Like "The Philadelphia Story", of which it is a remake, "High Society" is a "comedy of remarriage", a genre popular in the thirties and forties, but perhaps rather less so in the fifties. Films about divorced couples rediscovering their love for one another after flirtations with other partners were a way of seeming sophisticated and daring without actually transgressing the Production Code.
The main character in both films is the wealthy Philadelphia socialite Tracy Samantha Lord, who has three men competing for her affections- her ex-husband Dexter Haven, whom she divorced after a brief marriage, her new fiancée George Kittredge and Mike Connor, a journalist sent to cover her impending marriage to George but who also finds himself falling in love with her. (Rather confusingly, Tracy is occasionally- especially by Dexter- referred to by her middle name. Perhaps Cole Porter needed a three-syllable name to fit the music for the song that was to become "I Love You, Samantha").
I have never enjoyed this film as much as "The Philadelphia Story", but Porter and his music are not to blame for that. The songs are often tender and lyrical (particularly "True Love") or witty (particularly "Who Wants to be a Millionaire?" or "Well, Did you Evah!") The producers of the TV game show "Who Wants to be a Millionaire?" should perhaps have remembered that, in the song, the answer to that question is an emphatic "I don't!" Jazz fans will enjoy the film for the sight of Louis Armstrong playing himself; he and his band are supposed to have been hired to provide the music at Tracy's wedding.
The main reason why the film is less enjoyable than its predecessor lies mainly in the casting. As in "The Philadelphia Story", Tracy is played by one of the iconic screen beauties of the period, Katherine Hepburn in the earlier film, Grace Kelly here. Kelly was, if anything, even more beautiful than Hepburn, and rarely, if ever, looked lovelier than she does here in, her last film appearance before her marriage to Prince Rainier. She is not, however, as convincing as Hepburn was as Tracy, who is supposed to be a cold, icy beauty ("the fair Miss Frigidaire") who gradually becomes warmer and more human. Hepburn could play a Frigidaire to perfection, but Kelly is a bit too warm and melting even in the earlier scenes. Kelly does surprisingly little singing for the leading lady in a musical; her only number is a duet with Bing Crosby in "True Love". I felt that if Tracy had been given more songs these might have helped to emphasise the development in her character. (And if Grace Kelly's voice wasn't strong enough another singer's voice could always have been dubbed over, as was often done in screen musicals of the fifties).
In "The Philadelphia Story" we know from the beginning that Tracy and Dexter will end up remarrying, but we only do so intellectually from our knowledge of the conventions of the genre; emotionally, we feel that James Stewart's Mike might just be in with a chance. In "High Society" we know both intellectually and emotionally how the story will end, which rather spoils the suspense; it is quite clear from the beginning that Tracy, however much she may deny it, is still in love with Dexter. George, a pompous stuffed shirt, isn't in with a chance, and as for Mike it is obvious, right from the moment we hear them singing "Who Wants to be a Millionaire?" together, that he is meant for his attractive lady photographer Liz (Celeste Holm doing her sexy older woman thing).
Of the male characters Frank Sinatra as Mike is the best, although even he loses out in comparison with Stewart's Oscar-winning performance. Sinatra- very different from Stewart in terms of acting style- plays Mike in a more cynical, wisecracking manner. As for Crosby as Dexter, he has nothing like the style or charisma of Cary Grant. Crosby (despite his nickname of "the old groaner") had a pleasant enough voice, but his style of singing was always too relaxed and emotionally bland for my taste. (I have to admit, however, that this style occasionally served him well, as in his duet "Well, Did you Evah!" with Sinatra). His style of acting was generally equally nonchalant. I recently commented that George Clooney's character in "Ocean's Twelve" was so laid back he was horizontal. Crosby's Dexter (like some of his other characters) has passed the horizontal stage; he's so laid back his feet are actually higher than his head.
As a musical, "High Society" is actually a pretty good one, musically speaking. As a romantic comedy, however, it is not in the same class as its illustrious predecessor. 7/10
The main character in both films is the wealthy Philadelphia socialite Tracy Samantha Lord, who has three men competing for her affections- her ex-husband Dexter Haven, whom she divorced after a brief marriage, her new fiancée George Kittredge and Mike Connor, a journalist sent to cover her impending marriage to George but who also finds himself falling in love with her. (Rather confusingly, Tracy is occasionally- especially by Dexter- referred to by her middle name. Perhaps Cole Porter needed a three-syllable name to fit the music for the song that was to become "I Love You, Samantha").
I have never enjoyed this film as much as "The Philadelphia Story", but Porter and his music are not to blame for that. The songs are often tender and lyrical (particularly "True Love") or witty (particularly "Who Wants to be a Millionaire?" or "Well, Did you Evah!") The producers of the TV game show "Who Wants to be a Millionaire?" should perhaps have remembered that, in the song, the answer to that question is an emphatic "I don't!" Jazz fans will enjoy the film for the sight of Louis Armstrong playing himself; he and his band are supposed to have been hired to provide the music at Tracy's wedding.
The main reason why the film is less enjoyable than its predecessor lies mainly in the casting. As in "The Philadelphia Story", Tracy is played by one of the iconic screen beauties of the period, Katherine Hepburn in the earlier film, Grace Kelly here. Kelly was, if anything, even more beautiful than Hepburn, and rarely, if ever, looked lovelier than she does here in, her last film appearance before her marriage to Prince Rainier. She is not, however, as convincing as Hepburn was as Tracy, who is supposed to be a cold, icy beauty ("the fair Miss Frigidaire") who gradually becomes warmer and more human. Hepburn could play a Frigidaire to perfection, but Kelly is a bit too warm and melting even in the earlier scenes. Kelly does surprisingly little singing for the leading lady in a musical; her only number is a duet with Bing Crosby in "True Love". I felt that if Tracy had been given more songs these might have helped to emphasise the development in her character. (And if Grace Kelly's voice wasn't strong enough another singer's voice could always have been dubbed over, as was often done in screen musicals of the fifties).
In "The Philadelphia Story" we know from the beginning that Tracy and Dexter will end up remarrying, but we only do so intellectually from our knowledge of the conventions of the genre; emotionally, we feel that James Stewart's Mike might just be in with a chance. In "High Society" we know both intellectually and emotionally how the story will end, which rather spoils the suspense; it is quite clear from the beginning that Tracy, however much she may deny it, is still in love with Dexter. George, a pompous stuffed shirt, isn't in with a chance, and as for Mike it is obvious, right from the moment we hear them singing "Who Wants to be a Millionaire?" together, that he is meant for his attractive lady photographer Liz (Celeste Holm doing her sexy older woman thing).
Of the male characters Frank Sinatra as Mike is the best, although even he loses out in comparison with Stewart's Oscar-winning performance. Sinatra- very different from Stewart in terms of acting style- plays Mike in a more cynical, wisecracking manner. As for Crosby as Dexter, he has nothing like the style or charisma of Cary Grant. Crosby (despite his nickname of "the old groaner") had a pleasant enough voice, but his style of singing was always too relaxed and emotionally bland for my taste. (I have to admit, however, that this style occasionally served him well, as in his duet "Well, Did you Evah!" with Sinatra). His style of acting was generally equally nonchalant. I recently commented that George Clooney's character in "Ocean's Twelve" was so laid back he was horizontal. Crosby's Dexter (like some of his other characters) has passed the horizontal stage; he's so laid back his feet are actually higher than his head.
As a musical, "High Society" is actually a pretty good one, musically speaking. As a romantic comedy, however, it is not in the same class as its illustrious predecessor. 7/10