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更新时间：2023-08-31 15:00
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今年的萨拉·西登斯奖得主是年轻的伊芙·哈灵顿（安妮·巴克斯特 饰）。然而在去年十月，伊芙还只是一个连续数周默默注视名角玛戈·钱宁（贝蒂·戴维斯 饰）的戏迷。被玛戈的朋友凯伦·理查兹（塞莱斯特·霍姆 饰）带到玛戈面前后，伊芙讲述的经历打动了众人。玛戈收留了无依无靠的伊芙，伊芙也尽心尽力地打理玛戈的生活和工作，但是玛戈的侍伴伯迪·库南（塞尔玛·里特 饰）不喜欢研究玛戈的伊芙。热爱表演的伊芙当然不满足于做玛戈的助理，那么伊芙是怎样获得表演机会的？
长篇影评
1 ) 心机凤凰女上位记
我无话可说。
有一类人，还真的是，如这电影里所说的，“把一生都献给了表演事业。”果真如此，每天生活得都特别dramatic，说的话做的事，没一个是真心真意的，而且还expect people to believe them。关键是，好多人还真的全都上套。
比如说片子里这个心机凤凰女，各种手段啊，怎么这么像我生活中认识的一个女生呢，平时假装楚楚可怜、性格完美、体贴大方，然后各种勾搭男人，以借男人上位。在这里心机女是借成功男人来夺得出名的机会，在生活中，我认识的心机女是言语间勾搭有钱男人，甚至身体力行，来跟男人要钱——她自己当然也不是穷得可以。种种手段，各种谎言，我都不想再说了。
就可怜那个女明星，性格本身就火爆坦白，总让人觉得她是在刷大牌、常有理，以至于出了什么差错，大家都倾向于觉得是她无理取闹、歇斯底里。倒是那个心机凤凰女，一直装得温柔善良、任劳任怨、楚楚可怜⋯⋯其实，好多男人们大概都不知道，女生在不大喜欢你、没有变成你女朋友或者太太的时候，一般都是采取后者的策略，夸赞你、包容你。你说你每天都要玩得很迟才回来？没关系，我也有我的生活。你在大街上看别的女生？没关系，男生么，就是这样子的。可是一旦女生们做了你的女朋友或妻子，就没那么拿得起放得下了，她关心你，所以会因为你语调的一点点变化而敏感不已；她爱你，所以接受不了你的各种借口和推脱；她顾及你，才会对你的各种错误大加指责。女人，总是为自己爱的人才会大吼大叫歇斯底里，好似不顾脸面的泼妇一般。只有那不爱你却觊觎着你的好处的女人（或是贪图你的钱财，或是欲借你权力名气上位，或是想更多男人拜倒在她石榴裙下以体现她女王的气质，或是要拿你当作前年备胎），才会对你百依百顺、万般容忍、心胸宽广，才会每天赞美你夸你，假装说体己话之类之类的。
可是偏偏呢，好多男人就是喜欢那个装腔作势的、其实不太喜欢你的女人多一点。
愿者上钩，这让我们这些人有什么话好说呢。就好像我认识的那个心机女，多少女人（还有一些男人）都看出她的假模假样来了，可一个平时挺聪明伶俐的男生，却被她的几句花言巧语就冲昏了头脑，任凭我们这些人怎么旁敲侧击，或者直言相劝，都不听，还一味地当这个女生是大好人，净被我们这些黑心肠的给欺负了。
倒是一些好女人，例如片子里凯伦这样的，还有女明星这样的，倒是被生生欺负了。别跟我说，凯伦他丈夫这样的男人，这么轻易地就被蛊惑了，本来就不值得她倾心，放了也好。那世上多少的男人都可以被这么放了。心机女小三都是这么上位的：在男人的女友或妻子发觉事态不对而花容失色时，她倒显得特无辜特可怜，对男人的境遇又非常同情理解和支持。自然，男人会向着小三说话，觉得自己的女友／妻子在无理取闹、大发醋意、毫无女人味，倒觉得小三十分具有做贤妻良母的优良品质，是他的知己。这样，女友／妻子当然就处于弱势地位。
这些心机女，地球人已经治不了她们了。
我就实在不能理解这些恐怖心机装a女，是什么力量支撑着让她们能够一句真话都不说，永远不显露自己真实的一面。她们怎么忍受下来的？就像我认识的那个女生，可以同人讲一天的话，而10句里有9句全部都是假的（证据确凿），而且假得漫无边际，剩下的一句还是因为没有证据所以暂且相信它是真的。这样高强度的谎言，究竟是什么样的脑瓜，才能完美地manipulate好啊。难道她们都有强迫说谎的另一型人格么？真应该请心理学家好好研究一下这些人的大脑都是由何构成的。
女人竟然有些时候都会被这种人骗。比如女明星，比如凯伦，一开始都是受害者。不过女人到底是心机多点，不像男人（有男生对我说，男人只有两种类型，靠谱的，和龟头指挥大脑的）。最后心机女是得奖了出名了，可是圈内哪个女人不知道此人是凭借什么上位的呢？只是不点破而已吧，当面上都是对她笑吟吟的，其实没一个亲切的。倒是那些个男人，任这些女人怎么暗示都不信，还对着心机女嬉皮笑脸。可是，对这些心机人士来说，可能女性的朋友本就没那么重要吧。有男人垂青，她们就可以上位、敛财，没有女性朋友帮忙扶持，她们照样有场子。再看我认识的那个心机女，同届的这么多中国女生，几乎是没有一个搭理她的，个个都看透了她的恶心嘴脸，可是她就凭借着搭理她的男人们，月入鲜衣几十件、上百件，手持男人们给她买的iphone、ipad、新电脑，各种用品都可以由男人的车来回载运，若她真的像我前面说的，可以完全没有顾及地说谎，也永不想透露自己真实的一面地话，她还需要朋友做什么？
电影还是给人以积极向上的感觉的。心机女虽然有心机，但是永远不懂得爱情。女明星虽然被篡位，但是正好顺势退出，见好就收，回家安心相夫教子，享受爱情生活。这大概也是心机女们的悲哀吧，一辈子追名逐利而不晓得爱人的滋味，也够悲惨的。但是我看着悲哀的是，女明星最后其实就是选择退让了——你既然这么想要成为明星，好啊，我不干了，我让给你。然后她才能够平平和和地面对自己的男人，省得为了争夺角色大吵大闹，让男人招架不住。可是，如果她真的想要继续舞台生涯又如何呢？如此拱手让人，不是正让心机女得逞了么？
所幸就是女明星的男友比利，是靠谱男中的一员，虽然之前也被心机女的“善良”蒙骗过，但是从来没有变心，最后还是站在了女明星的一边，没有倒戈。
我向这样的男人致敬。
其实这个电影讲的是野心的问题，却被我发挥，变成什么男人女人的事了。真是，人家电影挺深刻的，让我这种粗鄙的人一评，就变得肤浅了。真的是像电影中女明星说的，“我品味不高⋯⋯”
另外，电影里女明星的另一句话更让我印象深刻，不管你做明星还是什么，不管是多成功的人士，有一天，女人都会重新做成女人这个角色，投入全身心去爱自己爱的人。这个角色，有时候，比其他任何角色都重要、都幸福。我觉得这其实才是女人的本性。也是社会之所以还很男权的重要原因。
但是，这毕竟是女人的悲哀但是幸福的本性啊。
有一类人，还真的是，如这电影里所说的，“把一生都献给了表演事业。”果真如此，每天生活得都特别dramatic，说的话做的事，没一个是真心真意的，而且还expect people to believe them。关键是，好多人还真的全都上套。
比如说片子里这个心机凤凰女，各种手段啊，怎么这么像我生活中认识的一个女生呢，平时假装楚楚可怜、性格完美、体贴大方，然后各种勾搭男人，以借男人上位。在这里心机女是借成功男人来夺得出名的机会，在生活中，我认识的心机女是言语间勾搭有钱男人，甚至身体力行，来跟男人要钱——她自己当然也不是穷得可以。种种手段，各种谎言，我都不想再说了。
就可怜那个女明星，性格本身就火爆坦白，总让人觉得她是在刷大牌、常有理，以至于出了什么差错，大家都倾向于觉得是她无理取闹、歇斯底里。倒是那个心机凤凰女，一直装得温柔善良、任劳任怨、楚楚可怜⋯⋯其实，好多男人们大概都不知道，女生在不大喜欢你、没有变成你女朋友或者太太的时候，一般都是采取后者的策略，夸赞你、包容你。你说你每天都要玩得很迟才回来？没关系，我也有我的生活。你在大街上看别的女生？没关系，男生么，就是这样子的。可是一旦女生们做了你的女朋友或妻子，就没那么拿得起放得下了，她关心你，所以会因为你语调的一点点变化而敏感不已；她爱你，所以接受不了你的各种借口和推脱；她顾及你，才会对你的各种错误大加指责。女人，总是为自己爱的人才会大吼大叫歇斯底里，好似不顾脸面的泼妇一般。只有那不爱你却觊觎着你的好处的女人（或是贪图你的钱财，或是欲借你权力名气上位，或是想更多男人拜倒在她石榴裙下以体现她女王的气质，或是要拿你当作前年备胎），才会对你百依百顺、万般容忍、心胸宽广，才会每天赞美你夸你，假装说体己话之类之类的。
可是偏偏呢，好多男人就是喜欢那个装腔作势的、其实不太喜欢你的女人多一点。
愿者上钩，这让我们这些人有什么话好说呢。就好像我认识的那个心机女，多少女人（还有一些男人）都看出她的假模假样来了，可一个平时挺聪明伶俐的男生，却被她的几句花言巧语就冲昏了头脑，任凭我们这些人怎么旁敲侧击，或者直言相劝，都不听，还一味地当这个女生是大好人，净被我们这些黑心肠的给欺负了。
倒是一些好女人，例如片子里凯伦这样的，还有女明星这样的，倒是被生生欺负了。别跟我说，凯伦他丈夫这样的男人，这么轻易地就被蛊惑了，本来就不值得她倾心，放了也好。那世上多少的男人都可以被这么放了。心机女小三都是这么上位的：在男人的女友或妻子发觉事态不对而花容失色时，她倒显得特无辜特可怜，对男人的境遇又非常同情理解和支持。自然，男人会向着小三说话，觉得自己的女友／妻子在无理取闹、大发醋意、毫无女人味，倒觉得小三十分具有做贤妻良母的优良品质，是他的知己。这样，女友／妻子当然就处于弱势地位。
这些心机女，地球人已经治不了她们了。
我就实在不能理解这些恐怖心机装a女，是什么力量支撑着让她们能够一句真话都不说，永远不显露自己真实的一面。她们怎么忍受下来的？就像我认识的那个女生，可以同人讲一天的话，而10句里有9句全部都是假的（证据确凿），而且假得漫无边际，剩下的一句还是因为没有证据所以暂且相信它是真的。这样高强度的谎言，究竟是什么样的脑瓜，才能完美地manipulate好啊。难道她们都有强迫说谎的另一型人格么？真应该请心理学家好好研究一下这些人的大脑都是由何构成的。
女人竟然有些时候都会被这种人骗。比如女明星，比如凯伦，一开始都是受害者。不过女人到底是心机多点，不像男人（有男生对我说，男人只有两种类型，靠谱的，和龟头指挥大脑的）。最后心机女是得奖了出名了，可是圈内哪个女人不知道此人是凭借什么上位的呢？只是不点破而已吧，当面上都是对她笑吟吟的，其实没一个亲切的。倒是那些个男人，任这些女人怎么暗示都不信，还对着心机女嬉皮笑脸。可是，对这些心机人士来说，可能女性的朋友本就没那么重要吧。有男人垂青，她们就可以上位、敛财，没有女性朋友帮忙扶持，她们照样有场子。再看我认识的那个心机女，同届的这么多中国女生，几乎是没有一个搭理她的，个个都看透了她的恶心嘴脸，可是她就凭借着搭理她的男人们，月入鲜衣几十件、上百件，手持男人们给她买的iphone、ipad、新电脑，各种用品都可以由男人的车来回载运，若她真的像我前面说的，可以完全没有顾及地说谎，也永不想透露自己真实的一面地话，她还需要朋友做什么？
电影还是给人以积极向上的感觉的。心机女虽然有心机，但是永远不懂得爱情。女明星虽然被篡位，但是正好顺势退出，见好就收，回家安心相夫教子，享受爱情生活。这大概也是心机女们的悲哀吧，一辈子追名逐利而不晓得爱人的滋味，也够悲惨的。但是我看着悲哀的是，女明星最后其实就是选择退让了——你既然这么想要成为明星，好啊，我不干了，我让给你。然后她才能够平平和和地面对自己的男人，省得为了争夺角色大吵大闹，让男人招架不住。可是，如果她真的想要继续舞台生涯又如何呢？如此拱手让人，不是正让心机女得逞了么？
所幸就是女明星的男友比利，是靠谱男中的一员，虽然之前也被心机女的“善良”蒙骗过，但是从来没有变心，最后还是站在了女明星的一边，没有倒戈。
我向这样的男人致敬。
其实这个电影讲的是野心的问题，却被我发挥，变成什么男人女人的事了。真是，人家电影挺深刻的，让我这种粗鄙的人一评，就变得肤浅了。真的是像电影中女明星说的，“我品味不高⋯⋯”
另外，电影里女明星的另一句话更让我印象深刻，不管你做明星还是什么，不管是多成功的人士，有一天，女人都会重新做成女人这个角色，投入全身心去爱自己爱的人。这个角色，有时候，比其他任何角色都重要、都幸福。我觉得这其实才是女人的本性。也是社会之所以还很男权的重要原因。
但是，这毕竟是女人的悲哀但是幸福的本性啊。
2 ) 我们是讨厌Eve,还是讨厌我们自己？
工于心计的人普遍都活的更好，能拉的下脸皮不择手段的人也似乎更容易成功。可是我想，影片想要告诉我们的是，即使这样，也请不要放弃自己的真情。名利终会随风而逝，而只有真情，才能越酿越深。
1.
