boy-13 Reviews

Beyond the Forest (1949)

Hilarious, campy stinker.

[4/10 · 20 October 1999]

Interestingly, as Bette Davis' final film for Warner Bros., her unhappiness with the studio after a prolonged and tomultuous run really shows through in this role. Her disgust with the domineering studio adds to the bleakness of this hilariously bad stinker of a film.

Davis plays Rosa Moline ("I'm not just a small town girl - I'm Rosa Moline!", "I came here - dragged myself on my hands and knees with no pride. Me, Rosa Moline!"). Rosa is a self-absorbed, driven woman stuck in smalltown America. Obsessed with the thought of moving to nearby Chicago and living the glamorous life full of furs and status, she embarks on an affair with big city businessman David Brian. Sick and tired of her mundane life and her self-sacrificing doctor husband (Joseph Cotten), Rosa plots, lies, schemes, and murders her way to what she thinks will be a better life.

In the tradition of later films such as "Valley of the Dolls" (1967), or even "Showgirls" (1995), "Beyond the Forest" is a laugh riot....it's so bad that it's good. Davis prances around the backwoods in her insanely faux-looking black hair, a Mae West-esque tone in her voice, planning to destroy the lives of those around her. We watch her brandish a rifle and shoot porcupines, as well as humans, carry around a mirror for those all important vanity checks, and topping it all off, take a death-defying leap off a cliff. Perhaps, just perhaps this would be a better film if we actually had a character to root for. But Davis' character is too evil and dark to be a smart or funny villain, Cotten's dopey doc is too self-involved and oblivious for us to support, and Brian's traveling man is too underdeveloped to even get to know. On the upside, music- extraordinaire Max Steiner once again weaves his soundtrack magic providing a great score. But good music does not compensate for such a corn-ball of a flick. It's really novel when even the wonderful Davis can't save a sinking film.

Executive Suite (1954)

A great example of mature, intelligent storytelling.

[6/10 · 19 October 1999]

When the president of a major furniture conglomerate drops dead, all of the company's executives (William Holden, Barbara Stanwyck, Fredric March, Walter Pidgeon, Paul Douglas, Louis Calhern, Dean Jagger) converge in the executive suite for a vote on who will take over. But before this climactic meeting takes place, we learn about each executive's motives and desires. Make way for the clash of egos and ambitions!

Helping to define the human element of these ruthless, driven businesspeople, we gain a revealing look into the simplicity of their domestic lives. And helping to add to the intensity of this over-wrought boardroom melodrama, director Robert Wise smartly (or not so smartly, perhaps) forgoes any musical soundtrack. Instead the background is filled with the real life sounds of a major company such as this.

The all-star cast provides perhaps the biggest punch in all of "Executive Suite". Standouts particularly are Holden, Stanwyck, March, and Foch. Despite her devastating lack of screentime, Stanwyck is able to give one of the best performances of her mutifaceted career as a woman on the verge -the high-strung lover of the deceased president. In an exemplary showcase of scene-stealing, Holden has a final showdown with Stanwyck - this dynamite sequence tops them all. This smart coporate drama is given the glossed-over MGM treatment, but is nonetheless gripping and realisitic, thanks in part to outstanding performances and direction (watch for the amazing opening scene where we watch from the ailing president's point-of-view). "Executive Suite" is intelligent, mature storytelling, Hollywood style.

Stage Fright (1950)

A solid, entertaining Hitch flick

[7/10 · 17 October 1999]

Often considered to be one of Alfred Hitchcock's lesser known films, "Stage Fright" has unfortunately gotten a bad wrap. Even mediocre Hitchcock is better than most movies ever get, though. And this one is a solid, entertaining picture. With an eclectic cast one doesn't expect to see together, each diverse actor provides a little something for everyone. And with Jane Wyman, Marlene Dietrich, Richard Todd and Michael Wilding how can you go wrong?

