nomoons11 I know this is suppose to be a remake of "Free Soul" but the old version just felt different. This one makes you feel like most women are either heartless and would leave the man who's courted them for a long time just to be with a guy who's obviously a thug and screw the other guys feelings...or...that women are too stupid to think for themselves because they fall in love with the first guy that's just too handsome so they can't think of anything other than...it's love.This one really irritated me cause of the above mentioned aspect of the film. The title is not really part of the film. Elizabeth Taylor doesn't have everything. I think it was suppose to be a reference to a girl who just does whatever she wants at any cost...regardless of what it does to anyone else.If your thinking about screwin your boyfriend or future husband over, then watch this film. If your not, then skip this one...it's not worth the watch.

fox_pol1 First off, I love this movie. My favorite movie of all time is National Velvet (also starring Madame Taylor) and I tend to like all her movies. I think what I really love about the movie though is the fashion in it. One thing I have been trying to find for quite some time now is a picture of her in the white gown when they go out on a Saturday night. That gown, (if I ever find a picture of it) is what my wedding dress will be made to resemble. It is absolutely enchanting. If you know where a picture is, please let me know :) I still try all the time to find one. It is truly a wonderful movie though, and it has those cheesy kisses that would hurt in real life ;)

bkoganbing Although The Girl Who Had Everything is taken somewhat from MGM's earlier classic, A Free Soul, it has a few important differences in keeping with the decade it was done in.William Powell is in the Lionel Barrymore part of the high priced criminal lawyer, but he's not representing his client in a murder trial. In keeping with the times Powell is at a Senate Rackets Committee hearing with Fernando Lamas who tells them nothing and a few Senators get some headlines and photo ops from the hearing.As the hearing concludes daughter Elizabeth Taylor meets up with her dad and his client and they're both taken with each other. This does not sit well with Powell, who's perfectly willing to take their money, but not to let them in his life and family.Fernando Lamas is in the gangster role, the same part that Clark Gable got his first real notice. Whereas Gable exuded some real menace and had no intention of leaving the rackets, Lamas actually wants to quit and settle down.Of course the racism in The Girl Who Had Everything just bubbles over. Lamas apparently really does want to leave, but Powell is a snob and he's ready to violate lawyer/client privilege and testify himself before the Senate hearing as to Lamas's criminal enterprises. This would in fact get him disbarred in any state in the Union and the District of Columbia, a fact the film doesn't mention.As for Lamas's associates, they take the attitude of once in, never out and deal with it accordingly. Wrongly in my opinion, but that's the fault of a very confused script.This rehash of A Free Soul is only 69 minutes long, my guess the shortest feature film Elizabeth Taylor was ever in. She tries, but does not come close to what Norma Shearer did in the original version.And Gig Young as her society boyfriend repeating the role that Leslie Howard had, has very little to do but look concerned and issue grave warnings about getting mixed up with those kind of people.Dore Schary was unloading all of MGM's big stars from its golden era and The Girl Who Had Everything was the kiss off to William Powell. He looks plain bored with the whole thing and who could blame him. He had two more films in him as a free lance star, How to Marry a Millionaire and Mr. Roberts both infinitely better than this.

Neal99 This film is a good example of standard MGM output in the early 1950s - still glossy, with good production values, but dramatically no great shakes. It is perhaps most notable as being William Powell's final film at MGM. Although it must have been appealing to Powell to play the same part that won Lionel Barrymore an Oscar in 1931 (for A Free Soul), the writer of this film let Powell down with a routine script. Also notable is André Previn's score, which seems unnecessarily lush at times given the routine nature of the production.