很多人把这部电影称为“心机女上位”的故事，并且深有同感。人性永远不会过时，确实，不仅仅是在娱乐圈，任何“圈子”里都有这种为了名利而不择手段的人。这些人可以满口谎言，可以背信弃义，可以为了达到目的出卖身边所有的人包括自己。
我们当然对这样的人恨的牙痒痒，且不说你我的利益可能就被TA们切切实实地伤害过，更可怕的是TA们实在是德不配位，明明龌龊无比却过着世俗上“成功”的生活，还以白莲花的嘴脸蒙蔽了一堆“不明真相的群众”为其摇旗呐喊。
正如影片开始所描述的画面：在一场颁奖晚宴上，笑容甜美的Eve接过了奖杯，并发表了感人至深的演讲，台下一片热烈的掌声。可是在观众席上，镜头一一扫过五味杂陈的各人：被Eve当做垫脚石的迟暮美人Margot，Eve利用其陷害自己好友的Karen，差点为了Eve抛家弃子的Royde……只有他们才心知肚明，Eve是个什么样子的人。
可是Eve在乎吗？看起来她并不在乎，因为她得到了她自己想要的东西，还收获了一枚“小粉丝”，愿意为她鞍前马后——她终于活成了自己心中偶像的样子。她真的成为Margot了吗？
2.
很多人认为，Eve的例子是极端的。但影片聪明的地方在于，导演最后告诉我们，Eve是普遍的。Eve不是“一个人”，她代表着一类人，一类追求欲望的人。
欲望不止来自于金钱和名利，也可以来自于方方面面。比如公司的一次晋升机会，比如喜欢的某个人。更可怕的是，在看到某个片段甚至某个眼神的时候，我们会暗自倒吸一口气：没错，我们都有欲望，也都为了满足欲望或多或少当过某部分的“Eve”，Eve不仅仅是你我身边一定会存在的那个“心机女”“腹黑男”，更是“你”“我”。
欲望啊，它就像毒蛇，不断诱惑着伊娃去摘下禁果。
3.
影片中的“过气女星”Margot乍一看是失败的。她爱的男人居然去心疼那个楚楚可人的Eva，她的闺蜜为了帮Eve故意让她赶不上演出，批评家对Eva都赞不绝口。最后，没戏演，没知心朋友，别人都只当她性格乖张……但是她却活得通透。在漏油的车里，Margot知道自己赶不上戏了，身为“戏霸”控制欲极强的她，此刻并没有发脾气，而是静静地点上了一支烟，无奈又带点辛酸。
“女人啊，为了攀上事业的高峰而牺牲一切。却忘了当你回头想再当女人时，你还会需要什么。天底下所有的女性，都有一项共同的事业，不管我们愿不愿意，喜不喜欢，那就是当个女人。终究，一切都比不上，当你坐在餐桌前，或者睡着的时候一翻身他就在你身边。”
从这一点上看，Margot是成功的。爱她的男人爱的是她的全部，所以她不需要时时刻刻伪装自己，也不需要卑躬屈膝去讨好别人。她热爱自己的事业，也有一身才华，天赋过人。所有她获得的东西，她都得来不费力，只需要“做自己”就行了。
4.
女权可能会对Margot的独白不屑一顾，但不妨暂且理解为“虚情”与“真情”。我们习惯了在职场上官场上情场上带着面具跟所有人打交道，可是再多的钱和地位，如果不能用真性情相待，那又有什么意义？
《红楼梦》中对此的思考更为深刻。宝钗和黛玉。圆滑世故与真性情的对比。从表面上看，是“精致的利己主义者”赢了。宝钗如愿嫁给了贾家（不是宝玉，只是“贾家”）。而黛玉，消香玉损。
可是从真情上看，谁是赢家，谁是输家？黛玉可以想哭就哭，想笑就笑（当然哭的更多些），活的坦荡；宝钗只能通过假扮别的女人，才能嫁给宝玉。
5.
哪一种更有意义？通过“假情假意”获得欲望的满足，还是扮演“真性情”，不去骗别人，也避免被别人骗？没错，不管是影视作品里，还是现实生活中。往往多外都是工于心计的人活的更好，能拉的下脸皮不择手段的人更容易成功。可是我想，影片想要告诉我们的是，即使这样，也请不要放弃自己的真情。名利终会随风而逝，而只有真情，才能越酿越深。
6.
最后想说说玛丽莲梦露。她只出场了五分钟，却在黑白片里吸引了所有的高光。艳惊四座这四个字来形容她，真的一点都不为过啊。
3 ) All about innocence, and this society
一直在想一个好故事的必备条件是什么？
他一定要有一个深刻的东西。all about eve在谈论一个特别重要的东西，西方人特别喜欢讲的，百讲不厌：innocence／天真。尤其在物欲横流的当下，（在这个故事背景中，好莱坞就是其意象）在充满着欺骗和伪善的世界里，这个东西特别珍贵，所以一再拿出来讲。
但意念本身没有力量，它要牵引着人物，领导着故事，就变得强大无比。
all about eve不是一个肤浅的[杜拉拉上位]的故事，是一个充满野心和欲望的女孩儿，在心计算尽后夺得权力的故事，它构筑着好莱坞／美国主流价值观，也预言着未来，预言着整个当下和全世界奉行的东西：这个世界的主流价值崇尚着权利名誉地位的欲望与野心，在追求成功的道路上，我们将失去最初最纯真的东西。天真、善良、正直、诚实，这些人性中最宝贵的东西。
所以编剧给我们塑造了margo、eve、karen、Lloyd、addison这样一班人，他们在这样一个名利的漩涡中，自主不自主的不端检测着自己内心的[innocence]。
不再一一分析了，尤为有趣的是如日中天的老明星margo和急于上位的年轻人eve之间形成的微妙对比。
或许当年margo也是这么攻于心计成就了今天的地位，但是现在的她尽管看起来老态／名利双收，应该是圆滑世故的人物，但是实则天真／直率，我觉得她不是不懂得掩饰，而是已经不在乎不愿意伪装，也疲于伪装了。在经历多年的明星生涯后，她不时袒露心扉：
The things you drop on your way up the ladder, so you can move faster.
You forget you'll need them again when you go back to being a woman.
That's one career all females have in common - whether we like it or not - being a woman.
Sooner or later we've all got to work at it, no matter what other careers we've had or wanted... and, in the last analysis, nothing is any good unless you can look up just before dinner or turns around in bed - and there he is. Without that, you're not woman. You're something with a French provincial office or a book full of clippings - but you're not a woman...
尽管这段言论很大程度上反映了女性的无力感和不安全感，反映了在这样一个男权社会里，女人的脆弱。但同时，margo呈现出特别天真，特别坦诚，也很纯粹同时脆弱的一面，我们看到一个四十岁的女人外壳下，是一个十几岁女孩儿的纯粹的内心。
相比华丽外表下依然天真的margo，eve一个天真的名字，天真的年纪，也天真的[背景故事]后面，竟是一个攻于心计的毒辣女人。这种反差很有戏剧感。
ps，整个剧看完以后有一种人性真是复杂／社会真是复杂的感觉，你不敢断然批评某一个具体的人物，却好像对人生和这个世界有了多一点点的理解，还有反思。
这就是好故事吧！
整个故事对几个女性的表现非常精彩，其中很大程度上得益于台词的俏皮／智慧与不经意的深刻，找来了剧本，供自己日后及有意者研究学习：
FADE IN:
INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT
It is not a large room and jammed with tables, mostly for
four but some for six and eight. A long table of honor, for
about thirty people, has been placed upon a dais.
Diner is over. Demi-tasses, cigars and brandy. The overall
effect is one of worn elegance and dogged gentility. It is
June.
