Watch Tonight and Every Night For Free

Absolutely the worst movie.

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Blistering performances.

Producer: Victor Saville. Songs by Sammy Cahn (lyrics) and Jule Styne (music): "You Excite Me" (Mears, danced by Hayworth, Cole and company); "Tonight and Every Night" (Blair, reprized Mears); "Anywhere" (Blair); "The Boy I Left Behind" (Mears, Blair); "Cry and You Cry Alone" (Mears, danced by Hayworth and Platt); "What Does an English Girl Think of a Yank?" (Mears). Music director: Morris Stoloff. Orchestral arrangements: Marlin Skiles. Vocal arrangements: Saul Chaplin. Dances staged by Jack Cole and Val Raset. Copyright 22 February 1945 by Columbia Pictures Corporation. New York opening at the Radio City Music Hall: 8 March 1945 (ran two weeks). U.S. release: 22 February 1945. U.K. release: 21 May 1945. Australian release: 25 October 1945. 8,484 feet. 94 minutes.SYNOPSIS: Based on a real London revue theater, The Windmill, which never missed a single performance during the blitz, the fictitious screen story tells of a wartime romance between a showgirl and a flier. NOTES: "Anywhere" was nominated for Best Song, but lost to "It Might As Well Be Spring", a Rodgers and Hammerstein number from State Fair. Marlin Skiles and Morris Stoloff were nominated for Best Scoring of a Musical Picture, losing to Georgie Stoll's Anchors Aweigh. Oddly, although Tonight and Every Night rates as one of the most beautifully photographed Technicolor films ever made, Rudolph Maté's absolutely superb cinematography (which he accomplished without the usual aid of a specialist cameraman from the Technicolor company) was not nominated at all.Film debut of Marc Platt. The character played by Florence Bates was modeled on the formidable real-life Sheila Van Damm.The original stage presentation produced by Gilbert Miller, opened on Broadway in February 1942. The cast featured Gertrude Musgrove, Beverly Roberts, Margot Grahame, Romney Brent, Richard Ainsley, Dennis Hoey and Lloyd Gough.COMMENT: Aside from the lilting "Anywhere" and the title tune, the songs form a most disappointing feature of this otherwise richly endowed musical entertainment. The costumes, the art direction, the dancing and the color cinematography are all nothing short of dazzling. The story maintains the interest more than adequately, the acting varies from spirited (Janet Blair, Marc Platt, Florence Bates) to engrossing (Rita Hayworth) to so-so (Lee Bowman). Direction rates as highly competent. Production values are mind-blowing.OTHER VIEWS: A truly lush production number, "You Excite Me", is probably Rita's all-time best staged and performed song. Another number from this film, "Cry and You Cry Alone", runs a close second. — Gene Ringgold: The Films of Rita Hayworth.

Rita Hayworth appeared in a "one-two punch" of Technicolor musicals during World War II, the first being "Cover Girl" and the second being "Tonight and Every Night." I'd give "Cover Girl" the edge on songs, as the standard from that film, "Long Ago and Far Away," was had lyrics by Ira Gershwin and the melody was given to Jerome Kern by Ira from his brother's box of unpublished songs at a pre-production meeting in 1943."Tonight and Every Night" is a tribute to the Windmill Theatre, a London fixture of the time that didn't close despite the air raids of the Blitz, the Baby Blitz, and the V1 and V2 raids of 1944-45. The Windmill started with non-stop vaudeville, which was copied, but with the coming of hostilities the management changed the format to tableaux and striptease featuring Phyllis Dixey (subject to a BBC series rebroadcast some years ago on PBS here in the States). Because of a puritanical streak in film-making of the period, stripping was out and general wholesome entertainment was in. A more accurate rendering of the events was released in 2005--"Mrs. Henderson Presents" starring Judi Dench and Bob Hoskins. It showed how--and why--the programming at the Windmill evolved, and, like "Tonight and Every Night," loses some critical cast members through a direct air raid hit on a neighboring pub. Both films would make a GREAT double-feature!

I just saw "Tonight and Every Night" , last night and I was impressed, not just by the lovely Rita Hayworth but also by Marc Platt, the dancer who plays the role of Tommy. What a wonderful dancer he was and it's a shame that he had only one big dancing scene showcasing his talent and I was wondering if he did any other films and if not many then why? Any way, the film was a lovely story loosely based on the "Windmill Theater" that continued having shows during the Nazi bombing of London. One critic's review from the 70's said that this movie wasn't good enough because Fred Astaire nor Gene Kelly were not dancing with her. I beg to differ this movie showcases Rita Hayworth's talent and she really didn't need the other two great dancers to show how talented she was. It was a very good movie with great numbers and a good romantic story.

Do other reviewers dislike this film because it's not a musical comedy? The movie is a drama about musical performers. Didn't anyone ever hear about "drama with music"? Remember "Gilda"? That was a drama with music too, and not a musical comedy.Is it because it doesn't have a happy ending (boy meets girl and ends up together)? We get plenty of that in current films.The story concerns a second-rate English music hall in a tacky old theater. Would you expect brilliant music and fabulous singing and dancing to come from such an environment? The plot concerns characters just trying to do their jobs and entertain the people while London was being bombed to destruction.Let's face it--most movies of that era weren't expected to be great cinema, and weren't expected to last beyond a brief run in movie theaters. So this isn't a "great" movie, but it's enjoyable enough to watch. At least it's in Technicolor!