Bette Davis fell in love with her co-star Gary Merrill during the shoot of this movie, and the two married in July 1950, a few weeks after filming was completed. They adopted a baby girl, whom they named Margot.
Co-star Celeste Holm spoke about her experience with Bette Davis on the first day of shooting: "I walked onto the set . . . on the first day and said, 'Good morning,' and do you know her reply? She said, 'Oh shit, good manners.' I never spoke to her again - ever."
Upon learning that he had cast Bette Davis, one of her former directors, Edmund Goulding, rang up Joseph L. Mankiewicz and warned him that she would grind him down into a fine powder. This was a reference to her on-set behavior, not the least of which was rewriting her dialogue. The warning proved to be unnecessary, however, since Davis knew better than to mess with Mankiewicz's finely tuned screenplay. In fact, Mankiewicz found her to be one of the most professional and agreeable actresses he'd ever worked with.
The first time two actresses from one film were both Oscar nominated for Best Actress. Anne Baxter had lobbied heavily to be nominated in the best actress category, rather than supporting. By doing so, she may have cost both herself and Bette Davis the award.
Bette Davis' marriage to William Grant Sherry was in the throes of breaking up while she was making the film. Her raspy voice in the film is largely due to the fact that she burst a blood vessel in her throat from screaming at her soon-to-be-ex-husband during one of their many rows. Director Joseph L. Mankiewicz liked the croaky quality so he didn't have Davis try to work around it.
Margo Channing's famous cocktail dress was an Edith Head creation. To Head's horror, just as they were about to go film the cocktail party, she found that the dress didn't quite fit Bette Davis in the shoulders. There was no time to fix the dress but fortunately Davis hit on the bright idea of simply slipping the dress off her shoulders.
Bette Davis had just turned 42 as she undertook the role of Margo Channing, and Anne Baxter, still an up-and-comer, not only wowed audiences with her performance, but successfully pressured the powers that be for an Oscar nomination in the Best Actress category, rather than Best Supporting Actress. This is thought to have split the vote between herself and Davis. The winner for the 1950 Best Actress was Judy Holliday for her noticeable turn in Born Yesterday (1950), so Baxter's actions in effect blocked Davis' chances for the win.
Bette Davis admitted later on that Joseph L. Mankiewicz's casting her in this movie saved her career from oblivion after a series of unsuccessful movies. She said in a 1983 interview, "He resurrected me from the dead."
During the scene in the out-of-gas car, Margo tells Karen that she loves Bill, but she's afraid that Bill is actually in love with "Margo Channing", the stage persona, instead of Margo Channing the woman: "Bill's in love with Margo Channing. He's fought with her, worked with her, loved her... but ten years from now -- Margo Channing will have ceased to exist. And what's left will be, what?" Bette Davis and Gary Merrill, who married after filming this movie together, did indeed divorce almost exactly ten years to the day after their wedding. Davis was quoted as saying that they had married their characters from the movie, rather than the actual people.
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.
The "Sarah Siddons Award" which Eve receives was invented by writer/director Joseph L. Mankiewicz. In 1952 a small group of eminent Chicago theater-goers, including Mrs. Loyal Davis, mother of future First Lady Nancy Reagan, began to give an award of that name which is also physically modeled on the one in the film. The 1967-1968 Actor of the Year award recipient was Celeste Holm. In 1973, during the Sarah Siddons Society Anniversary Gala, an honorary Sarah Siddons award was presented to Bette Davis, even though she never appeared in a play in Chicago. Around 1960 Davis did appear in the Tennessee Williams play "The Night of the Iguana" at the Blackstone in Chicago.
Bette Davis said in her autobiography, "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."
Despite their characters' tense relationship on screen, Bette Davis and Anne Baxter got along very well during filming. "The studio tried to play that up all during the filming," recalled Baxter, "but I liked Bette very much. She'd come on the set and go 'Sssssss' at me, but it was just a joke between us." Davis liked Baxter, too, which was quite a compliment as Davis reportedly didn't often like her female co-stars. She felt that Baxter did an excellent job with her part as Eve, and publicly praised her for it.