The CAMERA, as it has been throughout the CREDIT TITLES, is
on the SARAH SIDDONS AWARD. It is a gold statuette, about a
foot high, of Sarah Siddons as The Tragic Muse. Exquisitely
framed in a nest of flowers, it rests on a miniature altar in
the center of the table of honor.
Over this we hear the crisp, cultured, precise VOICE of
ADDISON deWITT:
ADDISON'S VOICE
The Sarah Siddons Award for
Distinguished Achievement is
perhaps unknown to you. It has been
spared the sensational and
commercial publicity that attends
such questionable "honors" as the
Pulitzer Prize and those awards
presented annually by the film
society...
The CAMERA has EASED BACK to include some of the table of
honor and a distinguished gentleman with snow-white hair who
is speaking. We do not hear what he says.
ADDISON'S VOICE
The distinguished looking gentleman
is an extremely old actor. Being an
actor - he will go on speaking for
some time. It is not important what
you hear what he says.
The CAMERA EASES BACK some more, and CONTINUES until it
discloses a fairly COMPREHENSIVE SHOT of the room
ADDISON'S VOICE
However it is important that you
know where you are, and why you are
here. This is the dining room of
the Sarah Siddons Society.
The occasion is its annual banquet
and presentation of the highest
honor our Theater knows - the Sarah
Siddons Award for Distinguished
Achievement.
A GROUP OF WAITERS are clustered near the screen masking the
entrances of the kitchen. The screens are papered with old
theatrical programs. The waiters are all aged and venerable.
They look respectfully toward the speaker.
ADDISON'S VOICE
These hollowed walls, indeed many
of these faces, have looked upon
Modjeska, Ada Rehan and Minnie
Fiske; Mansfield's voice filled the
room, Booth breathed this air. It
is unlikely that the windows have
been opened since his death.
CLOSE - THE AWARD on its altar, it shines proudly above five
or six smaller altars which surround it and which are now
empty.
ADDISON'S VOICE
The minor awards, as you can see,
have already been presented. Minor
awards are for such as the writer
and director - since their function
is merely to construct a tower so
that the world can applaud a light
which flashes on top of it and no
brighter light has ever dazzled the
eye than Eve Harrington. Eve... but
more of Eve, later. All about Eve,
in fact.
THE CAMERA MOVES TO: CLOSE - ADDISON deWITT, not young, not
unattractive, a fastidious dresser, sharp of eye and
merciless of tongue. An omnipresent cigarette holder projects
from his mouth like the sward of D'Artagnan.
He sits back in his chair, musingly, his fingers making
little cannonballs out of bread crumbs. His narration covers
the MOVE of the CAMERA to him:
ADDISON'S VOICE
To those of you who do not read,
attend the Theater, listen to
uncensored radio programs or know
anything of the world in which we
live - it is perhaps necessary to
introduce myself. My name is
Addison deWitt.
My native habitat is the Theater -
in it I toil not, neither do I
spin. I am a critic and
commentator. I am essential to the
Theater - as ants are to a picnic,
as the ball weevil to a cotton
field...
He looks to his left. KAREN RICHARDS is lovely and thirtyish
in an unprofessional way. She is scraping bread crumbs,
spilled sugar, etc., into a pile with a spoon. Addison takes
one of her bread crumbs. She smiles absently. Addison rolls
the bread crumb into a cannonball.
ADDISON'S VOICE
This is Karen Richards. She is the
wife of a playwright, therefore of
the Theater by marriage. Nothing in
her background or breeding should
have brought her any closer the
stage than row E, center...
Karen continues her doodling.
ADDISON'S VOICE
... however, during her senior year
in Radcliffe, Lloyd Richards
lectured on drama. The following
year Karen became Mrs. Lloyd
Richards. Lloyd is the author of
'Footsteps on the Ceiling' - the
play which has won for Eve
Harrington the Sarah Siddons
Award...
Karen absently pats the top of her little pile of refuse. A
hand reaches in to take the spoon away. Karen looks as the
CAMERA PANS with IT to MAX FABIAN. He sits at her left. He's
a sad-faced man with glasses and a look of constant
apprehension. He smiles apologetically and indicated a white
powder with he unwraps. He pantomimes that his ulcer is
snapping.
Karen smiles back, returns to her doodling. Addison mashes a
cigarette stub, pops it out of his holder. He eyes Max.
ADDISON'S VOICE
There are two types of theatrical
producers. One has a great many
wealthy friends who will risk a tax
deductible loss. This type is
interested in Art.
Max drops the powder into some water, stirs it, drinks, burps
delicately and close his eyes.
ADDISON'S VOICE
The other is one to whom each
production mean potential ruin or
fortune. This type is out to make a
buck. Meet Max Fabian. He is the
producer of the play which has won
Eve Harrington the Sarah Siddons
Award...
Max rests fitfully. He twitches. A hand reaches into the
SCENE, removes a bottle of Scotch from before him. The CAMERA
follows the bottle to MARGO CHANNING. She sits at Max's left,
at deWitt's right. An attractive, strong face. She is
childish, adult, reasonable, unreasonable - usually one when
she should be the other, but always positive. She pours a
stiff drink.
Addison hold out the soda bottle to her. She looks at it, and
at him, as if it were a tarantula and he had gone mad. He
smiles and pours a glass of soda for himself.
ADDISON'S VOICE
Margo Channing is the Star of the
Theater. She made her first stage
appearance, at the age of four, in
'Midsummer Night's Dream'. She
played a fairy and entered - quite
unexpectedly - stark naked. She has
been a Star ever since.
Margo sloshes her drink around moodily, pulls at it.
ADDISON'S VOICE
Margo is a great Star. A true Star.
She never was or will be anything
less or anything less...
(slight pause)
... the part for which Eve
Harrington is receiving the Sarah
Siddons Award was intended
originally for Margo Channing...
Addison, having sipped his soda water, puts a new cigarette
in his holder, leans back, lights it, looks and exhales in
the general direction of the table of honor. As he speaks the
CAMERA MOVES in the direction of his glance...
ADDISON'S VOICE
Having covered in tedious detail
not only the history of the Sarah
Siddons Society, but also the
history of acting since Thespis
first stepped out of the chorus
line - our distinguished chairman
has finally arrived at our reason
for being here...
At this point Addison's voice FADES OUT and the voice of the
aged actor FADES IN. CAMERA is in MEDIUM CLOSE SHOT of him
and the podium.
AGED ACTOR
I have been proud and privileged to
have spent my life in the Theater -
"a poor player ... that struts and
frets his hour upon the stage" -
and I have been honored to be, for
forty years, Chief Promoter of the
Sarah Siddons Society...
(he lifts the Sarah
Siddons Award from its
altar)
Thirty-nine times have I placed in
deserving hands this highest honor
the Theater knows...
(he grows a bit arch, he
uses his eyebrows)
Surely no actor is older than I - I
have earned my place out of the
sun...
(indulgent laughter)
... and never before has this Award
gone to anyone younger than its
recipient tonight. How fitting that
it should pass from my hands to
hers...
EVE HANDS: Lovely, beautifully groomed. In serene repose,
they rest between a demi-tasse cup and an exquisite small
evening cup.
AGED ACTOR
Such young hands. Such a young
lady. Young in years, but whose
heart is as old as the Theater...
Addison's eyes narrow quizzically as he listens. Then,
slowly, he turns to look at Karen...
AGED ACTOR
Some of us a privileged to know
her. We have seen beyond the beauty
and artistry-
Karen never ceases her thoughtful pat-a-cake with the crumbs.
AGED ACTOR
-that have made her name resound
through the nation. We know her
humility. Her devotion, her loyalty
to her art.
Addison's glance moves from Karen to Margo.
AGED ACTOR
Her love, her deep and abiding love
for us-
Margo's face is a mask. She looks down at the drink which she
cradles with both hands.
AGED ACTOR
-for what we are and what we do.
The Theater. She has had one wish,
one prayer, one dream. To belong to
us.
(he's nearing his curtain
line)
Tonight her dream has come true.
And henceforth we shall dream the
same of her.
(a slight pause)
Honored members, ladies and
gentlemen - for distinguished
achievement in the Theater - the
Sarah Siddons Award to Miss Eve
Harrington.
The entire room is galvanized into sudden and tumultuous
applause. Some enthusiastic gentlemen rise to her feet...
Flash bulbs start popping about halfway down the table of the
Aged Actor's left...
Eve rises - beautiful, radiant, poised, exquisitely gowned.
She stands in simple and dignified response to the ovation.
A dozen photographers skip, squat, and dart about like water
bugs. Flash bulbs pop and pop and pop...
THE WAITERS applaud enthusiastically...
AGED ACTOR, Award in hand, he beams at her...
EVE smiles sweetly to her left, then to her right...
MAX has come to. He applauds lustily.
ADDISON's applauding too, more discreetly.
MARGO, not applauding. But you sense no deliberate slight,
merely an impression that as she looks at Eve her mind is on something else...
KAREN, nor is she applauding. But her gaze is similarly fixed
on Eve in a strange, faraway fashion.
ADDISON, still applauding, his eyes flash first at Margo and
then at Karen. Then he directs them back to Eve. He smiles
ever so slightly.
The applause has continued unabated. EVE turns now, and moves
gracefully toward the Aged Actor. She moves through
applauding ladies and gentlemen; from below the flash bulbs
keep popping...
As she nears her goal, the Ages Actor turns to her. He holds
out the award. Her hand reaches out for it. At that precise
moment - with the award just beyond her fingertips - THE
PICTURE HOLDS, THE ACTION STOPS. The SOUND STOPS.
ADDISON'S VOICE
Eve. Eve, the Golden Girl. The
cover girl, the girl next door, the
girl on the moon... Time has been
good to Eve, Life goes where she
goes - she's been profiled,
covered, revealed, reported, what
she eats and when and where, whom
she knows and where she was and
when and where she's going...
ADDISON has stopped applauding, he's sitting forward, staring
intently at Eve... his narration continues unbroken.
ADDISON'S VOICE
... Eve. You all know all about
Eve... what can there be to know
that you don't know...?
As he leans back, the APPLAUSE FADES IN as tumultuous as
before. Addison's look moves slowly from Eve to Karen.
KAREN, she leans forward now, her eyes intently on Eve. Her
lovely face FILLS THE SCREEN as the APPLAUSE FADES ONCE MORE -
as she thinks back:
KAREN'S VOICE
When was it? How long? It seems a
lifetime ago. Lloyd always said
that in the Theater a lifetime was
a season, and a season a lifetime.
It's June now. That was - early
October... only last October. It
was a drizzly night, I remember I
asked the taxi to wait...
DISSOLVE TO:
EXT. NEW YORK THEATER STREET - NIGHT
Traffic is not heavy, the shows have broken some half-hour
before. The rain is just a drizzle.
