All About Eve by Joseph Mankiewicz explores women's inability to find satisfaction in the roles offered by the theater. For a “real star” like Margo or simply a “carbon copy” like Eva or Phoebe in the harsh world of theater, Mankiewicz suggests that it is almost impossible for a woman to achieve her own fulfillment. This dilemma is largely due to the transitory nature of success and the possibility of another star constantly in the making. Consequently, only the role of the shy and docile woman can be successful in the world of theatre. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Mankiewicz suggests that women can only find satisfaction in the role of docile and humble housewife, while men must be the breadwinner of the family. This is exemplified by Karen, the ideal wife who supports her husband's efforts and does not cultivate a separate image beyond that of being his wife. Furthermore, while Karen may be the “lowest form of celebrity,” she enjoys an ostentatious and lavish lifestyle, as indicated by her array of magnificent costumes throughout the film. Unlike Margo, Karen displays no anxieties or "paranoid insecurities", but rather displays an undying devotion to both her friend and her husband, and is therefore praised by Lloyd as his "faithful little woman". This not only reflects the paternalistic values ​​prominent in 1950s society, but is also Mankiewicz's endorsement of those female characters who accept their subservient roles. It is through Karen that Margo realizes her desire to play the role of a humble housewife is greater than a professional. These two roles are constantly in conflict in Margo's life and are the root cause of her deeply rooted anxieties. Although seemingly at the height of fame and power, she expresses her discomfort at the incongruity of playing women half her age when she reveals to Lloyd that she has reached the big "four zero", at Bill's birthday party . Furthermore, as Margo sits wearily beside the piano brooding, demanding that Liebestraum be played on repeat, close-ups of her face reveal her fear of becoming an aging actress capable of being marginalized by a younger, more attractive replacement. Ultimately, and despite her many accolades, Margo finds her professional career to be unsatisfying, as she resignedly reveals to Karen that "nothing's good unless you can look up just before dinner... and there it is there". To reinforce his ideal that women must sacrifice their professional careers for a happy home life, Mankiewicz juxtaposes Margo's anxieties with her genuine happiness when she casts adoring glances at Bill in the Cub Room the night before their wedding. performed by both Eve and Phoebe, they reveal both the exclusivity of theater and the transitory nature of success. Eve's introduces herself to Margo playing the role of the wounded war widow, literally climbing the theater stairs in an attempt to reach the top of the professional ladder. At the height of her deceptive powers, she begins by making herself indispensable to Margo, taking on the roles of her "sister, lawyer, mother, friend, psychiatrist, and cop" in an attempt to ingratiate herself with her, and ends by blackmailing Karen into the ladies' room to get the role of Cora in Lloyd's play. However, when accepting the Sarah Siddons Award, close-ups of Eve's expressions reveal her disappointment in Margo and Karen who refuse to congratulate her, Margo instead prodding her with the trophy, muttering: "Go put it where the your heart." Also, Phoebe's introduction of.