All About Eve by Mankiewicz uses theater as a medium in which the female protagonists, Eva and Margo, are victims of various internal and external factors. The film clearly portrays Margo as a victim of lies and intrigue, as she is defrauded and exploited by Eva's veneer of meekness. Furthermore, female protagonists are forced into a helpless and passive role, at the mercy of the male gaze, personified by figures such as Bill Sampson and Addison DeWitt. The power dynamic between males and females is exemplified in this film as it suggests that there is an underlying patriarchal expectation that women should fill traditional roles as housewives, rather than pursuing another career. In light of these expectations, the protagonists become victims of the theater, which forces Margo to sacrifice her life for her career, and also fuels Eve's seduction strategies to assert herself in this ruthless industry. Finally, Mankiewicz challenges viewers to see Eva as a victim, first as a woman and actress, but above all as a victim of herself and her relentless ambition, as this ultimately leads to her downfall. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Margo, who takes Eva under her wing out of sympathy, is betrayed by the ingenue, whose scheming actions exploit the aging star's insecurities. When the two protagonists meet for the first time, Margo is immediately entranced by a seemingly modest and hard-working girl, who leaves her exposed to Eva's guise from the beginning. As Eve dictates her rehearsed story, an over-the-shoulder camera shot portrays the viewers (Margo, Karen, and Lloyd) as part of an audience, suggesting that her narrative is a performance: it is "fiction". Margo's tears and outright rejection of Birdie's scrutinizing comment (“What a story…”) underline her sincere sympathy for Eve. Evidently moved, the actress is deceived by Eva's acting and thus the trust she places in her novice heavily dictates the course of her future, effectively leaving her at Eva's mercy. Additionally, Eve gradually undermines her “champion” relationship with Bill Sampson as she attempts to “take Bill” (Addison) away from Margo. Romantically involved with a younger man, Margo aims to tighten her hold on her lover as his self-esteem increasingly declines, often reminding him not to "get trapped in some glamorous pussy." Despite Bill's reassurances of his unwavering love, Margo's fears increase with the rise of a younger, more innocent Eva and her unquestionable charm. Eve cheats on Margo while attempting to seduce Bill, and as the film progresses, the audience witnesses Eve's transition into Margo, and the ingénue "studies [Margo] as if she were a... blueprint." Indeed, the rising star takes advantage of Margo's hospitality and trust, turning her life upside down to satiate his ambition. The elderly protagonist, who has offered nothing but kindness and sympathy, is emotionally tampered with and her relationship with her love is endangered by Eva's ruthless actions, leaving her suffering at the hands of lies. Collectively, the female protagonists are preyed upon by the male ones. gaze, which forces Margo to ultimately succumb to the pressures of the social environment, and since Eva does not fulfill these stereotypes, which are based on patriarchal hegemony, her success is short-lived. All About Eve juxtaposes the two female protagonists who ultimately fill different roles – Eva as an overly ambitious career woman and Margo as a docile wife – highlighting the male-controlled expectations of women during that time. Margo's transition from actress to married woman (and thereforeto achieving happiness) highlights the limits that society has placed on women, leaving them confined to a single role. The film condemns the nature of theater (and any form of industry in which women pursue careers) by describing it as a fraudulent global plague with selfishness and manipulation. Importantly, it is a male protagonist (Bill) who defines the theater as a “pretend” for the hopeful novice, Eve. Captured in a low angle shot, Bill is in a position of authority, symbolizing male dominance, reiterating that women, defined by men, are victims of this control. Compared to Margo, Eva is devoid of happiness and satisfaction as she chooses not to accept a traditional role and therefore, due to the limitations placed on women, her success in acting is ultimately nil. After receiving the Sarah Siddons award, Eve receives a snide comment from Margo ("you can always put that award where your heart should be") which suggests that by not succumbing to these expectations, Eve's "heart" is being replaced by a metal award, highlighting the false fulfillment that accompanies a woman's career. Although Margo is happily portrayed as a married woman, she is ultimately forced into this role due to patriarchal pressures that have limited her identity and furthermore, being the embodiment of the other stereotype, Eva's position is one that is shunned and his career success is unfairly overlooked. Margo's lack of a home life to maintain her career and Eva's need to appeal to the male gaze for self-preservation are difficulties caused by the theater. Eve's first appearance in the film occurs in a dirty, dark alley near a theater, symbolizing the evil nature of the world she is about to enter. All About Eve suggests that theater is dominated by men and for actresses to receive recognition they must appeal to the male gaze. During Bill's party, the characters are captured sitting on the flight of stairs, the two little stars, Eva and Claudia, are on the lowest step, symbolizing their position in the theater's hierarchy. To proceed further, the aspirants must influence their male counterparts: Miss Caswell uses her sexual prowess to seduce Max Fabian, and is praised for her efforts by DeWitt, who states that her "career [will rise]... like the sun". At the same time, Eve attempts to seduce Bill and Lloyd, suggesting that even the naïve schemer relies on the support of male protagonists to achieve stardom, using intimacy as a tool to achieve this goal. Therefore, the theater sees actresses as objects of sexuality, as mindless “[bodies] with a voice,” rather than seeing them as women. To become something, actresses are forced to accept this patriarchal vision of their gender, sexualizing themselves to please men of the theater. Furthermore, to remain a successful actress, Margo had to sacrifice domestic life, which is an integral part of a woman's “traditional” role. The exchange between the elderly star and Karen in the car highlights the price the theater has paid for a distrustful and dejected Margo. Captured through high-angle shots, Margo is portrayed as a victim as she battles her conflicting identities: that of being a wife or that of a successful career woman. At perhaps the film's lowest point, she describes the damaging effects of her theater journey as she lost key parts of her identity "as [she] climbed the ladder," only to realize that "[she] will need it again" to achieve a domestic life. In light of the social norms of her time, these losses are profound and the dual role of actress and woman makes her a victim of the theater. Here.