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"High Society" unites the unbeatable talents of three legendary stars Bing Crosby, Frank Sinatra, and Louis Armstrong with the beautiful and talented Grace Kelly in her final role before she becomes the loving Princess of Monaco…

Spoiled Tracy (Kelly) is about to marry a boring businessman John Lund, but on the eve of her nuptials, her ex-husband Crosby, who still calls her Sam, returns to try and put a stop to the wedding…

On hand to cover her upcoming nuptials for a spy magazine are journalists Celeste Holm) and Sinatra, with the greatest American jazz musician Louis Armstrong providing with Crosby a musical jazz called "Now You Has Jazz."

Armstrong opens the film from the back of the blue bus shared with his band, with a calypso song, while the classic "Who Wants to Be a Millionaire?" is lively sung by Sinatra and Holm alone in a big room filled with Kelly's many extravagant wedding gifts…

Kelly is lovely as the refined woman flirting with three men… In scenes that required the softening of her unyielding nature, she seems so reserved and cold in manner…

Sinatra sings to her "You're Sensational" and "Mind if I Make Love to You? Crosby sings "True Love."

A society wedding is being arranged in Newport, Rhode Island. The beautiful Tracy Lord is to marry George Kitteredge. However, Tracy's ex-husband, the songwriter Dexter Haven, has never stopped loving her and even now has hopes of winning her back. Two journalists, Mike Connor and Liz Imbrie, have arrived to cover the story for 'Spy' Magazine.

Dexter has scheduled the Newport Jazz Festival for the same week as the nuptials, and this brings Louis Armstrong (playing himself) to town. The divine Tracy is adored by three men - Dexter, George and Mike Connor. She begins to harbour doubts about her forthcoming marriage...

"High Society" is a charming reworking of "The Philadelphia Story", the Grant-Hepburn comedy, which was in turn a remodelling of a successful Broadway play. The one great difference with this version is that "High Society" is a glorious musical masterpiece. Cole Porter's score has to be one of the greatest collections of songs ever filmed.

Grace Kelly is good as the imperious Tracy. "I'm a cold goddess," she intones, but she thaws spectacularly in the warmth of love. Bing Crosby as Dexter is his usual droll and stylish self. Crosby is a class act who holds the screen with effortless poise and cracks the funnies with sparkling sarcasm. Sinatra is in knockout form. Rarely has that legendary voice achieved the resonant timbre on display here. Satchmo blasts out a couple of breezy jazz numbers, and comments on the action like a latter-day Greek chorus.

The songs include five all-time classics. "True Love" is a gorgeous duet in which Kelly unveils a tuneful if brittle singing-voice. "Who Wants To Be A Millionaire?" is rightly world-famous, and is staged here with clever clownage by Sinatra and Celeste Holm (playing Liz). Satchmo's band accompanies Crosby in a swinging "You Has Jazz". The showstopper, "What A Swell Party This Is", has Crosby and Sinatra at their very best, wisecracking self-referentially as they belt out a gem of a song. My personal favourite, "You're Sensational", is beautifully rendered by Sinatra. Watch Frank and Grace in the instrumental break, falling in love with their eyes only.

A confection of sublime music and snappy dialogue, "High Society" is shot in bright, eye-catching Technicolor with an attractive pastel blue predominating throughout. A delightful film.

"If my wonderful, beautiful, marvelous virtue is still intact, it's no thanks to me, I assure you."

High Society is an irreverent, star-studded, music infused lite-romance set amongst the idle rich of Newport, Rhode Island. Quite funny and rarely serious for long, High Society revolves around wealthy and gorgeous Samantha Lord (Grace Kelly), and the three men competing for her affection as her wedding day draws near. 

Bing Crosby stars as her ex-husband, John Lund as her current fiancé, and Frank Sinatra as a visiting reporter come to cover her wedding for a gossip rag. Most of the entertainment from the film comes from Sam bouncing around between the three men, as she goes from a frosty goddess to a warm, fun woman truly ready to marry. I'm sure her behavior in the movie seemed a bit risqué at the time, but it's all ultimately innocent in the end. And of course by the finale, (almost) everyone is happy. 

There are quite a few songs sprinkled throughout the movie, with Crosby, Sinatra, Kelly, and Celeste Holm all getting a chance to belt out a tune or two. Louis Armstrong serves as something of an on-screen narrator, and also plays occasionally with his band. The songs are pleasant, with more than one or two likely to have you humming along.  