Contrary to popular belief, the character of Margo Channing is not based on Tallulah Bankhead. The film was adapted from an original story published in Cosmopolitan, "The Wisdom of Eve" by Mary Orr (uncredited in this film). It was based on an actual incident involving Austrian actress Elisabeth Bergner during her run in the hit stage thriller "The Two Mrs. Carrolls" in 1943-44. The story's main character was, like Bergner, a foreign actress named Margola Cranston, before it was changed to Margo Channing. However, the story about its being based on Bankhead persisted, and when Bankhead heard it, she reportedly told a live radio audience that the next time she saw Bette Davis, she would "tear every hair out of her mustache".
In an introduction to the film on Turner Classic Movies in November 2008, Robert Osborne said that everyone assumed that Bette Davis had based her characterization on Tallulah Bankhead, even Tallulah herself. In fact, Bankhead even considered suing Twentieth-Century Fox, but decided not to, because Bette Davis "did such a good job. I've just been witched out of $1,000,000 by Bette being as good as me." But in 1952, Tallulah Bankhead starred in a radio adaptation of "All About Eve" which featured in the supporting cast Mary Orr, author of the original story "The Wisdom of Eve". According to Robert Osborne, during a rehearsal Tallulah asked Mary Orr: "I was the prototype for Margo Channing, wasn't I?" and Orr set the record straight and said "no". Tallulah reportedly never spoke to Mary Orr again.
In 1970 the story was adapted into a Broadway musical called "Applause" and in 1973 a made-for-TV movie (Applause (1973)). Lauren Bacall played Margo Channing. When Bacall left the show, the actress who took over the role was Anne Baxter, who had played the role of Eve in the film.
The original story "The Wisdom of Eve" appeared in "Cosmopolitan" magazine in 1946, and was produced as a radio drama for NBC - but every studio rejected it as a film project. Eventually Fox bought the rights for $3500 with no credit stipulations. Joseph L. Mankiewicz combined "The Wisdom of Eve" with a story he had been developing about an actress who recalls her life when receiving an award.
As a special surprise, when Bette Davis was awarded the Sarah Siddons Award, the organizers secretly asked Anne Baxter to attend her presentation. According to a member of Chicago's Siddons Society, far from being pleased, Davis was furious about having to share her spotlight with another actress.
Marilyn Monroe's presence caused the most trouble for George Sanders. He was newly married to Zsa Zsa Gabor at the time, and she was none too pleased to have her husband away on location with the breathy blonde bombshell.
Oscar winner George Sanders spent his time between scenes napping in his dressing room. Anne Baxter later remarked that the sometimes still sleepy actor took about seven takes before he got it right, which worked well for his characterization.
Gary Merrill described the experience of working with Marilyn Monroe in his autobiography as occasionally frustrating. He describes a dinner party that Bette Davis hosted the night before she and Monroe were to shoot a scene together. "The party went on quite late," he recalls, "but Marilyn excused herself early because she had to work the next morning. We all knew the scene Marilyn had to work on the next morning was really Bette's scene and that Marilyn had only a few lines...Bette had more, but she was an experienced actress and accomplished the scene with little bother. It had to be done in ten takes, however-Marilyn kept forgetting her lines."
After the first week of filming, the cast and crew gathered to view the rushes in San Francisco. From what everyone saw on screen, it was clear that was something special. People got excited, and that excitement fuelled what already seemed to be a charmed production into an even better picture. "None of us could wait to get to work," recalled Anne Baxter.
The night before shooting was to commence at the Curran Theatre, Gary Merrill invited everyone on the production to have drinks at the elegant Fairmont Hotel. Bette Davis agreed to attend. "Everybody was showing off," recalled Celeste Holm about that night in Ed Sikov's 2007 book Dark Victory: The Life of Bette Davis. "Bette had taken one look at Gary and Gary had taken one look at Bette, and something had happened. And from then on she didn't care whether the rest of us lived or died."