Wyman convincingly plays a drama student who gets involved over her head in a purely Hitchcockian case of murder. When her ex-lover Todd is suspected of killing Dietrich's husband, Wyman hides him and helps him allude the police. Meanwhile, Wyman disguises herself as Dietrich's maid to help find evidence to save Todd's freedom. Wyman falls into a dangerous trap, and danger surrounds her.

Disappointingly underdeveloped as it starts, "Stage Fright" eventually turns into a first-rate thriller. While Wyman has been better, Dietrich is hilariously catty and Todd is wickedly suspicious. This is undoubtedly a Hitchcock film all the way around, but adding a nice twist to the formula is a soaring, romantic soundtrack. A seriously satisfying film, "Stage Fright" hits most of the right notes.

Mildred Pierce (1945)

Crawford's tour-de-force is a real stunner.

[9/10 · 17 October 1999]

Joan Crawford's tour-de-force as a self-sacrificing mother is a real stunner. Directed by Michael Curtiz, and based on James M.Cain's steamy novel, "Mildred Pierce" is a slick stylish sudser that ranks among the best.

After a decade-long streak at MGM, Crawford, made her way over to Warner Bros. It was a brilliant move as Crawford won an Oscar (as Mildred) and ended up back on top.

As the title character, Crawford brings a sense of steely determination and guts. As a devoted housewife, Mildred puts the needs of her family first. So when her husband (Bruce Bennett) begins a sleazy affair with a woman down the street, Mildred kicks him out and starts life anew. Nothing - not even one daughter's death and another daughter's selfishness - stops Mildred from working her way to the top. She goes from waitress in a greasy diner to the wealthy owner of a successful restaurant chain. But despite her achievements, Mildred must contend with a slimy lover (Zachary Scott) and her increasingly vile and spoiled daughter, Veda (Ann Blyth). All the drama comes to a rousing climax, which culminates in a physical altercation between brat and mom.

Crawford's gut-wrenchingly sympathetic performance draws you in, and the sparks that she and the wonderful Blyth create are unforgettable. Also, a playful Eve Arden as Mildred's pal, spouts off some terrific dialogue.

"Mildred Pierce" is an exceptional piece of work that uses some of the finest elements of classic cinema. The story moves along at a sleek pace, and thanks to the writers, "Mildred" never sinks in the froth of its own soapiness. A powerful, emotional cinematic experience.

There's Always Tomorrow (1956)

Stanwyck and MacMurray together again....

[6/10 · 9 October 1999]

In this Douglas Sirk-directed sudser, Fred MacMurray plays a toy manufactorer who becomes tired of his routine homelife and falls into the waiting arms of Stanwyck, his lover from 20 years earlier. MacMurray's son (William Reynolds) eventually becomes suspicious of his dad's whereabouts and snoops around to find out exactly what is going on. And MacMurray's unintentionally neglectful wife (Joan Bennett) is completely oblivious to her husband's attraction to Stanwyck, as the flashy New York City designer.

"There's Always Tomorrow" is an interesting film in that it examines the dark-side of the 1950s nuclear family....something that Sirk had always been interested in. Stanwyck and MacMurray have an undeniable chemistry that is given new life after their 1946 classic "Double Indemnity". The performances shine, and many of the scenes are given classic Sirk touches (such as the reflection of the rain streaming down the window on Stanwyck's face, after her showdown with MacMurray's children). However, this movie adds nothing new to the routine formula, of the tempting female disrupting the lives of a happy family. Good overall, but it lacks a certain punch.

Psycho (1960)

....ultimate Hitchcockian masterpiece....

[10/10 · 25 August 1999]

This ultimate Hitchcockian masterpiece is an artful, suspenseful, beautiful, and horrifying thriller! So many taboos of the era were abolished by this film - violence, brief nudity, transvestism, and (gasp!) a flushing toilet. While all of this has lost its shock value by today's standards, the overall grasp this film has on the viewer will never be outdated. Considered by many to be Alfred Hitchcock's greatest work, this is undoubtedly one of the highlights of film history.

