Gender Stereotypes In Mankiewicz's All About Eve

Mankiewicz through his 1950 drama ‘All About Eve’ contends that life itself is a performance. Mankiewicz shows that similarly to a theatrical performance, female individuals are critiqued, judged, and praised by the men, for the way in which they conduct themselves in everyday life. Mankiewicz demonstrates his beliefs by punishing those who violate his set of views and values, while rewarding those who act obligingly. Mankiewicz uses mirrors to emphasise the importance of female image within the gender stereotypes of 1950s America. The role of Addison De Witt as the critic is also used by Mankiewicz to exemplify his views, as De Witt holds the power to dignify or degrade characters dependent on whether or not they act in accordance to his moral
Throughout the film, De Witt observes the goings on of the theatre, many of which were intended to be hidden, highlighting the power he has within the world of the theatre. By using a number of characters in the film, Mankiewicz shows his beliefs that men should be the holders of power rather than women, supporting his opposition to ambitious women seeking positions of power. For Addison De Witt, his power is accentuated through Mankiewicz’s use of doors. Addison’s ability to see through doors, and uncover details that are unavailable to others showcases the power that Mankiewicz has invested in him. As Addison observes Eve’s sexual advances toward Bill, Addison’s power is elucidated as he can then use this as leverage later on while blackmailing Eve. Addison also uses doors as a portal between the real world and the world of the theatre. This is seen as Addison transports Claudia Caswell, an attractive but underwhelming actress, into the world of the theatre as he walks her through the door at Bill’s party. Addison is not bound nor restricted by doors, which can be seen by his arrival at the party despite Margo “distinctly remember[ing] striking [his] name from the guest list”. Addison’s abilities to observe and oversee what goes on makes him “essential” to the world of the theatre, and “essential” in amplifying Mankiewicz’s belief that females are always performing, both on and off
The use of mirrors in this sense is often associated with Eve and Phoebe, the villains of the film. Eve is often seen gazing in to mirrors, such as when she held up Margo’s dress to her body. In the film, mirrors represent an idealistic view of self, a depiction of what they want to see. When Eve is seen to be making sexual advances toward Bill, she asks him, “is that what you want me to be?” When Bill then rejects her advances, Eve angrily turns toward the mirror while dressed like Margo and sees herself in her transformed image. Eve then rips off her wig and throws it at the mirror, to represent her failed attempt at changing her image to lure the man she desired. When Eve is first introduced to Margo, the reflection in the mirror shows a raw and stripped back version of Margo with no makeup as she smokes, looking far from her best. This rawness in Margo’s appearance as highlighted by the reflection in the mirror depicts her susceptibility and vulnerability to Eve’s plans. Mankiewicz portends Margo’s fall through her underwhelming mirror image, which is superseded by the attractive and modest Eve, whom can also be seen in the mirror, which alludes to Eve’s usurpation of Margo in the theatre. This motif is once again seen as Eve is seen raw and stripped back, smoking and slouched over, looking far from her best as Phoebe looks at her through the mirror.