Claudette Colbert was originally cast as Margo Channing, but suffered a ruptured disc during filming on Three Came Home (1950) and had to withdraw. Bette Davis stepped into the role, even though 20th Century-Fox studio chief Darryl F. Zanuck and Davis couldn't stand each other, going back to when Davis walked out from her post as president of the Motion Picture Academy in 1941.
In April of 1950 the cast and crew travelled to San Francisco to begin filming. Bette Davis travelled by train, while Gary Merrill, Hugh Marlowe and Celeste Holm all flew together on Darryl F. Zanuck's private seaplane. "I wonder what it's going to be like working with the Queen Bee," said Holm to Merrill during the flight, referring to Davis. "I know one thing," replied Merrill, "it'll all be over in eight weeks."
Bette Davis, who had recently separated from husband number three, William Sherry, arrived in San Francisco with her infant daughter B.D., a nanny, a secretary and a bodyguard just in case there was any trouble from her estranged husband.
Darryl F. Zanuck was so confident that the film would be a smash that no advance audience screenings were held -- only press screenings to generate positive word of mouth for the film. In a confident move, the studio even financed the production of four separate trailers to advertise the film.
In the scene in which Bette Davis arrives "late" for her audition, we see a street on which there is a theatre marquee displaying the title "The Devil's Disciple". A production of George Bernard Shaw's "The Devil's Disciple" with Maurice Evans was playing on Broadway in early 1950, when the scene was filmed.
Marilyn Monroe, who was just starting out in pictures when she made All About Eve was very insecure working among such great established talent and struggled to hold her own. Bette Davis and some of the other actors could get impatient with her inexperience, but Monroe worked hard and tried to put forth her best efforts.
Actor Eddie Fisher is NOT the well known singer (Eddie Fisher, ) but a local actor, who just happened to be the stage manager of the Curran Theatre, where filming took place, and so was hired to play the stage manager in the film as well. This has caused a lot of confusion in documentation ever since, with unaware observers looking for the wrong "Eddie Fisher" and not finding him.
The popular English gothic rock band All About Eve took their name from the film. They enjoyed chart success in the UK in the late 1980s and early 1990s with several hit singles such as "Martha's Harbour" and "What Kind of Fool".
Joseph L. Mankiewicz offered Gertrude Lawrence the role of Margo Channing and sent her a copy of the script. She was enthusiastic, but she insisted on making two changes. She wanted all of Margo's drinking scenes taken out, and instead of Liebestraum at the party scene, he would play Jerome Kern and Oscar Hammerstein II's "Bill", which she would sing. After all this, she turned the part down.
Bette Davis has denied that she had based her Margo character on husky-voiced star Tallulah Bankhead. To put an end to long-standing rumors. Davis set the record straight in a later interview, "Tallulah herself, more than anyone else, accused me of imitating her as Margo Channing. The problem was that I had no voice at all when I started filming All About Eve due to emotional stress as a result of [bitter divorce]....This gave me the famous husky Bankhead voice. "
Gertrude Lawrence was offered the role of Margo Channing. After demanding changes to the script, (she wanted scenes of Margo drinking removed and that the piano player at the party play "Bill" by Oscar Hammerstein II and Jerome Kern), she turned it down.
When Margo is arguing with Lloyd she asks him "when you listen as if someone else has written your play whom do you have in mind? Arthur Miller, Sherwood, Beaumont and Fletcher?" She is referring to Arthur Miller, whose seminal work "Death of a Salesman" opened in 1949; Robert E. Sherwood, of the Algonquin Round Table; and English playwrights Francis Beaumont and John Fletcher, who collaborated in the early to mid-1600s.
The trivia item below may give away important plot points.
After the film's release, Bette Davis implored Joseph L. Mankiewicz to write a sequel that would focus on the characters of Margo and Bill (played by her lover on-and-off screen, Gary Merrill). Many years later, after she and Merrill had married and divorced, Davis ran into Mankiewicz at a party and said to him, "Joe, you can forget that sequel. I've played it and it doesn't work."