The story begins in Phoenix, Arizona, with a woman named Marian Crane (Janet Leigh) and her lover, Sam Loomis (John Gavin), in a hotel room enjoying an afternoon tryst. They are in love, but the problem is that Sam is married and can't afford to get a divorce. No problem, actually. Marian happens to work at a bank. So, later, she steals a bundle of cash ($40,000) and heads off to Los Angeles where Sam lives. During her road trip, this blonde beauty tires and checks into the Bates Motel. There, she meets the odd, bird-like hotel proprietor, Norman Bates (Anthony Perkins). She converses with Norman in his scary, bird-filled parlor and soon comes to realize the strange relationship he shares with his mother. Soon, out of left-field, Marian is slashed-off in what is probably one of the most famous scenes in movie history - the wet and bloody shower scene. This was certainly a film first - the demise of the main character halfway through the picture (it was actually an experiment by Hitchcock to gauge audience reaction). Now what? Well, an investigator (Martin Balsam), Sam, and Marian's sister Lila (Vera Miles), all converge on this house of horrors to investigate the mysterious disappearance of Marian. What will happen? Who will survive? It's all too suspenseful and fun.

The acting is on a tremendous level and Hitchcock's direction, as always, is just awesome. Plus, it is impossible not to love the violin-drenched soundtrack by composer-extraordinarre, Bernard Herrmann. "Psycho" is a historical event. Not only because of the top-notch production itself, but because of the facts behind the film. For instance, did you know that the infamous shower scene that only lasts 45 seconds, took Hitchcock one week to film to his satisfaction? It's interesting to note, too, that actress Miles was chosen for the role of Lila as a consolation prize of sorts. See, Hitchcock had cast her as the lead in 1958's "Vertigo", but she became pregnant just before production. Therefore, Kim Novak got the dual role. But Hitchcock didn't forget about the lovely Miles, giving her a role in one of the most famous movies ever. Also, "Psycho" was a work of secrecy and surprise. Hitchcock bought the original novel by Bloch, from Bloch, for $9,000, anonymously. Then he bought as many copies of the book that he could find, just to keep the end a secret. Then, when "Psycho" was released in theatres, Hitchcock had strict instructions with the theatre owners not to let anyone in the film late, since Leigh's role was so short and she was billed as the "star". This is a terrific film in every aspect. No wonder "Psycho" was listed by the American Film Institute, in 1998, as one of the 100 Greatest American Films.

Hitchcock cameo: He is the man in the cowboy hat standing on the sidewalk outside Marian's office.

Magnificent Obsession (1954)

A good, solid melodrama.

[8/10 · 22 August 1999]

This drama-fest is the one that accomplished so many things at once. First of all, "Maginificent Obsession" put the entire genre of "over-blown Technicolor weepie" on the map. Secondly, this was the financial success director Douglas Sirk needed to enter himself into mainstream popularity. The team of Sirk, producer Ross Hunter, and studio Universal, became one of the powerhouses of the 1950s. Also, Rock Hudson's "leading man" status was born due to this role. And, the excellent Jane Wyman got yet another Oscar nomination, though she lost out to Grace Kelly who won for "The Country Girl". An enormous financial success, "Magnificent Obsession" was truly an influential little film.

Hudson plays Ron Kirby, a careless, wealthy playboy who is indirectly responsible for the death of a beloved local doctor. The doctor's widow turns out to be Wyman. In a twist of tragic fate, while trying to redeem himself, Ron causes an accident which blinds the widowed Helen. Befriending her by pretending to be someone else, he falls in love with her, and her with him. Helen travels to Europe to find out if her sight can be restored by Swiss doctors. All fails, and a smitten Ron devotes his life to medicine, hoping to become a surgeon and hopefully cure a devastated Helen.

