Although I've already celebrated Grace Kelly's 86th birthday yesterday with an article written for The Wonderful Grace Kelly Blogathon, I wanted to write about another one of her films today. So, this week on "Film Friday" I bring you what I believe was either the first or second Grace Kelly film I have seen, which also happens to be one of my personal favorites.
|Original release poster|
Directed by Charles Walters, High Society (1956) revolves around the wedding plans of ice-cold socialite Tracy Lord (Grace Kelly), who is about to marry her stiff suitor George Kittredge (John Lund) at her family's estate in Newport, Rhode Island. Tracy's ex-husband, millionaire songwriter C. K. Dexter Haven (Bing Crosby), is organizing a jazz festival for the same day, using his neighboring home as a rehearsal hall for special guest Louis Armstrong. When Tracy hears Dexter play the song he wrote especially for her, she goes to his home and accuses him of setting up the festival to disrupt her wedding. Dexter confesses he is still in love with her and does not want her to rewed because he thinks she can still be "a wonderful woman."
In the meantime, Uncle Willie (Louis Calhern) calls Tracy's mother (Margalo Gillmore) to inform her that Spy magazine will withhold a slanderous article about her philandering husband Seth (Sidney Blackmer) in exchange for being allowed to send reporter Mike Connor (Frank Sinatra) and photographer Liz Imbrie (Celeste Holm) into the Lord home to cover the wedding. To appease her mother who fears for the family reputation, Tracy agrees to the blackmail, but she and her precocious younger sister Caroline (Lydia Reed) greet Mike and Liz with exaggeratedly gauche mannerisms, interrogating them about their lives. Later, Tracy takes Mike on a drive and admits that she has been sheltered by wealth, while he slowly begins to break through her snobbish exterior. Returning home, she overhears Dexter singing the love song she wrote for her and suddenly realizes that she is still attracted to him. At her formal bachelor party that evening, Tracy drinks to much champagne and thinks that she might really be in love with Mike. The next morning, when George wrongly accuses her of a sexual escapade, she realizes that he is not right for her and they cancel the wedding, just as the processional music begins. In an (un)expected turn of events, Dexter ends up replacing George at the altar to marry Tracy a second time, inspiring Mike and Liz to wed as well.
C. K. Dexter Haven: You fell I tricked you. But gee, I didn't know you wanted a husband to be kind of a high priest to a virgin goddess. It's a real pity too, Tracy, because you know you'd be a wonderful woman if you'd just let your tiara slip a little. You'll never be a wonderful woman or even a wonderful human being until you learn to have some regard for human fraility.
In mid-December 1955, close friends and colleagues began to notice that Grace Kelly was often "remote, quiet, pensive" and assumed that her "atypical solitude" was caused by concern over her next picture, High Society, a musical co-starring the two most popular male singers of the time, Bing Crosby and Frank Sinatra. However, the source of Kelly's apprehension had less to do with her new film assignment than with the major turn her personal life was about to take. Prince Rainier III of Monaco, with whom she had been enjoying an "epistolary romance" every since meeting him at the Cannes Film Festival in April of that year, had just arrived in the United States to ask for her hand in marriage. Rainier had everything she had ever loved in a man, but by marrying him she would have to leave acting to fullfil her responsibilities as wife of a head of state. In the end, her love for Rainier spoke louder than her love of acting and the official proclamation of their forthcoming nuptials was made on January 5, 1956.
Philip Barry's hit play The Philadelphia Story, on which High Society is based, opened on Broadway in 1939 with Katharine Hepburn, Joseph Cotten, Van Heflin and Shirley Booth in the lead roles. The following year, MGM acquired the rights to the story and turned it into a film starring Hepburn, Cary Grant, James Stewart and Ruth Hussey. Directed by George Cukor, The Philadelphia Story (1940) was a critical and commercial success, effectively erasing Hepburn's label as "box-office poison." For this new adaptation, screenwriter John Patrick made a few alterations to Barry's original text and Donald Ogden Stewart's Oscar-winning screenplay: the locale was changed from Main Line Philadelphia to Newport, Rhode Island; sportsman and recovering alcoholic C. K. Dexter Haven was converted into a carefree songwriter; and Tracy Lord's younger sister, Dinah, was inexplicably renamed Caroline.
|Grace Kelly, Bing Crosby, Frank Sinatra|
and Celeste Holm in a publicity still
High Society reunited Frank Sinatra with his The Tender Trap (1955) co-star, Celeste Holm, as well as that film's director, Charles Walters. A trained dancer, Walters was among the first to do both coreography and direction at the same time, most notably in the musical Good News (1947), starring June Allyson and Peter Lawford. Although he staged all the musical sequences in High Society, at that point in his career he usually did only the "star" or "intimate book" numbers, such as Judy Garland's routines in Summer Stock (1950).
