she played to
begin with?
Margo begins to redefine her lie starting with the fact that she
will soon be a married woman. To that end she asks Lloyd not to
play the part of Cora, explaining that is no longer a part for her.
Karen begins laughing, realizing that Eve has managed to get
exactly what she wants.
Chapter 24 - Footsteps on the Ceiling
1:52:53
The chapter begins with the rehearsal of ‘Footsteps on the
Ceiling’ and uncovers a tension between Lloyd and Bill. Karen
resolves no longer to attend rehearsals.
Lloyd and Karen receive a midnight call from Eve’s roommate
summoning Lloyd to a hysterical Eve. As Eve’s room mate hangs
up we see a composed Eve sitting on the stairs, evidently having
orchestrated the call to Lloyd.
Addison and Eve emerge from the theatre. Eve is confident in her
performance and ability. Addison comments that Eve could in
fact take a nap before the performance, she is so calm.
Chapter 25 - Killer to Killer
1:57:11
Eve invites Addison into her room to share some news with him.
Addison comments that it is surprising that Karen is not in New
Haven for the opening of the play.
Eve announces that Lloyd is going to leave Karen and marry her.
Addison finally reveals his long held intention in supporting Eve.
When Eve laughs at him, he hits her. Eve follows Addison’s
instruction sensing that he is approaching this situation from a
position more powerful than hers.
Addison reveals that Eve is really Gertrude Slojinski, a poor girl
from Wisconsin who was paid to leave her hometown after an
affair with her boss. Eve’s deception begins to unravel as it is
apparent that Addison knows the truth.
83. What might account for the tension between
Lloyd and Bill as they rehearse the play?
84. What anxiety does Karen’s voice over reveal?
85. Why does Eve summon Lloyd in the middle of
the night, the night before the opening of the
play in New Haven?
86. What is significant about the promotional
signs on the Shubert Theatre?
87. Eve describes the night as being one “…to
remember. It will bring me everything I ever
wanted.” What does she expect it will bring?
88. What accounts for this story that Eve tells
Addison? Why manipulate the truth in this
way? What is she hoping to achieve?
89. What does Addison mean when he says that
Eve will “belong” to him?
90. Why might this chapter be called ‘Killer to
Killer’?
91. What does Addison believe are the
similarities between him and Eve?
92. Why does Addison believe Eve will in fact
give the performance of her life on the
opening night of ‘Footsteps on the Ceiling’?
8
Chapter 26 - A Night to Remember
2:05:59
The film returns to the Sarah Siddons Award ceremony with Eve
accepting her award. Eve returns to be posture of humility, and
adoration with which she entered the lives of Karen, Lloyd,
Margo, Bill and Max, ever grateful for her “friends in the theatre”.
Eve credits Max for taking a chance on an “unknown, untried
amateur”, her “first friend in the theatre” Karen, her
“benefactress and champion” Margo, a director “who demanded
always a little more than my [her] talent could provide” Bill and
Lloyd without whose great play this night could never have
been”.
Eve announces that she is leaving for Hollywood to make a film
but assures the audience that her heart is in the theatre. Karen,
Lloyd, Margo and Bill congratulate Eve on her award.
Chapter 27 - Phoebe
2:11:18
The taxi pulls up outside Eve’s hotel and she leaves Addison to go
to Max’s party alone. As Eve pours herself a drink she notices a
young woman asleep in the sitting room.
Phoebe says she is President of the Eve Harrington Club at
Erasmus Hall, a girls High School in Brooklyn. She answers the
door to Addison who returns the Sarah Siddons Award that Eve
left in the taxi cab. Addison encourages Phoebe to learn from
Miss Harrington how to receive an award like the Sarah Siddons
Award.
93. Is Eve indeed the “apprentice” she claims to
be?
94. How much of Eve’s humility is now genuine?
95. What is the reaction of Max, Karen, Margo,
Bill and Lloyd as Eve credits them?
96. Eve omits mention of Addison. Why is this?
97. How has Eve’s ideas about theatre and
performance changed since her time lurking
at the stage door? What might account for
this change?
98. With what emotion does Margo deliver her
final line in the film? What is Eve’s reaction?
99. Why has Mankiewicz chosen to have Bill,
Margo, Lloyd and Karen end their
involvement in the film at this point?
100. What elements of an unfolding narrative
become obvious to viewers during this
exchange between Addison and Phoebe?
101. What does Addison recognize in Phoebe?
102. What similarities/ differences can be seen
between Phoebe and the Eve we met at the
start of the film?
103. What is significant about the way
Mankiewicz has chosen to end the film?
What commentary is he offering about the
lives of those in the theater?
As Phoebe returns the award to the trunk, she puts on Eve’s cape
and admires herself in the reflecting mirrors, pretending to bow
to an imaginary audience.
Chapter 28 - End titles
2:17:27
9