La Haute Société

MGM was pretty lucky to secure the talents of Bing Crosby, Frank Sinatra, Grace Kelly, Celeste Holm, and Louis Armstrong to get involved in this great musical adaption of The Philadelphia Story.

Cole Porter contributed a great original score for this film with songs very specifically written to suit the talents of High Society's players. I do wish Celeste Holm had been given more to do than just the duet with Frank Sinatra, Who Wants To Be a Millionaire. On Broadway Celeste Holm was a musical star with Oklahoma and Bloomer Girl to her credit, but MGM didn't want to recognize that.

For this film, the story is reset from Philadelphia to Newport, Rhode Island to bring in the famous Jazz Festival. Philip Barry's social commentary is toned down and a very partisan Greek Chorus is added in the person of Mr. Louis "Satchmo" Armstrong. Satchmo tells you right up front who he's pulling for to win Grace Kelly and he helps musically along the way.

Satch and Bing have that classic Now You Has Jazz duet, so successful was it that they did an album together a few years later. Bing Crosby during his life was crazy about jazz musicians and there was no one he liked better than Louis Armstrong. No one on the planet could resist that man's joy for living.

Grace Kelly got a chance to bat 1000 in the recording industry. She was no singer as she would have freely admitted, but Cole Porter wrote True Love specifically to accommodate her limited range and when she does the last two bars of True Love with Der Bingle she got a million selling record for her one and only platter. As for Bing he got his 20th Gold record and the only one not with Decca records.

True Love was nominated for Best Song at the Oscars but lost to Doris Day's Que Sera Sera which boomed all over the charts in 1956. It was sadly Cole Porter's last opportunity to win an Oscar for one of his movie songs.

Frank Sinatra got a couple of good ballads in You're Sensational and Mind If I Make Love to You, but what he's best remembered for is that classic Well Did You Evah duet with Bing. Today's fans can't possibly appreciate the screen meeting of the two best and best known singers for the previous generations. A musical summit conference.

High Society's tone is a lot lighter than the Philadelphia Story. The cast in terms of acting ability are not in the same league as Grant, Stewart, Hepburn, and Hussey. But folks it is a musical. I doubt those stars could have carried off the Cole Porter score.

You can't miss with a cast like this, in either film for that matter.

Plush MGM musical remake of "The Philadelphia Story" (with a switch in locale to Newport, Rhode island) looks great but falls flat--and is miscast to boot! Grace Kelly stars as a society beauty and divorcée who is planning to remarry but gets mixed up again with ex-husband and neighbor Bing Crosby, who is in the middle of organizing a jazz festival (!). Meanwhile, tabloid reporter Frank Sinatra and photographer Celeste Holm arrive to cover the impending nuptials--and to get the scoop on Kelly's misbehaving father. A by-the-numbers fantasy-version of romantic interplay, one requiring principals who match up well and sparkle with chemistry. Unfortunately, Crosby and Kelly are more like brother and sister, while journalist Sinatra gives an aw shucks-styled, loner performance (his eventual love-match with Holm is yet another mistake). The good-natured Cole Porter songs are jovial, but director Charles Walters seems afraid to deviate from the story's stage origins, presenting this whole thing as if it were a play. The action is so encumbered, one spends much of the running time admiring the sets; elsewhere, the starchy wisecracks have been preconceived to tickle theater audiences in need of a guffaw and a yawn. Two Oscar nominations, both in the music department: Porter for Best Original Song, "True Love", and Johnny Green and Saul Chaplin for Best Scoring of a Musical.

Good musical according to the time, its in full-color and features a musical score. But on top of that, the whole movie seem to be made with great fun by the complete staff. Grace Kelly as snobby upper-class girl seems to be born for this role, and in my opinion it is much harder to play a good comedy than a good drama. You may be wondering why Grace is re-marrying Bing Crosby, he is not really attractive, but he is an excellent singer and entertainer and matches the movie perfectly! The songs by Cole Porter are classics up to this day ("True Love"), they are shot beautifully and are a pleasure, my personal favorite is "Who Wants to be a Millionaire?" with Frank Sinatra and the great Celeste Holm as the "funny couple" in this picture. If somebody is able to speak/understand German, I recommend the German version. I compared it with the original English version, and in my opinion the German dialogs are much more brilliant and funny than the original ones!

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!

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.