There are other theaters on the street; display lights are
being extinguished. Going out just as Karen's taxi pulls up
is: MARGO CHANNING in 'AGED IN WOOD'. The marquis display
below includes "Max Fabian Presents" and "By Lloyd Richards."
The taxi comes to a stop at the alley. Karen can be seen
through the closed windows telling the driver to wait. Then
she gets out. She takes a step, hesitates, then looks about
curiously:
KAREN'S VOICE
Where was she? Strange... I had
become so accustomed to seeing her
there night after night - I found
myself looking for a girl I'd never
spoken to, wondering where she
was...
She smiles a little at her own romanticism, puts her head
down and makes her way into the alley.
EXT. ALLEY - CURRAN THEATER - NIGHT
Karen moves toward the stage door. She passes a recess in the
wall - perhaps an exit - about halfway.
EVE'S VOICE
(softly)
Mrs. Richards...
Karen hesitates, looks. Eve is barely distinguishable in the
shadow of the recess. Karen smiles, waits. Eve comes out. A
gooseneck light above them reveals her...
She wears a cheap trench coat, low-heeled shoes, a rain hat
stuck on the back of her head... Her large, luminous eyes
seem to glow up at Karen in the strange half-light.
KAREN
So there you are. It seemed odd,
suddenly, your not being there...
EVE
Why should you think I wouldn't be?
KAREN
Why should you be? After all, six
nights a week - for weeks - of
watching even Margo Channing enter
and leave a theater-
EVE
I hope you don't mind my speaking
to you...
KAREN
Not at all.
EVE
I've seen you so often - it took
every bit of courage I could raise-
KAREN
(smiles)
To speak to just a playwright's
wife? I'm the lowest form of
celebrity...
EVE
You're Margo Channing's best
friend. You and your husband are
always with her - and Mr.
Sampson... what's he like?
KAREN
(grins)
Bill Sampson? He's - he's a
director.
EVE
He's the best.
KAREN
He'll agree with you. Tell me, what
do you between the time Margo goes
in and comes out? Just huddle in
that doorway and wait?
EVE
Oh, no. I see the play.
KAREN
(incredulous)
You see the play? You've seen the
play every performance?
(Eve nods)
But, don't you find it - I mean
apart from everything else - don't
you find it expensive?
EVE
Standing room doesn't cost much. I
manage.
Karen contemplates Eve. Then she takes her arm.
KAREN
I'm going to take you to Margo...
EVE
(hanging back)
Oh, no...
KAREN
She's got to meet you-
EVE
No, I'd be imposing on her, I'd be
just another tongue-tied gushing
fan...
Karen practically propels her toward the stage door.
KAREN
(insisting)
There isn't another like you, there
couldn't be-
EVE
But if I'd known... maybe some
other time... I mean, looking like
this.
KAREN
You look just fine...
(they're at the stage
door)
... by the way. What's your name?
EVE
Eve. Eve Harrington.
Karen opens the door. They go in.
INT. BACKSTAGE - CURRAN THEATER - NIGHT
Everything, including the doorman, looks fireproof.
Eve enters like a novitiate's first visit to the Vatican.
Karen, with a "Good evening, Gus -" to the doorman, leads the
way toward Margo's stage dressing room. Eve, drinking in the
wonderment of all the surveys, lags behind. Karen waits for
her to catch up...
EVE
You can breathe it - can't you?
Like some magic perfume...
Karen smiles, takes Eve's arm. They proceed to Margo's
dressing room.
EXT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT
No star on the closed door; the paint is peeling. A type
written chit, thumbtacked, says MISS CHANNING.
As Karen and Eve approach it, an uninhibited guffaw from
Margo makes them pause.
KAREN
(whispers)
You wait a minute...
(smiles)
... now don't run away-
Eve smiles shakily. At the same moment:
MARGO'S VOICE
(loudly; through the door)
"Honey chile," I said, "if the
South had won the war, you could
write the same plays about the
North!"
Karen enters during the line.
INT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT
It is a medium-sized box, lined with hot water pipes and
cracked plaster. It is furnished in beat-up wicker. A door
leads to an old-fashioned bathroom.
Margo is at the dressing table. She wears an old wrapper, her
hair drawn back tightly to fit under the wig which lies
before her like a dead poodle. Also before her is an almost
finished drink.
LLOYD RICHARDS is stretched out on the wicker chaise. He's in
his late thirties, sensitive, literate.
Between them, by the dressing table, is BIRDIE - Margo's
maid. Her age is unimportant. She was conceived during a
split week in Walla Walla and born in a carnival riot. She is
fiercely loyal to Margo.
Karen enters during the line Margo started while she was
outside. Lloyd chuckles, Birdie cackles.
KAREN
Hi.
(she goes to kiss Lloyd)
Hello, darling-
MARGO
Hi.
(she goes right on - in a
think "Suth'n" accent)
"Well, now Mis' Channin', ah don't
think you can rightly say we lost
the wah, we was mo' stahved out,
you might say - an' that's what ah
don' unnerstand about all these
plays about love-stahved Suth'n
women - love is one thing we was
nevah stahved for the South!"
LLOYD
How was the concert?
KAREN
Loud.
BIRDIE
Lemme fix you a drink.
KAREN
No thanks, Birdie.
Karen laughs with them.
LLOYD
Margo's interview with a lady
reporter from the South-
BIRDIE
The minute it gets printed they're
gonna fire on Gettysburg all over
again...
MARGO
It was Fort Sumter they fired on-
BIRDIE
I never played Fort Sumter.
She takes the wig into the bathroom. Margo starts creaming
the make-up off her face.
MARGO
Honey chili had a point. You know,
I can remember plays about women -
even from the South - where it
never even occurred to them whether
they wanted to marry their fathers
more than their brothers...
LLOYD
That was way back...
MARGO
Within your time, buster. Lloyd,
honey, be a playwright with guts.
Write me one about a nice, normal
woman who shoots her husband.
Birdie comes out of the bathroom without the wig.
BIRDIE
You need new girdles.
MARGO
Buy some.
BIRDIE
The same size?
MARGO
Of course!
BIRDIE
Well. I guess a real tight girdle
help when you're playin' a lunatic.
She picks up Lloud empty glass, asks "more"? He shakes his
head. She pours herself a quick one.
KAREN
(firmly)
Margo does not play a lunatic,
Birdie.
BIRDIE
I know. She just keeps hearin' her
dead father play the banjo.
MARGO
It's the tight girdle that does it.
KAREN
I find these wisecracks
increasingly less funny! 'Aged in
Wood' happens to be a fine and
distinguished play-
LLOYD
- 'at's my loyal little woman.
KAREN
The critics thought so, the
audiences certainly think so -
packed houses, tickets for months
in advance - I can't see that
either of Lloyd's last two plays
have hurt you any!
LLOYD
Easy, now...
MARGO
(grins)
Relax, kid. It's only me and my big
mouth...
KAREN
(mollified)
It's just that you get me so mad
sometimes... of all the women in
the world with nothing to complain
about-
MARGO
(dryly)
Ain't it the truth?
KAREN
Yes, it is! You're talented,
famous, wealthy - people waiting
around night after night just to
see you, even in the wind and
rain...
MARGO
Autograph fiends! They're not
people - those little beast who run
in packs like coyotes-
KAREN
They're your fans, your audience-
MARGO
They're nobody's fans! They're
juvenile delinquents, mental
detectives, they're nobody's
audience, they never see a play or
a movie, even - they're never
indoors long enough!
There is a pause. Lloyd applauds lightly.
KAREN
Well... there's one indoors now.
I've brought her back to see you.
MARGO
You've what?
KAREN
(in a whisper)
She's just outside the door.
MARGO
(to Birdie; also a
whisper)
The heave-ho.
Birdie starts. Karen stops her. It's all in whisper, now,
until Eve comes in.
KAREN
You can't put her out, I
promised... Margo, you've got to
see her, she worships you, it's
like something out of a book-
LLOYD
That book is out of print, Karen,
those days are gone.
Fans no longer pull the carriage
through the streets - they tear off
clothes and steal wrist watches...
KAREN
If you'd only see her, you're her
whole life - you must have spotted
her by now, she's always there...
MARGO
Kind of mousy trench coat and funny
hat?
(Karen nods)
How could I miss her? Every night
and matinee - well...
She looks to Birdie.
BIRDIE
Once George Jessel played my
hometown. For a girl, gettin' in to
see him was easy. Gettin' out was
the problem...
They all laugh. Karen goes to the door, opens it. Eve comes
in. Karen closes the door behind her. A moment.
EVE
(simply)
I thought you'd forgotten about me.
KAREN
Not at all.
(her arm through Eve's)
Margo, this is Eve Harrington.
Margo changes swiftly into a first-lady-of-the-theater
manner.
MARGO
(musically)
How do you do, my dear.
BIRDIE
(mutters)
Oh, brother.
EVE
Hello, Miss Channing.
KAREN
My husband...
LLOYD
(nicely)
Hello, Miss Harrington.
EVE
How do you do, Mr. Richards.
MARGO
(graciously)
And this is my good friend and
companion, Miss Birdie Coonan.
BIRDIE
Oh, brother.
MARGO
Miss Coonan...
LLOYD
(to Birdie)
Oh brother what?
BIRDIE
When she gets like this... all of a
sudden she's playin' Hamlet's
mother...
MARGO
(quiet menace)
I'm sure you must have things to do
in the bathroom, Birdie dear.
BIRDIE
If I haven't, I'll find something
till you're normal.
She goes into the bathroom.
&
他一定要有一个深刻的东西。all about eve在谈论一个特别重要的东西，西方人特别喜欢讲的，百讲不厌：innocence／天真。尤其在物欲横流的当下，（在这个故事背景中，好莱坞就是其意象）在充满着欺骗和伪善的世界里，这个东西特别珍贵，所以一再拿出来讲。
但意念本身没有力量，它要牵引着人物，领导着故事，就变得强大无比。
all about eve不是一个肤浅的[杜拉拉上位]的故事，是一个充满野心和欲望的女孩儿，在心计算尽后夺得权力的故事，它构筑着好莱坞／美国主流价值观，也预言着未来，预言着整个当下和全世界奉行的东西：这个世界的主流价值崇尚着权利名誉地位的欲望与野心，在追求成功的道路上，我们将失去最初最纯真的东西。天真、善良、正直、诚实，这些人性中最宝贵的东西。
所以编剧给我们塑造了margo、eve、karen、Lloyd、addison这样一班人，他们在这样一个名利的漩涡中，自主不自主的不端检测着自己内心的[innocence]。
不再一一分析了，尤为有趣的是如日中天的老明星margo和急于上位的年轻人eve之间形成的微妙对比。
或许当年margo也是这么攻于心计成就了今天的地位，但是现在的她尽管看起来老态／名利双收，应该是圆滑世故的人物，但是实则天真／直率，我觉得她不是不懂得掩饰，而是已经不在乎不愿意伪装，也疲于伪装了。在经历多年的明星生涯后，她不时袒露心扉：
The things you drop on your way up the ladder, so you can move faster.