"Magnificent Obsession" is a good, solid melodrama (nothing less can be expected from director Sirk) , with good performances by all (especially Wyman and Agnes Moorehead) , and soaring music in all the right spots. The scene in a Swiss hotel room, which finds Helen feeling her way around, alone, is one of my all-time favorite movie scenes - so extraordinary ! Not as tear-jerking as Sirk's "Imitation of Life" (1959) or as trashy as his "Written on the Wind" (1956), and even quite slow at times, this movie is worth one's time and effort - especially for fans of Sirk, Hudson, or Wyman. The dramatic pay-off is brilliant.

The Big Street (1942)

Lucille Ball is excellent, and in top-form.

[5/10 · 22 August 1999]

This interesting story failed to make it big with audiences in its initial release, but is actually a noteworthy picture, nonetheless. This unlikely story has Henry Fonda as Little Pinks, a shy, timid busboy, who's obsessed with Lucille Ball's self-absorbed, mean-spirited torch singer. Despite her poor treatment of him, he continues to worship her. During an argument with her louse of a boyfriend, he (the boyfriend) pushes her down a flight of stairs. Paralyzed and desperate, Gloria moves in with Pinks. The wheelchair-bound diva alienates everyone around her with her anger and venomous commentary. But Pinks doesn't let it bother him. Instead the "odd couple" go on an unusual roadtrip together. He pushes her in her wheelchair all the way to Miami - pretty dumb, really !

Ball is excellent, and in top form. It's great to see her in such an unusual role (see also 1947's "Lured"). Fonda is great, too, as the innocent and smitten young man. And the rest of the cast is good; especially, the always fabulous Agnes Moorehead. Despite a good story and an excellent cast, the plot limps along at points, and the shoddy production value is unignorable. Plus, the whole "Let's push Lucy to Florida in her wheelchair" thing is utterly nuts! However, the final scene is an unforgettable melodramatic moment that is fascinating just for the fact that Ball is the center of it. It makes it worth sitting through the many drawbacks of this film just to see the ending scene.

All This, and Heaven Too (1940)

Haunting, romantic period piece.

[7/10 · 20 August 1999]

Director Anatole Litvak does an exceedingly good job with this romantic period piece, as do each of the actors involved. Bette Davis plays Henriette Deluzy-Desportes, a governess in 19th Century France, who lands a position working for Theo, Duc De Praslin (Charles Boyer) and his family. The childern adore the new, spirited governess, but Boyer's psycho bitch wife, the Duchesse (Barbara O'Neil), is resentful of Henriette's intrusion into the family. The new addition to the family works her magic on everyone but the Duchesse. Theo and Henriette, predictably, begin to fall in love, which further complicates things, sending the crazy wife into even more rages of insanity. All of this builds momentum until a climactic crime of passion takes a life.

Davis is a kick to watch as she struts her stuff with an excellent French accent. Boyer is awesome in this dark, brooding, but romantic role. And O'Neil deservedly got an Oscar-nomination for her role, full of anger and energy. But the real stand-out, interestingly enough, is Richard Nicols as Boyer's so-adorable-you-just-wanna-squeeze-him son Reynald.

Overall, this dark, dreary film is a highly-satisfying experience, slightly off-put by the preachy, silly final scene in the classroom.

Back Street (1961)

A routine, but somewhat addictive tale.

[8/10 · 14 August 1999]

Universal kept churning out glossy soap operas into the 1960s. And who can blame them? The studio had realized that these "women's weepies" were financially successful after releasing several of these types of films thorughout the 1950s. And their house director, Douglas Sirk, had given Universal some of their biggest melodramas ever (1954's "Magnificent Obsession", 1956's "Written on the Wind", 1959's "Imitation of Life", etc.). So, trying to capitalize on the success of these films, and trying to emulate Sirk's expert soapers (he had retired from Hollywood in 1959), these slick, colorful melodramas kept coming. "Back Street" is yet another one of these flicks, which while good, doesn't quite measure up with the movie's from Sirk's heyday.