Grace Kelly fans will be quite pleased with this, as she rarely looked more stunningly beautiful and gets to show off both her comedic skills and singing talents. She's quite funny, here, and carries a large share of the comedic burden as the movie goes on. Her chemistry with all the other leads is solid, and she carries off Samantha's mini- transformation quite well. Basically, if you weren't a fan of hers before seeing this, I'd be pretty amazed if you weren't smitten with her by the time the credits roll. This was her last role before leaving Hollywood for Monaco, and she definitely went out on a high note (pun not intended).

High Society is a charming, fun movie that should appeal to fans of classic films, musicals, or any of the cast. It's hard not to smile as you watch it, but why would you want to avoid it, anyway?

This second rendition of the exuberant play by John Barry, while inferior to Cukor's 1940 version, remains a delightful farce on the upper class thanks to the witty, sparkling script from the play by John Barry.

The cast is commendable albeit not spectacular given , showcasing the drollery of the script. Grace Kelly (in her last complete screen performance) surprises us with her comedic talents helped along by the script; Crosby slips into the comfortable role of the guy-next-door that is all too familiar with his screen person. Sinatra (showing some of his age) sings adequately, but seems a little distant and lacks the edge, danger and sexiness of his 1940 counterpart.

I might only add that the 3 principals seemed to lack that spark which validated their freewheeling around L.A singing songs about making love. On screen I did not feel they were as youthful and vibrant as seen in some of their earlier films.

The direction by Charles Walters - an accomplished director of film musicals including Gigi, Ziegfeld Follies, and Annie get your Gun - supports the cast very well with various long shots of the mansion and sunny California. He is splendidly able to infuse the house with it's sparkling jewels and ornaments with a sense of grandeur, merriment and delight so that it fully inhabits the characters and their kingdom.

The scene-stealer each time is Louis Armstrong and his band. While his interludes are not his best pieces to showcase, the music is pleasant, dreamy and fun. What else would you expect from this rollicking comedy? And how can you not love Armstrong? He was so adorable!

It was interesting to note the audience's reaction to this film. Musicals are one of my favourite genres - I love them for the swooning and swinging numbers - however the audience did not appreciate it so much. There were even groans and boos (which I found disrespectful - you must know it's a musical!) when Sinatra and Kelly burst into dreamy love duets. I have to admit though that the transition of the songs in the film was not altogether seamless (even choppy at times). At times it seemed like a selling point for the producers to capitalise on the musical craze sweeping the country during that period in Hollywood (See Kelly and Sinatra sing!); add name dropping, and songs & lyrics that misrepresent Cole Porter's skill and wit as a composer.

This is a fun film however deeply overshadowed by the original 1940 version and lacking Cuckor's razor-sharp screwball slapstick. The pace is also slower however it probably compensates for delighting us with the elegant sets and musical interludes.

I was also fortunate to see this film with audience and definitely relished hearing the viewers chortle along to the absurd story and zany characters. It was impossible not to join in the belly-laughs in this dreamy ride.

High Society (1956)

You can see this movie as one of the last of the great silver screen musicals —and running out of originality and verve. Or you can enjoy Cole Porter brought down to a middle class sensibility (never mind the wealth of the characters here). Or you can just marvel at some great footage of Louis Armstrong, and at the inclusion a black jazz band as a centerpiece in a big budget movie.

So there are reasons to give this movie a try, even though it is fairly slow going, and a pale shadow of the original, the truly great 1940 "Philadelphia Story." Grace Kelly plays the leading woman about to be married, and she lacks the cool stony quality that Hitchcock wisely taps and instead tries to be a lively, witty, physically lithe leading lady. Just like Katherine Hepburn? Yes, except she's no Katherine Hepburn, and it all feels a bit striving.

Likewise for Bing Crosby, who plays a laid back guy who happens to have a jazz band (and who does a good swinging song with Louis and crew alongside). He isn't quite screen magic—that is, he's no Cary Grant. Frank Sinatra is fine, but he has a smaller role. Alas.

And so it goes. Brightly lit, with big flashy Technicolor set design, the mood throughout is upbeat and fun and funny. And so it's not a bad thing to view.

But if you take at all seriously the contention of one man interceding on the groom for his ex-bride, whatever the Hays Code strategy, it just lacks edge and conviction. Cole Porter doesn't let us down, so there's always that!