You forget you'll need them again when you go back to being a woman.
That's one career all females have in common - whether we like it or not - being a woman.
Sooner or later we've all got to work at it, no matter what other careers we've had or wanted... and, in the last analysis, nothing is any good unless you can look up just before dinner or turns around in bed - and there he is. Without that, you're not woman. You're something with a French provincial office or a book full of clippings - but you're not a woman...
尽管这段言论很大程度上反映了女性的无力感和不安全感，反映了在这样一个男权社会里，女人的脆弱。但同时，margo呈现出特别天真，特别坦诚，也很纯粹同时脆弱的一面，我们看到一个四十岁的女人外壳下，是一个十几岁女孩儿的纯粹的内心。
相比华丽外表下依然天真的margo，eve一个天真的名字，天真的年纪，也天真的[背景故事]后面，竟是一个攻于心计的毒辣女人。这种反差很有戏剧感。
ps，整个剧看完以后有一种人性真是复杂／社会真是复杂的感觉，你不敢断然批评某一个具体的人物，却好像对人生和这个世界有了多一点点的理解，还有反思。
这就是好故事吧！
整个故事对几个女性的表现非常精彩，其中很大程度上得益于台词的俏皮／智慧与不经意的深刻，找来了剧本，供自己日后及有意者研究学习：
FADE IN:
INT. DINING HALL - SARAH SIDDONS SOCIETY - NIGHT
It is not a large room and jammed with tables, mostly for
four but some for six and eight. A long table of honor, for
about thirty people, has been placed upon a dais.
Diner is over. Demi-tasses, cigars and brandy. The overall
effect is one of worn elegance and dogged gentility. It is
June.
The CAMERA, as it has been throughout the CREDIT TITLES, is
on the SARAH SIDDONS AWARD. It is a gold statuette, about a
foot high, of Sarah Siddons as The Tragic Muse. Exquisitely
framed in a nest of flowers, it rests on a miniature altar in
the center of the table of honor.
Over this we hear the crisp, cultured, precise VOICE of
ADDISON deWITT:
ADDISON'S VOICE
The Sarah Siddons Award for
Distinguished Achievement is
perhaps unknown to you. It has been
spared the sensational and
commercial publicity that attends
such questionable "honors" as the
Pulitzer Prize and those awards
presented annually by the film
society...
The CAMERA has EASED BACK to include some of the table of
honor and a distinguished gentleman with snow-white hair who
is speaking. We do not hear what he says.
ADDISON'S VOICE
The distinguished looking gentleman
is an extremely old actor. Being an
actor - he will go on speaking for
some time. It is not important what
you hear what he says.
The CAMERA EASES BACK some more, and CONTINUES until it
discloses a fairly COMPREHENSIVE SHOT of the room
ADDISON'S VOICE
However it is important that you
know where you are, and why you are
here. This is the dining room of
the Sarah Siddons Society.
The occasion is its annual banquet
and presentation of the highest
honor our Theater knows - the Sarah
Siddons Award for Distinguished
Achievement.
A GROUP OF WAITERS are clustered near the screen masking the
entrances of the kitchen. The screens are papered with old
theatrical programs. The waiters are all aged and venerable.
They look respectfully toward the speaker.
ADDISON'S VOICE
These hollowed walls, indeed many
of these faces, have looked upon
Modjeska, Ada Rehan and Minnie
Fiske; Mansfield's voice filled the
room, Booth breathed this air. It
is unlikely that the windows have
been opened since his death.
CLOSE - THE AWARD on its altar, it shines proudly above five
or six smaller altars which surround it and which are now
empty.
ADDISON'S VOICE
The minor awards, as you can see,
have already been presented. Minor
awards are for such as the writer
and director - since their function
is merely to construct a tower so
that the world can applaud a light
which flashes on top of it and no
brighter light has ever dazzled the
eye than Eve Harrington. Eve... but
more of Eve, later. All about Eve,
in fact.
THE CAMERA MOVES TO: CLOSE - ADDISON deWITT, not young, not
unattractive, a fastidious dresser, sharp of eye and
merciless of tongue. An omnipresent cigarette holder projects
from his mouth like the sward of D'Artagnan.
He sits back in his chair, musingly, his fingers making
little cannonballs out of bread crumbs. His narration covers
the MOVE of the CAMERA to him:
ADDISON'S VOICE
To those of you who do not read,
attend the Theater, listen to
uncensored radio programs or know
anything of the world in which we
live - it is perhaps necessary to
introduce myself. My name is
Addison deWitt.
My native habitat is the Theater -
in it I toil not, neither do I
spin. I am a critic and
commentator. I am essential to the
Theater - as ants are to a picnic,
as the ball weevil to a cotton
field...
He looks to his left. KAREN RICHARDS is lovely and thirtyish
in an unprofessional way. She is scraping bread crumbs,
spilled sugar, etc., into a pile with a spoon. Addison takes
one of her bread crumbs. She smiles absently. Addison rolls
the bread crumb into a cannonball.
ADDISON'S VOICE
This is Karen Richards. She is the
wife of a playwright, therefore of
the Theater by marriage. Nothing in
her background or breeding should
have brought her any closer the
stage than row E, center...
Karen continues her doodling.
ADDISON'S VOICE
... however, during her senior year
in Radcliffe, Lloyd Richards
lectured on drama. The following
year Karen became Mrs. Lloyd
Richards. Lloyd is the author of
'Footsteps on the Ceiling' - the
play which has won for Eve
Harrington the Sarah Siddons
Award...
Karen absently pats the top of her little pile of refuse. A
hand reaches in to take the spoon away. Karen looks as the
CAMERA PANS with IT to MAX FABIAN. He sits at her left. He's
a sad-faced man with glasses and a look of constant
apprehension. He smiles apologetically and indicated a white
powder with he unwraps. He pantomimes that his ulcer is
snapping.
Karen smiles back, returns to her doodling. Addison mashes a
cigarette stub, pops it out of his holder. He eyes Max.
ADDISON'S VOICE
There are two types of theatrical
producers. One has a great many
wealthy friends who will risk a tax
deductible loss. This type is
interested in Art.
Max drops the powder into some water, stirs it, drinks, burps
delicately and close his eyes.
ADDISON'S VOICE
The other is one to whom each
production mean potential ruin or
fortune. This type is out to make a
buck. Meet Max Fabian. He is the
producer of the play which has won
Eve Harrington the Sarah Siddons
Award...
Max rests fitfully. He twitches. A hand reaches into the
SCENE, removes a bottle of Scotch from before him. The CAMERA
follows the bottle to MARGO CHANNING. She sits at Max's left,
at deWitt's right. An attractive, strong face. She is
childish, adult, reasonable, unreasonable - usually one when
she should be the other, but always positive. She pours a
stiff drink.
Addison hold out the soda bottle to her. She looks at it, and
at him, as if it were a tarantula and he had gone mad. He
smiles and pours a glass of soda for himself.
ADDISON'S VOICE
Margo Channing is the Star of the
Theater. She made her first stage
appearance, at the age of four, in
'Midsummer Night's Dream'. She
played a fairy and entered - quite
unexpectedly - stark naked. She has
been a Star ever since.
Margo sloshes her drink around moodily, pulls at it.
ADDISON'S VOICE
Margo is a great Star. A true Star.
She never was or will be anything
less or anything less...
(slight pause)
... the part for which Eve
Harrington is receiving the Sarah
Siddons Award was intended
originally for Margo Channing...
Addison, having sipped his soda water, puts a new cigarette
in his holder, leans back, lights it, looks and exhales in
the general direction of the table of honor. As he speaks the
CAMERA MOVES in the direction of his glance...
ADDISON'S VOICE
Having covered in tedious detail
not only the history of the Sarah
Siddons Society, but also the
history of acting since Thespis
first stepped out of the chorus
line - our distinguished chairman
has finally arrived at our reason
for being here...
At this point Addison's voice FADES OUT and the voice of the
aged actor FADES IN. CAMERA is in MEDIUM CLOSE SHOT of him
and the podium.
AGED ACTOR
I have been proud and privileged to
have spent my life in the Theater -
"a poor player ... that struts and
frets his hour upon the stage" -
and I have been honored to be, for
forty years, Chief Promoter of the
Sarah Siddons Society...
(he lifts the Sarah
Siddons Award from its
altar)
Thirty-nine times have I placed in
deserving hands this highest honor
the Theater knows...
(he grows a bit arch, he
uses his eyebrows)
Surely no actor is older than I - I
have earned my place out of the
sun...
(indulgent laughter)
... and never before has this Award
gone to anyone younger than its
recipient tonight. How fitting that
it should pass from my hands to
hers...
EVE HANDS: Lovely, beautifully groomed. In serene repose,
they rest between a demi-tasse cup and an exquisite small
evening cup.
AGED ACTOR
Such young hands. Such a young
lady. Young in years, but whose
heart is as old as the Theater...
Addison's eyes narrow quizzically as he listens. Then,
slowly, he turns to look at Karen...
AGED ACTOR
Some of us a privileged to know
her. We have seen beyond the beauty
and artistry-
Karen never ceases her thoughtful pat-a-cake with the crumbs.
AGED ACTOR
-that have made her name resound
through the nation. We know her
humility. Her devotion, her loyalty
to her art.
Addison's glance moves from Karen to Margo.
AGED ACTOR
Her love, her deep and abiding love
for us-
Margo's face is a mask. She looks down at the drink which she
cradles with both hands.
AGED ACTOR
-for what we are and what we do.
The Theater. She has had one wish,
one prayer, one dream. To belong to
us.
(he's nearing his curtain
line)
Tonight her dream has come true.
And henceforth we shall dream the
same of her.
(a slight pause)
Honored members, ladies and
gentlemen - for distinguished
achievement in the Theater - the
Sarah Siddons Award to Miss Eve
Harrington.
The entire room is galvanized into sudden and tumultuous
applause. Some enthusiastic gentlemen rise to her feet...
Flash bulbs start popping about halfway down the table of the
Aged Actor's left...
Eve rises - beautiful, radiant, poised, exquisitely gowned.
She stands in simple and dignified response to the ovation.
A dozen photographers skip, squat, and dart about like water
bugs. Flash bulbs pop and pop and pop...
THE WAITERS applaud enthusiastically...
AGED ACTOR, Award in hand, he beams at her...
EVE smiles sweetly to her left, then to her right...
MAX has come to. He applauds lustily.
ADDISON's applauding too, more discreetly.
MARGO, not applauding. But you sense no deliberate slight,
merely an impression that as she looks at Eve her mind is on something else...
KAREN, nor is she applauding. But her gaze is similarly fixed
on Eve in a strange, faraway fashion.
ADDISON, still applauding, his eyes flash first at Margo and
then at Karen. Then he directs them back to Eve. He smiles
ever so slightly.
