In 1924, stage-struck Boston blueblood Hannah Adams picks up musical star Tim O'Connor and takes him home for dinner. One thing leads to another, and when Tim's show rolls on to Chicago a ... See full summary »
In 1924, stage-struck Boston blueblood Hannah Adams picks up musical star Tim O'Connor and takes him home for dinner. One thing leads to another, and when Tim's show rolls on to Chicago a new Mrs. O'Connor comes along as incompetent chorus girl. Hollywood beckons, and we follow the star careers of the O'Connor family in silents and talkies. Includes good imitation "silents" with classic cameo by Buster Keaton. Written by
Rod Crawford <email@example.com>
I saw part of this smug movie and noticed two things. First, that Dan Dailey could not tap-dance to save his life, and secondly, that even in 1949 the people who made this movie must have realized that a bunch of white actors singing in black-face paint was in poor taste. The musical numbers with Dan Dailey playing a "Step-n-Fetchit" kind of singing black servant was amazing to see. That Hollywood as late as 1949 (post World War II) was still making these kind of whites-only movies was sad.
Keep in mind that during World War II the Armed Forces were de-segregated and while Segregation did not officially end until 1954, this movie is a throwback to the pre-World War II era of blatant racism.
While Dan Dailey's role as part of a Minstrel Show required him to be in black-face, this movie could have shown some sensitivity by at least having Dailey work with some black dancers or at least have a couple of black actors in the movie. Even the Little Rascals had black actors and they were filming since the 1920s.
Worse than just Dan Dailey in black-face was the fact that all the other characters are white actors who are also in black-face paint. This is just one portion of the movie, but it is pretty pathetic that not a single real minority is in the entire move. Not even the audiences of hundreds of people who are shown seeing Dan Dailey and Ann Baxter during their careers have even one minority character.
Perhaps the worst part of this insipid movie is that Dan Dailey is shown tap-dancing in black-face with his servant outfit and the guy was a horrible tap-dancer. Anyone that has seen Gregory Hines (RIP) and/or the Documentary Hines once did on the history of tap-dancing would laugh at Dan Dailey's slow-motion tap dancing (with tap sound effects).
Gregory Hines' documentary showed lots of great tap-dancers from all eras, and Dan Dailey was not one of them. One of the most arrogant and racist attitudes of the 1940s was that men who only knew Ballroom Dancing were often given spotlight scenes (in many of those old movies) as expert tap-dancers. Sadly, these movies often did not even give a bit part to any black tap-dancers. I wonder if Dailey ever even trained with any real tap-dancers?
Dan Dailey and Anne Baxter and the little girl had some nice dance routines, and the little girl is very cute and has most of the best lines. This movie is very sweet if you ignore that it was made after World War II.
This was a B movie, and back in 1949 it was probably targeted to audiences in rural towns. Nobody in any large city would have watched this movie without laughing at how backwards the whole story was (even in 1949).
The only thing that I could imagine more regressive than this film are those old Bing Crosby movies where he would often tap-dance (really slow with the fake tap-dance sound-effects) and pretend that he was cool and had soul (even though it is well known that he was an ardent racist).
You're My Everything is a sweet film as a children's movie; but it was not very enlightened or forward-thinking compared to many other movies from this era.
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