In this routine, but somehow addictive tale, Susan Hayward plays Rae Smith, a wannabe fashion designer who falls for Paul Saxon (John Gavin), a married military man. Paul wants to leave his wife for the free-spirited Rae, but due to circumstances, the lovers are separated. Years later, both are living in New York City, where Rae is a successful fashion designer and Paul is immersed in his family's department store business. They once again meet, but Rae, who didn't realize during their initial tryst that Paul was married, isn't too interested in rekindling something with him and they go their separate ways. Rae's job finally takes her to Europe, just as Paul, too, moves there. Fabulous Vera Miles is Paul's psychotic, alcohol-fueled wife, Liz. Paul is finally determined to get a divorce from her, but she won't have it, and uses their two children as a latch onto Paul. Finally after another chance encounter, Rae and Paul succomb to their passion for each other, but tragic circumstances take place, creating a tear-jerker of an ending. Actually, the ending is only heart-gripping to those of us who really love these types of films and can ignore the ridiculousness of this movie.

"Back Street" is predictable and implausible for the most part. But Hayward gives her role a real vigor, Gavin is intoxicatingly handsome, and Miles is so ruthless and vicious that it's hard not to appreciate this film. Plus the fact that Hayward is basically a clotheshorse for designer Jean Louis' elegant fashions adds an odd appeal. Good stuff, but don't expect this to be the dramatic masterpiece it wants to be.

The Snake Pit (1948)

....a ground-breaking film....

[8/10 · 5 July 1999]

Considered brutal and scary in the day of its initial release, "The Snake Pit" was a ground-breaking film with its look into the horrors of a mental institution. Giving the film its vibrancy and life is the elegant Olivia De Havilland. This fine actress goes to town in this fascinating portrait of a young woman, Virginia Stuart, who, soon after marriage to the handsome Robert Cunningham (Mark Stevens) , descends into a world of paranoia and insanity. He takes her to an institution, but conditions there are foreign to Virginia. This Hollywoodization of life in a mental hospital, though tame compared to reality, still packs a punch. We follow this delusional woman as she tries to come to grips with where she is, falls in love with her kind-hearted doctor, Mark Kirk (Leo Genn), befriends other patients, and tries to hide out in the hospital. Celeste Holm has a minor, but welcome role as Grace, a fellow patient who takes a liking to and protects the confused Virginia.

What a score for the lovely De Havilland! She really gets to show her stuff in this emotional role, and got an Oscar-nomination for her efforts. And kudos to director Anatole Litvak for a wonderful, but hard-to-take visit into a woman's not-all-there mind and her institutionalized world.

Written on the Wind (1956)

What a stunning movie!

[10/10 · 4 July 1999]

Director Douglas Sirk scores again with this, the grandaddy of all dysfunctional family films. This lush, trashy saga is a masterpiece, beautifully combining all of the elements of Sirk's soapers and strategically placing them all into one movie. "Written on the Wind" very obviously influenced the 1980s TV series "Dallas" and "Dynasty", as this is basically a feature-length version of those later nighttime soaps.

Lauren Bacall, wonderfully and subtly, plays Lucy Moore, a New York City secretary who marries oil baron, Kyle Hadley (Robert Stack). Unbeknownst to both of them, Mitch Wayne (Rock Hudson) is also in love with the quiet, but sexy secretary. They all go back to Kyle's family's mansion in Texas where we meet his white trash slut-of-a-sister, Marylee (Dorothy Malone in an Oscar-winning turn). Yipee! The sparks begin to fly - from the romances to the catfights, this is a campy trip. Not only does Mitch have to fight the feelings he has for his best friend's wife, but Marylee tries to sleep with everybody since she can't have her one true love who is Mitch. Topping it all off, Kyle learns he's impotent, but somehow Lucy ends up pregnant.

