Evening star. [volume] (Washington, D.C.) 1854-1972, 1956-08-18


lures.
That Miss Kelly and Crosby
is a thought that will occur to
the more memorable film critics.
Moviegoers, on the other hand,
are likely to feel that they rarely
have been in blither company
than Miss Kelly, Crosby, and the
others.
MGM, parting from Miss
Kelly in this picture. may have
done so in the sweetest of sor-
row, but also in a mood of the
most lavish largesse. High So
ciety" is a musical whose glitter
must surely make Monaco's
royal Jewels look furnished and
the principality's most vivid cit
izens seem dull.
Among its incidental cast are
Celeste Holm, Margalo Gilmore.
the late Louis Calhern and Sid
ney Blackmer. Its musical score
is the work of Cole Porter and
its Newport setting is represented
by a collection of mansions
worthy of SO many mad Mahara-
jahs.
While it may lack Katharine
Hepburn to play hurt, waspish
poor little rich girl-as in the
original version-the type was
never so dazzlingly framed.
Philip Barry'S fragile fable of
an heiress in romantic travail, SO
carefully tailored to Miss Hep
burns measurements. is less a
perfect fit for Miss Kelly. Miss
Hepburn's Tracy Lord was a girl
transformed by hurt into some
thing of an adder Miss Kelly's
is more of a wounded canary.
OF course, there may be those
who prefer the latter as a type,
among them possibly John Pat
rick whose screen adaptation
follows Barry's original in gen.
eral outline. This would be the
story of Tracy. a petulant Phila-
delphia princess bent upon
marrying a stuffy sutton unless
her divorced husband and a visit
ing newspaperman can contrive
to prevent it.
The discarded husband role is
Crosby's and his manner of play
ing it is that of the kindly uncle.
The reporter. who works for a
sleek magazine called Spy, is
played by Sinatra and much
more the type who could teach
a cold heiress how much fun It
is to be defrosted.
Armstrong and his band, pre-
sent to play for any parties that
may break out at Newport. not
only make more and more pleas
ant sound than most of the 9TH
els, but quite often more sense.
In the process of permitting
moviegoers to wallow in the lux
ury of Viewpoints heyday. Charles
Walters direction of the picture
suggests that even in a moment
of crisis. Newport remained
largely unruffled. The day be-
fore Tracy's wedding to the
wrong man may be tense but it
looks tranquil, as if it we're
taking its tempo from Crosby.
Everyone is a bit edgy, true.
and the talk is icy and barbed.
Nevertheless. everyone show up
for luncheon, cocktails, a walk in
the garden. or a drive along the
ocean front. And, of course, no
one misses the big ball the night
before the nuptuals when the
heroine learns the bliss of a
champagne hinge and the facts
of life.
A score trinity suited to the
shifting wistful and tartly spiced
moods Of the story has been
provided by Composer Porter.
In Crosby, Sinatra, Miss Holm,
and Trumpeter Armstrong, he
has a lot Of singing talent to
work for him. Even Miss Kelly
joins in, adding a pleasant if
unframed voice to Crosby's in
q duet, True Love-"
The other tunes in the score
represent quite a variety from
the ballad. II Love You Saman-
tha," to an alcoholic duet, well.
Did You Evah" sung by Crosby
and Sinatra, and Nov You Has
jazz" with Crosby and Arm
strong.
The common denomination OF
the performances in High So
ciety" is a kind of acidulous
charm. If Miss Kelly's does not
measure up to Miss Hepburn's in
this aspect, it has its own kind of
aloof elegance and beauty. Also,
It is more effective in the flow of
the story than Crosby's casual
portrait of the husband.
Better than either of the prin-