Sinatra, who had grew up with a picture of Bing Crosby in his room, was thrilled at the prospect of starring alongside his boyhood idol. In fact, when Sinatra had started singing in the mid-1930s, he had tried to copy the casualness of Crosby's raspy vocal style and would even walk around in a yachting cap in imitation of his hero. In spite of a rumored rivalry between the two crooners, Sinatra and Crosby got along very well during the making of High Society, sharing each other's preference for fast work, which allowed them to complete most of their scenes together in a single take. They did, however, have a completely different attitude and personality. Constantly restless on the set, Sinatra was given the nickname "Dexedrine," while the resolutely laid-back Crosby earned the moniker "Nembutal." Sinatra would later provide a cameo appearance in Crosby's The Road to Hong Kong (1962), before co-starring again in the "Rat Pack" musical Robin and 7 Hoods (1964).
A member of one of Philadelphia's most socially prominent families, Grace Kelly was no stranger to her part in High Society — her final stage role as a student at the American Academy of Dramatic Arts in New York had been Tracy Lord in The Philadelphia Story. High Society also paired her a second time with Crosby, who had previously played her husband in George Seaton's critically acclaimed drama The Country Girl (1954). They had even enjoyed a brief romantic affair that ended when she refused his marriage proposal. Kelly had briefly met Sinatra when she appeared opposite his then wife, Ava Gardner, in John Ford's Mogambo (1953) and the two became close friends after High Society, until her tragic death in 1982. According to Kelly, Sinatra was "the perfect companion in a movie." She invited him to her wedding, but he was unable to attend since he was on tour at the time.
|Frank Sinatra and Bing Crosby in|
"Well, Did You Evah!"
The task of writing the score for High Society was entrusted to Cole Porter, in his first film assigned since George Cukor's Adam's Rib (1949). Commissioned for $250,000, Porter wrote nine original songs for the film and was kind enough to invite Sinatra, Crosby and Kelly to his home to listen to them. In the end, musical director Saul Chaplin decided to add an extra number for a mock-tipsy Sinatra and Crosby duet, Porter's "Well, Did You Evah!," originally performed by Betty Grable and Charles Walters in the 1938 Broadway show DuBarry Was a Lady.
One of High Society's best musical numbers is "True Love," performed by Crosby and Kelly in a flashback sequence recounting Dexter and Tracy's honeymoon abroad their sailboat, the True Love. Due to her lack of singing experience, Kelly had to take voice lessons before she and Crosby could record the duet. Another great number is "You're Sensational," beautifully sang by Sinatra directly to Kelly in a three-minute sequence which serves to start "the thawing of ice maiden Tracy." But the most fondly remembered sequence in the film is definitely "Well, Did You Evah!," sparked by a dialogue between a drunk Mike and the imperturbable Dexter, as they discuss Tracy's feelings for each one of them. This particular number was a tough assignment, but Sinatra and Crosby make it appear that they are improvising the entire four-minute routine, just like Cary Grant and James Stewart had done in the equivalent scene in The Philadelphia Story.
Sinatra and Crosby had to sing, dance, hit their camera marks, respect the sophisticated Cole Porter lyrics, deliver scripted dialogue, stay within their characters, pretend to be slightly drunk, keep the beat off the orchestra playback, move around a specially designed library set with limited space while following a specific coreography that had to look improvised, and never forget that they were rivals for audience's affection [...] They had to watch out for each other in more ways than one. (Each was keenly aware of the other's star power.)
|Frank Sinatra and Grace Kelly between takes|
Due to Kelly's impending marriage, High Society was filmed on an unusually tight schedule for an MGM "first-class" production, beginning in mid-January and ending in early March 1955. Playing a comparatively small role, Sinatra found the time to perform in Las Vegas during the shoot, a break that further enhanced his good mood throughout the making of High Society. His only flash of temperament originated from a disagreement with the film's second musical director, Johnny Green, over one of his songs. Green felt the first recording fell short of the singer's normal high standard and requested a retake, which Sinatra refused to do.
