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Language and Mind-set of a Popular 1950s Musical

I have removed the ""Language and Mindset..."" section of the article. The whole section is *very* subjective, depending entirely on your point of view, and  could be applied to plenty of films from that era. Further, none of the information there was cited. I am posting the section here in its entirety for reference.   

Language and Mind-set of a Popular 1950s Musical

Some parts of the film might be considered racy or questionable now, though a recent viewer can place it in the mindset of 1956: Crosby’s character sings a love song to an eleven-year-old girl (his ex-wife’s younger sister who still has quite a crush on him);  the father of the bride discusses the attractiveness of his daughter's body (while upbraiding her for having no compassion, as most characters in the movie have already or soon will);  and several cases of real and imagined extramarital sex (separated from the movie-going masseswho might not at that time be participating in such exercisesby all characters being part of, or by necessity having to interact with the Newport upper class). When Tracy Lord (played by Kelly) awakens hungover on her wedding day, she doesn’t at first remember anything about her previous night’s drunken carousing, but comes to believe she “made love” with Mike the reporter (played by Sinatra) and discusses it at length with her ex-husband Dexter (played by Crosby). At the time, of course, ""making love"" was generally understood in a more amorous than sexual sense. Being a romantic comedy, “High Society” plays all of this for laughs while cheering for the real loves to uncover themselves by the end of the last reel.

There are also some very interesting issues of class in the movie, as Kittridge, the up-and-coming coal magnate (and fiance to the current mine owner’s daughter), is described as having worked his way up from being a miner, and clearly is flummoxed by the confusing interactions of those born into the upper class, as is Sinatra's journalist character.

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