This is pure soap and pure melodramatic entertainment. How can you not love it? This film signals one of Universal's most popular films and one of director Sirk's best works. Some of the dialogue is absolutely sizzling and visual metaphors are thrown in every which way - the theme of wind throughout is great. The cast is great, although Bacall is completely underused despite receiving top-billing behind Hudson. Stack's Oscar loss reportedly devastated him. He considered this his finest performance and apparently was none too pleased to lose out. And he did turn out a fabulous performance as the whimpering alcoholic. What a stunning movie! This film proves what I've been thinking for ages - Sirk is the master of classic melodrama. Where's his Oscar?

Strangers When We Meet (1960)

A poor attempt at creating lush melodrama.....

[4/10 · 3 July 1999]

"Strangers When We Meet" is a poor attempt at creating lush melodrama and cashing-in on the successful soap opera-type film genre that was so popular and saturated cinema in the late-1950s and early-1960s.

With this experienced cast, one would expect a lot more than this movie actually provides. Kirk Douglas and Kim Novak are both attractive Southern Californians, but trapped in boring marriages. They meet one day while they are dropping-off their respective children at the school bus stop. They soon embark on an affair risking the tranquility of their domestic lives. Maggie (Novak) isn't too sure about this at first, but apparently Larry's (Douglas) chiseled features are all it takes for her to forget about her guilt and participate in their days of steamy trysts.

The storyline, plot points, soundtrack, and acting are, for the most part, uneventful. The exception is Douglas is manages to give a tough, intense performance up against the extraordinarily drab Novak. Walter Matthau also manages to pull-off a good performance as Felix, Douglas' sleazy neighbor, with what little he's given to do. The last twenty minutes of this sudser are actually decent. Too bad the rest of this borefest couldn't follow suit.

Imitation of Life (1959)

One of Hollywood's greatest highlights....

[10/10 · 3 July 1999]

Director Douglas Sirk said goodbye to Hollywood with this cinematic masterpiece. All of the elements of the typical Sirk melodrama come together in this grand soap opera. As Universal's biggest box office success until 1975 with the release of "Jaws", this "Imitation of Life" was a remake of the 1934 version with Claudette Colbert and Louise Beavers. Emotionally-charged and sleek, the right blend of music, lighting, and dialogue come together to make this one of Hollywood's greatest highlights.

In this tear-jerker, Lana Turner plays a widow, Lora Meredith, who is a compulsively driven actress. So determined to make it big is she, that this woman neglects the needs of her young daughter, Susie (Terry Burnham), and pushes away her adoring boyfriend, Steve (John Gavin). Lora's live-in black housekeeper, Annie (Juanita Moore), also a widow, is a kind-hearted, but stern woman, whose light-skinned daughter, Sarah Jane (Karin Dicker), tries to pass herself off as white. As the years go by, Lora becomes a famous star of the stage. The more famous she gets, the more she gets lost in a fantasy world of fame, which further leads to the lack of attention she gives to her little girl (now played by Sandra Dee after a ten-year fast forward). Meanwhile, Annie loses control of her ashamed daughter (now played by Susan Kohner) who resents her mother and her race. All of the characters' entire emotional existences are now held together by a thread. As this drama comes to its sudsy climax, Susie begins to fall in love with Steve. What's the self-absorbed Lora going to do when she realizes what has happened behind her bejeweled back? And what's Annie going to do when she finds out that her wayward child has resorted to a seedy world of nightclub dancing? It all ends with a tragically horrid twist. Your tears will fall on cue.

Turner, Gavin, and Dee are all beautiful, but stiff and plasticy actors. Interestingly, this is part of what makes this movie work. These three characters are all living a materialistic and fake life or an "imitation" of a life with their sparkling or "imitation" surroundings. On the other-hand, Kohner and Moore give real knock-out (and Oscar-nominated) performances. These two actors inject a real humanity into this film. All of the melodramatics in this movie are courtesy of Sirk, who directs with a real sense of what will emotionally manipulate the audience. This is an amazing work and shouldn't be missed.