The applause has continued unabated. EVE turns now, and moves
gracefully toward the Aged Actor. She moves through
applauding ladies and gentlemen; from below the flash bulbs
keep popping...
As she nears her goal, the Ages Actor turns to her. He holds
out the award. Her hand reaches out for it. At that precise
moment - with the award just beyond her fingertips - THE
PICTURE HOLDS, THE ACTION STOPS. The SOUND STOPS.
ADDISON'S VOICE
Eve. Eve, the Golden Girl. The
cover girl, the girl next door, the
girl on the moon... Time has been
good to Eve, Life goes where she
goes - she's been profiled,
covered, revealed, reported, what
she eats and when and where, whom
she knows and where she was and
when and where she's going...
ADDISON has stopped applauding, he's sitting forward, staring
intently at Eve... his narration continues unbroken.
ADDISON'S VOICE
... Eve. You all know all about
Eve... what can there be to know
that you don't know...?
As he leans back, the APPLAUSE FADES IN as tumultuous as
before. Addison's look moves slowly from Eve to Karen.
KAREN, she leans forward now, her eyes intently on Eve. Her
lovely face FILLS THE SCREEN as the APPLAUSE FADES ONCE MORE -
as she thinks back:
KAREN'S VOICE
When was it? How long? It seems a
lifetime ago. Lloyd always said
that in the Theater a lifetime was
a season, and a season a lifetime.
It's June now. That was - early
October... only last October. It
was a drizzly night, I remember I
asked the taxi to wait...
DISSOLVE TO:
EXT. NEW YORK THEATER STREET - NIGHT
Traffic is not heavy, the shows have broken some half-hour
before. The rain is just a drizzle.
There are other theaters on the street; display lights are
being extinguished. Going out just as Karen's taxi pulls up
is: MARGO CHANNING in 'AGED IN WOOD'. The marquis display
below includes "Max Fabian Presents" and "By Lloyd Richards."
The taxi comes to a stop at the alley. Karen can be seen
through the closed windows telling the driver to wait. Then
she gets out. She takes a step, hesitates, then looks about
curiously:
KAREN'S VOICE
Where was she? Strange... I had
become so accustomed to seeing her
there night after night - I found
myself looking for a girl I'd never
spoken to, wondering where she
was...
She smiles a little at her own romanticism, puts her head
down and makes her way into the alley.
EXT. ALLEY - CURRAN THEATER - NIGHT
Karen moves toward the stage door. She passes a recess in the
wall - perhaps an exit - about halfway.
EVE'S VOICE
(softly)
Mrs. Richards...
Karen hesitates, looks. Eve is barely distinguishable in the
shadow of the recess. Karen smiles, waits. Eve comes out. A
gooseneck light above them reveals her...
She wears a cheap trench coat, low-heeled shoes, a rain hat
stuck on the back of her head... Her large, luminous eyes
seem to glow up at Karen in the strange half-light.
KAREN
So there you are. It seemed odd,
suddenly, your not being there...
EVE
Why should you think I wouldn't be?
KAREN
Why should you be? After all, six
nights a week - for weeks - of
watching even Margo Channing enter
and leave a theater-
EVE
I hope you don't mind my speaking
to you...
KAREN
Not at all.
EVE
I've seen you so often - it took
every bit of courage I could raise-
KAREN
(smiles)
To speak to just a playwright's
wife? I'm the lowest form of
celebrity...
EVE
You're Margo Channing's best
friend. You and your husband are
always with her - and Mr.
Sampson... what's he like?
KAREN
(grins)
Bill Sampson? He's - he's a
director.
EVE
He's the best.
KAREN
He'll agree with you. Tell me, what
do you between the time Margo goes
in and comes out? Just huddle in
that doorway and wait?
EVE
Oh, no. I see the play.
KAREN
(incredulous)
You see the play? You've seen the
play every performance?
(Eve nods)
But, don't you find it - I mean
apart from everything else - don't
you find it expensive?
EVE
Standing room doesn't cost much. I
manage.
Karen contemplates Eve. Then she takes her arm.
KAREN
I'm going to take you to Margo...
EVE
(hanging back)
Oh, no...
KAREN
She's got to meet you-
EVE
No, I'd be imposing on her, I'd be
just another tongue-tied gushing
fan...
Karen practically propels her toward the stage door.
KAREN
(insisting)
There isn't another like you, there
couldn't be-
EVE
But if I'd known... maybe some
other time... I mean, looking like
this.
KAREN
You look just fine...
(they're at the stage
door)
... by the way. What's your name?
EVE
Eve. Eve Harrington.
Karen opens the door. They go in.
INT. BACKSTAGE - CURRAN THEATER - NIGHT
Everything, including the doorman, looks fireproof.
Eve enters like a novitiate's first visit to the Vatican.
Karen, with a "Good evening, Gus -" to the doorman, leads the
way toward Margo's stage dressing room. Eve, drinking in the
wonderment of all the surveys, lags behind. Karen waits for
her to catch up...
EVE
You can breathe it - can't you?
Like some magic perfume...
Karen smiles, takes Eve's arm. They proceed to Margo's
dressing room.
EXT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT
No star on the closed door; the paint is peeling. A type
written chit, thumbtacked, says MISS CHANNING.
As Karen and Eve approach it, an uninhibited guffaw from
Margo makes them pause.
KAREN
(whispers)
You wait a minute...
(smiles)
... now don't run away-
Eve smiles shakily. At the same moment:
MARGO'S VOICE
(loudly; through the door)
"Honey chile," I said, "if the
South had won the war, you could
write the same plays about the
North!"
Karen enters during the line.
INT. MARGO'S DRESSING ROOM - CURRAN THEATER - NIGHT
It is a medium-sized box, lined with hot water pipes and
cracked plaster. It is furnished in beat-up wicker. A door
leads to an old-fashioned bathroom.
Margo is at the dressing table. She wears an old wrapper, her
hair drawn back tightly to fit under the wig which lies
before her like a dead poodle. Also before her is an almost
finished drink.
LLOYD RICHARDS is stretched out on the wicker chaise. He's in
his late thirties, sensitive, literate.
Between them, by the dressing table, is BIRDIE - Margo's
maid. Her age is unimportant. She was conceived during a
split week in Walla Walla and born in a carnival riot. She is
fiercely loyal to Margo.
Karen enters during the line Margo started while she was
outside. Lloyd chuckles, Birdie cackles.
KAREN
Hi.
(she goes to kiss Lloyd)
Hello, darling-
MARGO
Hi.
(she goes right on - in a
think "Suth'n" accent)
"Well, now Mis' Channin', ah don't
think you can rightly say we lost
the wah, we was mo' stahved out,
you might say - an' that's what ah
don' unnerstand about all these
plays about love-stahved Suth'n
women - love is one thing we was
nevah stahved for the South!"
LLOYD
How was the concert?
KAREN
Loud.
BIRDIE
Lemme fix you a drink.
KAREN
No thanks, Birdie.
Karen laughs with them.
LLOYD
Margo's interview with a lady
reporter from the South-
BIRDIE
The minute it gets printed they're
gonna fire on Gettysburg all over
again...
MARGO
It was Fort Sumter they fired on-
BIRDIE
I never played Fort Sumter.
She takes the wig into the bathroom. Margo starts creaming
the make-up off her face.
MARGO
Honey chili had a point. You know,
I can remember plays about women -
even from the South - where it
never even occurred to them whether
they wanted to marry their fathers
more than their brothers...
LLOYD
That was way back...
MARGO
Within your time, buster. Lloyd,
honey, be a playwright with guts.
Write me one about a nice, normal
woman who shoots her husband.
Birdie comes out of the bathroom without the wig.
BIRDIE
You need new girdles.
MARGO
Buy some.
BIRDIE
The same size?
MARGO
Of course!
BIRDIE
Well. I guess a real tight girdle
help when you're playin' a lunatic.
She picks up Lloud empty glass, asks "more"? He shakes his
head. She pours herself a quick one.
KAREN
(firmly)
Margo does not play a lunatic,
Birdie.
BIRDIE
I know. She just keeps hearin' her
dead father play the banjo.
MARGO
It's the tight girdle that does it.
KAREN
I find these wisecracks
increasingly less funny! 'Aged in
Wood' happens to be a fine and
distinguished play-
LLOYD
- 'at's my loyal little woman.
KAREN
The critics thought so, the
audiences certainly think so -
packed houses, tickets for months
in advance - I can't see that
either of Lloyd's last two plays
have hurt you any!
LLOYD
Easy, now...
MARGO
(grins)
Relax, kid. It's only me and my big
mouth...
KAREN
(mollified)
It's just that you get me so mad
sometimes... of all the women in
the world with nothing to complain
about-
MARGO
(dryly)
Ain't it the truth?
KAREN
Yes, it is! You're talented,
famous, wealthy - people waiting
around night after night just to
see you, even in the wind and
rain...
MARGO
Autograph fiends! They're not
people - those little beast who run
in packs like coyotes-
KAREN
They're your fans, your audience-
MARGO
They're nobody's fans! They're
juvenile delinquents, mental
detectives, they're nobody's
audience, they never see a play or
a movie, even - they're never
indoors long enough!
There is a pause. Lloyd applauds lightly.
KAREN
Well... there's one indoors now.
I've brought her back to see you.
MARGO
You've what?
KAREN
(in a whisper)
She's just outside the door.
MARGO
(to Birdie; also a
whisper)
The heave-ho.
Birdie starts. Karen stops her. It's all in whisper, now,
until Eve comes in.
KAREN
You can't put her out, I
promised... Margo, you've got to
see her, she worships you, it's
like something out of a book-
LLOYD
That book is out of print, Karen,
those days are gone.
Fans no longer pull the carriage
through the streets - they tear off
clothes and steal wrist watches...
KAREN
If you'd only see her, you're her
whole life - you must have spotted
her by now, she's always there...
MARGO
Kind of mousy trench coat and funny
hat?
(Karen nods)
How could I miss her? Every night
and matinee - well...
She looks to Birdie.
BIRDIE
Once George Jessel played my
hometown. For a girl, gettin' in to
see him was easy. Gettin' out was
the problem...
They all laugh. Karen goes to the door, opens it. Eve comes
in. Karen closes the door behind her. A moment.
EVE
(simply)
I thought you'd forgotten about me.
KAREN
Not at all.
(her arm through Eve's)
Margo, this is Eve Harrington.
Margo changes swiftly into a first-lady-of-the-theater
manner.
MARGO
(musically)
How do you do, my dear.
BIRDIE
(mutters)
Oh, brother.
EVE
Hello, Miss Channing.
KAREN
My husband...
LLOYD
(nicely)
Hello, Miss Harrington.
EVE
How do you do, Mr. Richards.
MARGO
(graciously)
And this is my good friend and
companion, Miss Birdie Coonan.