High Society opened on July 17, 1956, three months after Kelly's widely publicized wedding, to a mixed critical reception, often being compared unfavorably to The Philadelphia Story. Bosley Crowther of The New York Times called it "a handsomely set and costumed film," though he also considered it to be "as flimsy as a gossip-columnist's word." Some reviewers criticized producer Sol C. Siegel for miscasting Crosby and Kelly, pointing out that he was possibly too old to play her love interest (Crosby was 53 at the time, while Kelly was only 26). In addition, critics lamented the fact that Kelly did not seem to fit the "austere" yet madcap role which had earned Katharine Hepburn her third of twelve Academy Award nominations. Crowther, for instance, wrote, "[...] with pretty and lady-like Grace Kelly flouncing lightly through its tomboyish Hepburn role, it misses the snap and the crackle that its un-musical predecessor had [...] The part was obviously written to be acted with a sharp cutting-edge. Miss Kelly makes the trenchant lady no more than a petulant, wistful girl."
|Grace Kelly and Charles Walters on the set|
Despite the generally mixed reviews, High Society was a huge commercial success, eventually becoming MGM's highest grossing film of 1956 and turning Frank Sinatra into one of the top ten moneymaking stars of the year in the Motion Picture Herald. At the 29th Academy Awards, Saul Chaplin and Johnny Green received a nomination for Best Musical Score and Cole Porter's popular song "True Love" was one of the five nominees for Best Original Song. In a rare case of Oscar confusion, which has become one of the most famous Academy Award gaffes in its history, High Society was nominated for Best Motion Picture Story, even though it was based on previous material and thus not illegible in that category. Additionally, the two writers nominated, Edward Bernds and Elwood Ullman, did not pen High Society. After some investigation, it was discovered that Bernds and Ullman did in fact write a film called High Society, except that it was a 1955 comedy starring The Bowery Boys. Although the Academy granted Bernds and Ullman's request to have their names removed from the ballot, their nomination still stands on the final record.
High Society was Grace Kelly's final film appearance before she left Hollywood to become Princess consort of Monaco. For a few years, she had been "a kind of American ideal: she had the manners, dress and diction of the social élite, but there was a democratic person underneath — she had a quick sense of fun and a healthy passionate nature. Despite her aristocratic bearing, she was 'one of the girls.' In each of her films, she played characters with a touching and credible longing for socially inferior men — women whose principles were humanized by being united with feelings." Because this was her last picture, one wonders how her career would have proceeded if she hadn't married Rainier and left Hollywood. Would she have continued as "the major exponent of modern high comedy" or would she have matured as a dramatic actress like The Country Girl (1954) presaged? We'll never know. But just like her character in the film, Grace Kelly didn't want to be worshipped; she wanted to be loved.
|Grace Kelly as Tracy Lord|
Lastly, two interesting bits of trivia: Grace Kelly wore her actual 10.47-carat, emerald-cut diamond engagement ring as Tracy's engagement ring in High Society. Bought by Prince Rainier at Cartier in New York, the jewel had been presented to her on their engagement night on December 28, 1955 and was even favored by director Charles Walters with a sparkling close-up in the film. MGM also announced that Kelly's entire wardrobe from High Society would be hers to keep — and that they would also pay for her wedding dress, commissioning Helen Rose to confer with the princess-to-be and to create whatever she desired, at whatever cost. The "serenely regal" dress Rose designed for Kelly's formal religious wedding ceremony on April 19, 1956 at the St. Nicholas Cathedral in Monaco remains one of the most elegant and best-remembered bridal gowns of all time, as well as one of the most famous since the mid-20th century.
Frank Sinatra by John Frayn Turner (2004) | Frank: The Voice by James Kaplan (2011) | High Society: Grace Kelly and Hollywood by Donald Spoto (2009) | Hollywood Musicals Year by Year by Stanley Green; revised and updated by Elaine Schmidt (1999) | Louis Armstrong: The Life, Music and Screen Career by Scott Allen Nollen (2004) | Sinatra in Hollywood by Tom Santopietro (2009) | The Frank Sinatra Film Guide by Daniel O'Brien (2014) | The Star Machine by Jeanine Basinger (2009) | TCMDb (Article) | TCMDb (Notes) | The New York Times review by Bosley Crowther