I Want to Live! (1958)

A true dramatic showcase for the fabulous Susan Hayward

[8/10 · 3 July 1999]

Susan Hayward really knew how to pick a good role. From the intensity of 1947's "Smash-Up, the Story of a Woman", to the gutsiness of 1955's "I'll Cry Tomorrow", to everything in between, Hayward left a legacy of amazing characters. Even when the role was horrid (such as 1967's trash-fest "Valley of the Dolls"), Hayward was a real trooper and made it work. Always one to tackle unusual and, oftentimes, unglamorous roles, Hayward really got a chance to sink her teeth into this one - and received an Oscar for her efforts.

In this tough-to-take biopic, Hayward plays Barbara Graham, a party girl who gets in over her head with drug use, prostitution, perjury, and various other illegal acts. As a known "goodtime girl", she has a reputation with the local authorities. One brilliant sequence has the police tracking Barbara across town - apparent fellow neighbors are actually tapped and following her every move. Finally, a supposedly innocent "Babs" gets thrown in the slammer for the brutal murder of an elderly woman. Losing her sense of freedom and any contact with her baby boy, Barbara's life goes from bad (on the street) to worse (in jail). Watching Barbara act-up and defy authority in the prison is actually funny, but what happens next to this wild woman is no laughing matter. Things get as bad as they possibly can when Barbara realizes that she may have to face the gas chamber.

Hayward goes all out in portraying this fascinating character and is totally over-the-top, but completely on target, right up until the very end - and what an ending it is! It'll send shivers up your spine, and the images will linger in your head long after the show is over. The dark, moody photography is top-notch, although the rambunctious jazz score wears out its welcome.

All About Eve (1950)

....one of the greatest films ever made....

[10/10 · 3 July 1999]

Undoubtedly one of the greatest films ever made, "All About Eve" combines the finest acting, witty dialogue, sparkling tongue-in-cheek humor, and a highly-entertaining storyline. Bette Davis plays Margo Channing, an aging star of the stage. Anne Baxter plays Eve Harrington who claims to be Margo's most adoring fan. One night, Margo's dearest friend, Karen Richards (Celeste Holm), discovers Eve lurking around a stage door during one of Margo's performances, waiting for her to come out. A flattered Margo takes the seemingly innocent Eve under her wing. But we soon discover the adoration is really obsession, and Eve is actually out to take over Margo's romance and career. The crazed Eve's manipulations are a hoot to watch and Baxter turns in a beautiful performance. Some amazing effort went into the scenes in which Eve's "Jekyll and Hyde"-like transformation from sweet innocent into devious witch are shown. The appeal of this film classic is made even greater by George Sanders, as critic Addison DeWitt, and his jaded, but funny commentary. Also, Marilyn Monroe in a bit part as a young starlet (what a stretch!) is a true gem.

The backstage intrigue of this film rivaled that of the tumultuous on-screen doings. Davis reportedly neglected each and every member of the cast and crew once she fell in love with co-star Gary Merrill who played her on-screen love, Bill Sampson. And from day one, Davis and Holm disliked each other so much that they didn't speak one word to each other unless they were in character. To top it all off, Davis was apparently hell-on-wheels and a viciously jealous woman who automatically disliked every other female. Monroe later claimed that Davis was a "mean old broad". This movie was, deservedly, the darling of the 1951 Academy Awards, winning six Oscars (including Best Picture, Best Supporting Actor for Sanders, and Best Director for Joseph Mankiewicz). Of note that year was the Best Actress category. Davis was such a huge favorite to win, but Gloria Swanson was also up for her eerie perfromance in "Sunset Boulevard". Swanson was also considered by many to be a shue-in. However, due to both actresses' extreme popularity, Davis and Swanson cancelled each other out and Judy Holliday won for "Born Yesterday". In 1998, "All About Eve" was listed by the American Film Institute as one of the 100 Greatest American Films. Yep, this screen classic is not to be missed. Each viewing of this stylish and snappy classic is indeed a fun and bumpy ride.