BIRDIE
Oh, brother.
MARGO
Miss Coonan...
LLOYD
(to Birdie)
Oh brother what?
BIRDIE
When she gets like this... all of a
sudden she's playin' Hamlet's
mother...
MARGO
(quiet menace)
I'm sure you must have things to do
in the bathroom, Birdie dear.
BIRDIE
If I haven't, I'll find something
till you're normal.
She goes into the bathroom.
&
4 ) 一个心机婊的自白
我叫伊芙，你问我有什么梦想，我的梦想就是表演，登上百老汇的舞台，然后去好莱坞。我有什么故事？当然了，每一个站在舞台的人都有一段悲惨的经历，来自农村，父亲早逝，丈夫在战争中牺牲，一个人来到一半天堂一半地狱的纽约闯荡。
对，我是崇拜她，她是百老汇的角儿，独领风骚，可是她都四十岁了啊，这个舞台也需要一点新鲜血液了。我想办法接近她，我做了她的跟班，我模仿她，我学习她，我研究她，终于她在我的身上看到了威胁，看到了自己的渐渐老去的容颜，她开始对我产生防备，不过装无辜是我的强项。
剧院要找一个她的替身，以备万一，还有比我更合适这个角色的么？我要出名，我要火，我通过她的朋友争取到了这个机会。演出很成功，我已经成功了一半了。
她的男朋友比她小八岁，我试着去勾兑一下好了，他居然经得起诱惑，好男人赞一个，不过你是傻逼啊。那得换一个靠山才行，影评人艾德森，恩，文章的影响力举足轻重，就他了，可以当枪使。
她朋友的男人是个著名的剧作家，不如和他搞搞暧昧，悄悄透露给艾德森，搞个大新闻。
你们肯定看出来了，我是个十足的心机Girl，没错，我的身世也是假的，我根本没有结过婚，但是，我都是为了我的梦想，我有错吗？
总而言之，通过一些小手段，我得到了一个全新的角色，大获成功，获得了戏剧界的最高奖——沙拉奖。马上就要迎娶高富帅走上人生巅峰了。
你们肯定要骂我是不要脸的婊子了，可是我也是有真本事的啊，绣花枕头还能火？我不过是使了点手段走了点捷径罢了。人不为己天地诛啊，我空有一身才华，无人欣赏岂不可悲？我为自己的行为感到骄傲。
那么今天的辩题来了，伊芙女士这样踩着别人上位的行为是值得骄傲的吗？
补充一点：这部电影名叫<All About Eve>直译《关于伊芙的一切》意译《彗星美人》，结合片尾出现了一个心机Girl2.0想要对伊芙取而代之，象征着她耀眼却又短暂的艺术人生，有道是：江山代有才女出，各领风骚四五年。
对，我是崇拜她，她是百老汇的角儿，独领风骚，可是她都四十岁了啊，这个舞台也需要一点新鲜血液了。我想办法接近她，我做了她的跟班，我模仿她，我学习她，我研究她，终于她在我的身上看到了威胁，看到了自己的渐渐老去的容颜，她开始对我产生防备，不过装无辜是我的强项。
剧院要找一个她的替身，以备万一，还有比我更合适这个角色的么？我要出名，我要火，我通过她的朋友争取到了这个机会。演出很成功，我已经成功了一半了。
她的男朋友比她小八岁，我试着去勾兑一下好了，他居然经得起诱惑，好男人赞一个，不过你是傻逼啊。那得换一个靠山才行，影评人艾德森，恩，文章的影响力举足轻重，就他了，可以当枪使。
她朋友的男人是个著名的剧作家，不如和他搞搞暧昧，悄悄透露给艾德森，搞个大新闻。
你们肯定看出来了，我是个十足的心机Girl，没错，我的身世也是假的，我根本没有结过婚，但是，我都是为了我的梦想，我有错吗？
总而言之，通过一些小手段，我得到了一个全新的角色，大获成功，获得了戏剧界的最高奖——沙拉奖。马上就要迎娶高富帅走上人生巅峰了。
你们肯定要骂我是不要脸的婊子了，可是我也是有真本事的啊，绣花枕头还能火？我不过是使了点手段走了点捷径罢了。人不为己天地诛啊，我空有一身才华，无人欣赏岂不可悲？我为自己的行为感到骄傲。
那么今天的辩题来了，伊芙女士这样踩着别人上位的行为是值得骄傲的吗？
补充一点：这部电影名叫<All About Eve>直译《关于伊芙的一切》意译《彗星美人》，结合片尾出现了一个心机Girl2.0想要对伊芙取而代之，象征着她耀眼却又短暂的艺术人生，有道是：江山代有才女出，各领风骚四五年。
5 ) 优势和修改
用电影来拍剧院，有极难处，亦有轻巧劲。极难在于戏剧不仅会束缚电影生命力之一的空间表现力，而且处理舞台千头万绪，人际关系琐碎而少提炼，即使有主题有方向也很容易写歪写得轻飘。轻巧在于戏剧其本身与现实间迷人的暧昧关系，名利场里无限的盘旋迂回实在是太过诱人的艺术母题。想要四两拨千斤，不容易。
《彗星美人》在几个方面堪称美国式经典电影的教科书
其一，影片人物的台词。
雅致机智，戏谑反讽，密度高，压缩的信息量大。在好莱坞还没有完全沦为影片加工厂时，台词还仍然保留着自己独特的魅力。如影片中两对夫妻平时的互相谈吐和打趣，毫无半点拖泥带水，游离于“推进情节和展示人物”这条陈旧魔咒之外，好似从美国文学作品中摘录出来——短促的冷嘲，机智的回击，点到即止的忧伤。在影片中，台词几乎由类型而自成风格。让人几度想及比利怀尔德，刘别谦。由女主人和女仆的系列对话可略见一斑（主仆设置想及《控方证人》）
其二，对现实和虚幻之间的灵巧处理。
与竭尽心力，殚精竭虑挖掘或抹除现实与戏剧之间差距的作品不同，本片用一种半嘲讽半认真的方式混淆戏剧人物（观众）对现实的准确感：女主角玛戈钱宁在宴会上发泄自己醋意和紧张感时完全用的是舞台化的情绪表演（半认真）更妙的是，她用一种自反性的方式提示在场的编剧“这么戏剧性的舞台发展，你竟然让我们去睡觉？”（半嘲讽），还有什么把表演和现实融在一起更合适地展现一堆戏剧人的矛盾和纯粹呢？又如eva自己也完全迷失在阴谋编织的明星梦之中，同样精妙的是，当戏剧评论家在人物矛盾冲突的高潮处揭破eva的秘密，女人崩溃之时，他却坦言“今晚将是你表演生涯的巅峰”多么迷人的戏剧人的永恒诅咒和悖论——舞台的虚幻之下饱含真诚，生活的真诚里全然是欲望的深沟。这也是我觉得这部片是修学戏剧专业的人可以揽身自照的一块镜子。而这样富有灵韵的段落在影片中比比皆是，点缀其中。
三、妙极的空间调度
我喜，剧评人审问Eva一场，盥洗室半掩的门对心绪状态的暗示。宴会小高潮一场，众人坐在楼梯上的安排仿佛剧场观众。抱着她人戏服在镜子前谢幕，身体语言胜过旁白千句。
以上二加一点，奠定了《彗星美人》美学上的精巧得当，相比于多年后《鸟人》的愤怒戾气，这部更潜藏着对这个行业矛盾交织的爱意。“爱到深处自然黑。”
草草看过细节后，我们再拉高视野，从宏观上看一下影片的主题导向。有人会说这是一部十分精巧工整的关于三个女人权利争夺的剧情片（我不会说三人间的情感拉扯是影片做得优秀之处）只是背景设置在戏剧后台罢了。我更愿意把这个名利场的寓言当做是对美国梦——不谋手段的成功的一种反讽，我们好像又绕回到了伍迪艾伦在《蓝色茉莉》中提出的道德命题：我知道这一切都不属于我，可我想要，这有错吗？即使只是运用了一些诡计和谎言。褪去舞台上的层层光环，观众层层的爱意从脚边升起。暴露其下的是名利追逐过程中对人性的一次次背叛和扭曲，对欲望的永不停止的追逐，算计、威胁、离间无所不用其极“只有有最强意志力的人才能留在剧院，才能出名。”影片结尾，新来的高中女生渴望再一次复制Eva的成功，这场名利追逐中失却了太多，而它循环不息。在奥斯卡商业和艺术（社会洞察力）相结合的评判标准下，本片无疑实至名归的看到了光鲜背后宿命的堕落。
我认为在演员现有演技的加持下，本片可以做一些其他方向拓展的尝试和修改，单就剧本角度来说，我之前说三个女人之间张力关系的营造有些许不尽人意，相似的，男性角色方面，剧评家人物色彩最重，导演次之，编剧最次（几乎就是沦为剧情工具人，配角的功能也不具备），所以我认为在男三角和女三角方面可以做一些修改，女三角完全可以拿掉凯伦加强eva和钱宁之间的对峙戏码，在影片中段，钱宁对逝去年华的伤感完全可以渐渐被一种年长女演员的老辣和复仇欲代替，从而与风华正茂Evad的精巧诡计进行迂回而紧张的对峙，而不是退缩家庭主妇的“免战”，这其实一定程度上削弱了影片的“商业性”，好看程度。同理男三角拿掉编剧一角，加强导演和剧评家人物立体性，多面向，挖缺其纵深。形成四角对阵。
自己的两个彩蛋：1梦露的美国女郎，少女式的天真。见之难忘，那种天真仿佛不是表演出，而真的是一种外散的本质。奇。
2我曾构想过一段场景，用戏剧式的表演在合适的时机介入生活，与生活融合一体，用虚幻性瓦解棘手问题的坚实（好似用脆生生的方程解素描）此片多少给了我一点启发。
6 ) 庆幸自己是普通人
今晚刚刚看完这片子，突然发现活得单纯很幸福。电影带给我的，或许就是这般魅力，描述的故事里或多或少是现实的影子，更多的解读留给观众，有新的视角思量自己的生活。
片子描述的故事是一个女明星从穷困潦倒到真正上位的过程。谁都知道明星红的原因无非几种，其一相貌好，背景好，少许天赋，其二就是善于包装自己，善于制造机会。用一句话形容娱乐圈，贵圈真乱。该电影通过一个完整的故事影射了这个圈子。
eve，典型的渴望成名的女生，贫困的生活和渴望成名的欲望驱使她成为了一个追名逐利的女人，甚至为了这些不惜献上基本的人格。片子虽然在描述这个女人的故事，但是她却只是女配的存在。因为她不过是万千成名过又消失过的女明星中的一员，无限膨胀的欲望和低端的手段，自己断送了快乐，失去了朋友，换来了奖杯和灯光，用pathetic来形容最好。
