Tel père, telle fille

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.

I usually don't comment, but I was compelled to after experiencing this depravity.

But still, I have trouble finding the words. A cringe-worthy blackface performance by Dan Dailey and the sub-standard Shirley Temple doppelganger Shari Robinson are two prime reasons to stay far away. I was surprised to see Anne Baxter connected to this mess, but (no spoilers) at the end, when she "joins in" -- (you know what I mean if you've had the displeasure of viewing this filth) -- I abandoned all hope. Not to mention a certain dance number on a certain ship. Not to be believed, brother.

And I DO mean brother.

Don't make the same soul-crushing decision as I did, and partake in this insensitive racist steaming pile of dung. Yeesh.

Although parts of You're My Everything are adorable, one of the major storylines is such a direct copy of Shirley Temple, it's amazing the Temple family didn't sue. They probably couldn't, because the studio was 20th Century Fox; Fox probably gave permission on behalf of the Temples.

Anne Baxter falls in love with musical performer Dan Dailey in the 1920s, but when he goes to Hollywood to hopefully pursue his acting, the studio executives like Anne's accidental talent better! So, Dan takes a backseat while Anne becomes a silent film star. The movie shows a couple of black-and-white shorts that are really cute, and one of them includes a ten-second cameo by Buster Keaton! When Anne and Dan start a family, that's when everything changes-and that's where Shari Robinson comes in pretending to be Shirley Temple. She's a curly-haired, grinning, tap-dancing little girl who makes a movie set in the Civil War, where her dad is injured and she makes friends with a black house slave, whom she tap dances with. Anything else? Yes, there is something else: Shari sings "On the Good Ship Lollipop".

Anne and Dan's romance is very sweet, and easily the best part of the movie. They're reluctant to get married, since Dan is poor and Anne is too much of a lady to propose, so her well-intentioned aunt Anne Revere plays matchmaker. All through their rocky marriage, you can tell the foundation is good and that real love is present. For a light mock-Hollywood movie, it's nice to see a good romance instead of a fluffy one.

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.