You're My Everything

Transition from silent to sound movies has been used in countless movies, most successfully in SINGIN' IN THE RAIN--but you won't find any complaints from me about using this ploy in YOU'RE MY EVERYTHING.

Indeed, this is a pleasant musical romp with Dan Dailey giving one of his finest performances as a trooper who can really sing and dance with the best of them. Story deals breezily with mismatched spouses (Baxter and Dailey) pursuing careers in vaudeville and silent movies during the '20s and '30s. The sprightly song numbers are the film's chief charm but the pleasant cast is up to the acting chores too.

Reminds me of the sort of nostalgic charm other movies of this period had--films like HAS ANYBODY SEEN MY GAL? and MARGIE. It passes the time pleasantly and is a reminder of what some musicals were like during the Golden Age of Hollywood.

Beautiful Anne Baxter stars in a completely nonmusical role as the starstruck female equivalent of a "stagedoor Johnny," conniving her way into marriage with her song-and-dance-man idol played by Dan Dailey. One thing leads to another and she becomes a silent movie star who then, inexplicably, forbids her daughter from going into show biz. Baxter whines and Dailey lies and it all culminates with their Shirley Temple wannabe daughter (played by Shari Robinson) singing "On the Good Ship Lollypop-in a movie set in 1924, even though the song was not published until 1934. There are only two reasons to watch this film: the high point with Dan Daily showing his skill as one of the best movie dancers of his time and the low point with Dailey doing a cringe-worthy turn as a stereotypical "Uncle Tom" looking and acting like a fool in full blackface. Oh, and along the way you get to hear some really great songs: "Varsity Drag," "Charleston," "Ain't She Sweet," "Would You Like to Take a Walk?" and "Chattanooga Choo Choo" (which was written in 1941). Fast forward button highly recommended.

The story begins in Boston in 1924. Hannah (Anne Baxter) is quite taken with a handsome hoofer in a local show. Tim O'Connor (Dan Dailey) and Hannah see each other quite and it's not surprising that the two are soon married.

One day, Tim is offered a chance to do a screen test in Hollywood. But, surprisingly, they end up signing Hannah to the contract...while Tim continues his stage career. Soon she is a top star and the pair are separated much of the time...and you wonder how long their marriage can take this. However, this is NOT the direction the story goes. Instead, after being a star in silents, Hannah retires on top when talkies become the rage. And, since Tim is a song and dance man, he, too, has a period where for a few years he's a star as well. But the big problem (and there always needs to be one in this sort of movie) is with their daughter...a Shirley Temple-like kid who wants to be in movies as well. Mom's against it...Dad's all in favor of it.

Dan Dailey's singing and dancing are very nice...and look very natural. There is, however, a blackface scene...which is unfortunate and a bit embarrassing.

As for Baxter, her lot isn't as good in the movie. Up until she becomes a star in the movie, she is amazingly flat. And, her reaction to her daughter's stardom seems...well...bizarre and from out of left field. It just felt contrived...as did the whole break up near the end.

Overall, this is a good movie...at least for the first 3/4. The final portion, while not terrible, is a disappointment. Still, it's worth watching despite its problems.

One of a slew of late 40s Hollywood musicals about show biz folks, this film stands out for the charm of Dan Dailey and the warmth and sparkle that he enjoys with his co-star, Anne Baxter. They play a married couple who also share a vaudeville stage and then a silent film career. When talking pictures come in, the usual troubles of transition unfold, with Baxter making it big and Dailey, eventually, deciding to stay as a song-and-dance man. Along the way a score of great songs from the teens and 20s allow Dailey not only to display his talents as a hoofer (to choreography by the great Nick Castle), but to sing (the title song is worth the price of admission). Not by any means as good as 1951's "Singing in the Rain" which also concerns the transition to talkies, "You're My Everything" is nonetheless a highly entertaining, indeed lovable, picture.

Ten year old Shari Robinson is the most co-ordinated dancer for her age I have ever seen. Shirly Temple is only a clod hopper compared to Shari. She was always perfect. I wonder why she did not make it big as she aged. She had the beauty, the voice, the personality to make it big. Does anyone know what happened to her? Dan Daily is a great dancer. I can forgive the black face, given the era. Dan, in my opinion is one of the very few really tall dancers who can pull it off. Most dancers, like Gene Kelly, are rather short. I have saved to my TIVO the last few minutes in which Shari and Dan do such a wonderful dance. I can play it over and over. The way they toss the walking cane back and forth is a miracle.