让我想到了好莱坞的巨星，琼克劳馥，与本片的女主角贝蒂戴维斯在真实的好莱坞是死对头，她和本片女主的出生一样，不知道睡过多少导演才混到一线女星的位置，演技出众，一生的婚姻数次，伴侣无数。虽是贵为巨星，但是我却并不欣赏，相对比我最爱的女神费雯丽，我觉得虽然费的生活不顺畅，但是很纯粹，爱了劳伦斯一辈子，追随他直到去世。比起机关算尽，最终获得名利，但是这个过程里其实是得不偿失吧，就像名利场的主人公一样，其实是很孤独的。
说说本片最重要也是最幸福的人，margo。大明星的出场，有朋友，坦率，受欢迎，但是也很骄傲。但是除开这些，她是一个要强的女人。因此在她意识到eve正在逐步的靠近她，并且模仿她，试图和她竞争的时候，她的竞争意识很容易就让自己处于一个比较焦躁的位置，因此她发怒，不满，并且不希望eve和她靠的过近。当然最直接的原因还是因为男人，当margo看到eve和自己的男人有交集的时候，这些潜在的担心全都成为了发泄口。当margo意识到自己这些焦躁和真正的原因的时候，她在车里说了一句或许是我过了十多年后会感叹的话，人在向上爬的时候会舍弃很多东西，但是当我们爬到要的位置又会回过头去重新拾起那些曾经觉得不重要的。女人应该做的不过是回归家庭，每天六点做饭等mr right回家。我觉得这是一个功成名就的女人说的很真实的话，因为名利已经不值一提了，缺少的并不是物质上的，而是一份平淡和舒心，当然对于margo，能够提供这份单纯的幸福的就是她的爱情。因此，margo最后拒绝了剧本，她全身而退，就像巅峰时期的嘉宝，选择了自己所追求的安静生活。
本片的剧本十分精良，2个多小时把整个故事和细节说得非常完整，并且台词安排也十分精细。当然选角也确实不错，margo的生气到淡然到不屑都被贝蒂戴维斯演的十分自然，仿佛本色演出，而eve的楚楚可怜到贪婪本色也演得令人厌恶。
最后想说说一些个人无关影评对生活的看法。这年头各种新闻不断的刷新我们的世界观，但是作为一个高校的大学生，我很享受自己的学生生活，每天通过获取一些知识就能获得成就感 ，这种很简单的满足其实我很想多享受几年。看了本片，其实现在的各个圈子这种例子又何尝不存在呢？感觉不满足就是人最致命的缺点。
比如说我自己，最近经历研究生保研或出国的选择，就发现自己考虑的东西实在很多，活得略有些累。因此我索性就放在一边不管，天天看公开课，看论文，虽然难，但是每一天都在学知识，感觉异常的充实，比起思考和做选择，实在太舒服了。
再者就是我觉得做普通人很好，没有那么多关注，没有那么多欲望，没有那么多担忧，就为自己想做的去努力付出就好。想的美好一点，哪天真的成为了富一代，人生有的时候也不否认出现运气好转的可能嘛哈哈。
片子描述的故事是一个女明星从穷困潦倒到真正上位的过程。谁都知道明星红的原因无非几种，其一相貌好，背景好，少许天赋，其二就是善于包装自己，善于制造机会。用一句话形容娱乐圈，贵圈真乱。该电影通过一个完整的故事影射了这个圈子。
eve，典型的渴望成名的女生，贫困的生活和渴望成名的欲望驱使她成为了一个追名逐利的女人，甚至为了这些不惜献上基本的人格。片子虽然在描述这个女人的故事，但是她却只是女配的存在。因为她不过是万千成名过又消失过的女明星中的一员，无限膨胀的欲望和低端的手段，自己断送了快乐，失去了朋友，换来了奖杯和灯光，用pathetic来形容最好。
让我想到了好莱坞的巨星，琼克劳馥，与本片的女主角贝蒂戴维斯在真实的好莱坞是死对头，她和本片女主的出生一样，不知道睡过多少导演才混到一线女星的位置，演技出众，一生的婚姻数次，伴侣无数。虽是贵为巨星，但是我却并不欣赏，相对比我最爱的女神费雯丽，我觉得虽然费的生活不顺畅，但是很纯粹，爱了劳伦斯一辈子，追随他直到去世。比起机关算尽，最终获得名利，但是这个过程里其实是得不偿失吧，就像名利场的主人公一样，其实是很孤独的。
说说本片最重要也是最幸福的人，margo。大明星的出场，有朋友，坦率，受欢迎，但是也很骄傲。但是除开这些，她是一个要强的女人。因此在她意识到eve正在逐步的靠近她，并且模仿她，试图和她竞争的时候，她的竞争意识很容易就让自己处于一个比较焦躁的位置，因此她发怒，不满，并且不希望eve和她靠的过近。当然最直接的原因还是因为男人，当margo看到eve和自己的男人有交集的时候，这些潜在的担心全都成为了发泄口。当margo意识到自己这些焦躁和真正的原因的时候，她在车里说了一句或许是我过了十多年后会感叹的话，人在向上爬的时候会舍弃很多东西，但是当我们爬到要的位置又会回过头去重新拾起那些曾经觉得不重要的。女人应该做的不过是回归家庭，每天六点做饭等mr right回家。我觉得这是一个功成名就的女人说的很真实的话，因为名利已经不值一提了，缺少的并不是物质上的，而是一份平淡和舒心，当然对于margo，能够提供这份单纯的幸福的就是她的爱情。因此，margo最后拒绝了剧本，她全身而退，就像巅峰时期的嘉宝，选择了自己所追求的安静生活。
本片的剧本十分精良，2个多小时把整个故事和细节说得非常完整，并且台词安排也十分精细。当然选角也确实不错，margo的生气到淡然到不屑都被贝蒂戴维斯演的十分自然，仿佛本色演出，而eve的楚楚可怜到贪婪本色也演得令人厌恶。
最后想说说一些个人无关影评对生活的看法。这年头各种新闻不断的刷新我们的世界观，但是作为一个高校的大学生，我很享受自己的学生生活，每天通过获取一些知识就能获得成就感 ，这种很简单的满足其实我很想多享受几年。看了本片，其实现在的各个圈子这种例子又何尝不存在呢？感觉不满足就是人最致命的缺点。
比如说我自己，最近经历研究生保研或出国的选择，就发现自己考虑的东西实在很多，活得略有些累。因此我索性就放在一边不管，天天看公开课，看论文，虽然难，但是每一天都在学知识，感觉异常的充实，比起思考和做选择，实在太舒服了。
再者就是我觉得做普通人很好，没有那么多关注，没有那么多欲望，没有那么多担忧，就为自己想做的去努力付出就好。想的美好一点，哪天真的成为了富一代，人生有的时候也不否认出现运气好转的可能嘛哈哈。
《彗星美人》是隐喻好莱坞甚至美国弊端的佳作。
太精彩了~~
那时候的电影剧本好重要。
简直是个鬼故事，故事与明星的最佳结合，分给梦露的角色简直让人不要太难过。贝蒂·戴维斯把女演员的神经质与边缘感表现的太精彩了，安妮·巴克斯特的男孩子气成就了蛇蝎美人的危险诱人，不过重点是，margot不该如此傻白甜的对一个来路不明的粉丝如此亲切，这究竟是自信呢？还是世界正在下沉呢？
这片子证明，40岁的女人是争不过20岁的女人的——哪怕她真的很有才华。这世界是男人主宰的，男人们宁愿拉低自己的智商，也要相信和同情那些正值20岁青春年华的女人们。
以这个导演的平庸手法撑起这部2小时18分钟的片子是个不可能完成的任务。导演作为古典编剧很爱写对话，有些对话写的也还可以
1这应该算是文学作品;2今天只有话剧和电视能翻拍此作,如今的电影是无法实现的;3“剧院剧院”台词原来出自这里;4比起其他作品梦露在这里更美;5此片主题多次被援引借鉴至今天各影视作品里;6本来看了一半就吐个槽准备休息，可大半夜的没忍住还是全看完了。准备看第二遍！
11.24 三个女人一台戏，两个稳重一个急，投机蒙骗耍嘴皮，拼上一切当奴隶。社会怪异的价值观之所以能够不断传递就是因为这个社会从不缺少野心家。被利用的爱看来多么凄冷。成功只是社会大学的毕业证，是极具破坏力的改造。小心备份你心的初稿，终有一天会发现，这才是你想要的。
很理解margo。 bette davis演戲實在好！
一个明星的诞生，后浪在演艺圈上位的故事。一代代美人如彗星般登场和落幕，野心是通行证，谎言是墓志铭，循环往复的勾心斗角跟今天并无不同。梦露惊艳亮相演了个自己啊~~~~
影片结尾的一幕太让人印象深刻了。数面镜子堆砌出成千上万手握奖杯骄傲着微昂起头的少女的身影。“没有哪个行业需要如此专业、渴望、野心及牺牲”，她们为了光荣与震颤费尽心机，但是到头来，总是同一个故事在重复上演。她们都是同一个人，她们都只需要是同一个人。
最难忘的当属也只剩结尾一幕了，整部靠对话衔接而成的电影反而到最后这种静谧时刻才焕发光芒，为之加一星。你别顾着捧金杯，你转头放眼看看那些黑暗中沐浴光的女人，似乎更像不见边际的复制品在成批生产。你说，那都是镜子里的自己，其实，那是无数个将要替代你的你。
戴维斯不输K赫本
情节很吸引人 那个时候还是很重视剧本的
从剧本、台词到演员的角色诠释，堪称完美。Bette Davis演的女主角虽表面孤傲自负，为人却真诚善良直率，让人喜爱；然而讽刺的是，观众和媒体需要的却是无限的媚俗和浅薄的表层上的更新换代。但纵使深刻不能换取媚俗所带来的时效性的荣耀，也能经得起时间的挑拣和过滤，唯有时间能贯穿整个艺术史。
长江后浪推前浪，前浪死在沙滩上；三个女人一台戏，必有一个心机婊；都不是什么正经人，还既想做婊子，又想立牌坊；从惹人怜爱到恨之入骨，伊娃真正演绎了什么叫可怜之人，必有可恨之处；一幕故事结尾，新的故事拉开序幕，这故事还在延续，循环往复的收尾点睛之笔；好莱坞果然看透人性。4.5/5
获得创纪录14项奥斯卡提名,卡司强大的黑白老片。剧情不算新颖独特，但不得不佩服导演的讲故事能力和贝蒂·戴维斯、安妮·巴克斯特两位女主的绝妙演技。台词深刻,结尾的镜子一幕十分经典，而梦露的龙套出演也算惊艳。影片不仅大胆揭露了演艺圈的弊端与内幕，所呈现的"成功之路"实属无国界的讽刺。9.0/10
这根本是个恐怖片，后一个小时精彩地可怕，汗毛倒竖。
梦露首次亮相 惊艳死了
超爱贝蒂戴维斯