High Society (1956)

High Society (1956) is one of the quintessential MGM Technicolor musicals of the 1950s—an elegant, stylish, and opulent film that combines the glamour of Old Hollywood with the timeless charm of Cole Porter’s music.

A musical remake of The Philadelphia Story (1940), it updates the witty, highbrow comedy of manners into a lush musical vehicle for three of the most iconic stars of the era: Bing Crosby, Frank Sinatra, and Grace Kelly.

Directed by Charles Walters, who was known for his deft touch with musicals (Easter Parade, Lili), the film brings together romance, social satire, and infectious melodies in a lighthearted confection set in the palatial world of Newport, Rhode Island. While it doesn’t entirely eclipse the original film it remakes, High Society holds its own as a glamourous and tuneful celebration of mid-century sophistication and stardom.

Plot Summary

The story centres on Tracy Lord (Grace Kelly), a rich socialite preparing to marry George Kittredge (John Lund), a self-made man with political ambitions. Her plans are disrupted by the unexpected arrival of two men: her ex-husband, jazz-loving songwriter C.K. Dexter-Haven (Bing Crosby), who still harbours feelings for her, and Mike Connor (Frank Sinatra), a reporter from a tabloid magazine assigned to cover the wedding under false pretenses.

As Tracy becomes caught between her current fiancé, her ex-husband, and a flirtatious new suitor, she begins to reassess her ideas about love, marriage, and identity. Amidst the comic misunderstandings and romantic entanglements, the film unfolds with elegant pacing, buoyed by musical interludes, witty banter, and the unmistakable charm of its leads.

Cast and Performances

Grace Kelly brings a regal and poised presence to Tracy Lord, in what would be her final film role before becoming Princess of Monaco. Though perhaps more subdued than Katharine Hepburn's fiery Tracy in the original Philadelphia Story, Kelly offers her own brand of cool, composed glamour, combined with moments of vulnerability that hint at the character’s emotional complexity. Her wardrobe, designed by Helen Rose, is iconic—especially the breathtaking Edith Head-style wedding gown that became an enduring image of 1950s elegance.

Bing Crosby, reprising the role originated by Cary Grant, plays Dexter-Haven with his trademark laid-back charm and gentle humour. His musical numbers—including “Little One” and the mellow “True Love” (a duet with Kelly)—are understated but warm, reminding audiences of his easygoing vocal style and natural rapport with his co-stars.

Frank Sinatra adds energy and bite as the working-class writer Mike Connor. His chemistry with Crosby in their delightful duet “Well, Did You Evah!” is a highlight of the film, showcasing their differing vocal styles and playful rivalry. Sinatra also shares romantic moments with Kelly and delivers a stirring solo in “You’re Sensational.”

Celeste Holm, as photographer Liz Imbrie, is witty and appealing in a role that balances humour with quiet heartbreak, especially as her character watches Mike fall for Tracy. Holm’s elegance and comic timing make her a vital part of the ensemble.

And Louis Armstrong, appearing as himself, serves as a musical Greek chorus of sorts. His interludes with his band punctuate the narrative with jazzy vitality, and his interactions with Crosby lend an air of improvisational cool to the otherwise structured, upper-crust setting.

Music and Songs

The film’s greatest asset is Cole Porter’s sparkling score. Unlike many musicals of the era, which featured a mix of original and pre-existing numbers, High Society boasted a completely new set of songs composed specifically for the film. Porter, known for his urbane wit and sophisticated melodies, crafted a score that complemented the film’s themes of love, status, and self-discovery.

Notable musical highlights include:

• “True Love” – A tender duet between Crosby and Kelly, nominated for an Academy Award and a commercial hit in its own right.

• “Well, Did You Evah!” – A brilliantly staged duet between Sinatra and Crosby, filled with comic flair and vocal contrast.

• “You’re Sensational” – Sinatra’s suave solo, expressing admiration with Porter's lyrical cleverness.

• “Now You Has Jazz” – A toe-tapping number performed by Armstrong and Crosby, which joyfully introduces the basics of jazz to an uninitiated audience.

  
  

The musical numbers are elegantly integrated, providing moments of introspection and levity. Porter’s work adds another layer of sophistication, and the songs are so well-matched to the characters that they elevate the light plot with deeper emotional resonance.

Direction and Cinematography

Charles Walters directs with the ease and efficiency of a seasoned MGM hand. The film moves at a leisurely, relaxed pace, relying less on plot tension and more on mood, charm, and musical appeal. While High Society doesn’t aim for great cinematic innovation, its direction suits the tone of a genteel, high-class comedy. The emphasis is on atmosphere, ensemble interactions, and visual elegance.

Cinematographer Paul C. Vogel makes exquisite use of Technicolor, bringing the vibrant Newport setting to life with lush greenery, soft seaside lighting, and opulent interiors. The camera lingers lovingly on gowns, architecture, and scenic vistas, creating an impression of wealth and privilege that is simultaneously aspirational and dreamlike.

Themes and Tone

At its core, High Society is about identity, forgiveness, and second chances. Tracy Lord’s character arc—from icy perfection to a more forgiving, emotionally open version of herself—mirrors the film’s shift from satire to sentiment. The film lightly pokes fun at class distinctions, tabloid journalism, and moral posturing, but it never strays far from its central theme: the need to balance reason with heart.

The tone is light, witty, and romantic, designed to delight rather than challenge. The emotional stakes are low, but the elegance of the presentation and the charisma of the stars ensure that the film remains consistently entertaining.

Legacy and Conclusion

High Society may not carry the dramatic weight or sharp character study of The Philadelphia Story, but it more than compensates with music, glamour, and charisma. It serves as a cultural artifact of 1950s MGM extravagance—a film where beautiful people wear beautiful clothes, sing beautiful songs, and fall in love in a beautiful world.

As Grace Kelly’s final Hollywood film, it holds special significance. And as a musical, it stands among the last great studio-era entries, capturing the twilight glow of a genre that would soon begin to wane. Today, High Society remains a favourite among fans of classic musicals, appreciated for its style, music, and enduring elegance.

A charming, beautifully staged musical buoyed by Cole Porter’s songs and a dream cast—more romantic fantasy than biting comedy, but undeniably irresistible.