Reviewed by Colin Jacobson (June 30, 2025)
1940’s The Philadelphia Story became a highly-regarded classic. That film enjoyed a musical remake via 1956’s High Society.
Heiress Tracy Lord (Grace Kelly) lives next door to her flamboyant jazz musician ex-husband CK Dexter-Haven (Bing Crosby). Burned by his wild ways, she intends to get married again, this time to safe-as-milk George Kittridge (John Lund).
CK wants to foil the nuptials and reclaim Tracy for himself, but when cynical magazine reporter Mike Connor (Frank Sinatra) arrives to cover the ceremony, matters complicate. Various new love interests arise, as Tracy needs to figure out which man would be best for her.
If nothing else, no one can claim that the producers of Society cheaped out on casting. Given that Philadelphia Story featured Katharine Hepburn, Cary Grant and James Stewart, it seemed difficult for the remake to produce an equally legendary group of leads.
With Crosby, Kelly and Sinatra, though, Society managed to do just that, as this crew feels just as famous. The question becomes whether or not the Society actors fit their parts as well as their Story counterparts.
My answer would be no, partly because of age differences. The three leads in Story were all born between 1904 and 1908, with John Howard – that movie’s George – a slight outlier with his 1911 birth.
On the other hand, those involved with Society show a broad range of ages. Crosby was 53 in 1956, whereas Kelly was a mere 27.
Sinatra fell between the two and was 41 at the time, with Lund at 45. Those ages made them a stretch for 27-year-old Kelly but not quite as bad as the 26-year gap between her and Crosby.
Yeah, I know Hollywood pairs much older men with younger women all the time, but this simply becomes the proverbial bridge too far here. Some of the problem occurs because Crosby seems like a poor fit for the role.
Of the three Story leads, Stewart felt like the only potential mismatch at the time. Then known best for his earnest roles in flicks like 1939’s Mr. Smith Goes to Washington, the cynical journalist didn’t seem like a natural fit for Stewart.
Nonetheless, Stewart pulled off the role well, and he meshed nicely with his co-stars. Sinatra also seems like a proper fit for this part.
And I entertain no issues with Kelly as the snobby and wealthy Tracy. She might not pull off the role’s demands as well as Hepburn did, if just because Kelly lacked the same dramatic range, but she still feels like a sensible choice.
Which then leaves us with Crosby. In the history of Hollywood, has anyone ever thought “we need a Cary Grant type – let’s get Bing Crosby”?
I must imagine the answer there to be a firm “heck no – that’s insane”. In no way, shape or form does the homey, ordinary guy Crosby resemble the dashing and charismatic Grant.
Don’t take that as an insult toward Crosby. Obviously the man boasted terrific talent.
But the role of CK demands someone more vivacious and dynamic than Bing. Crosby feels more like a suburban dad than a wild free spirit, and this makes him a perplexing choice for the part.
Well, beyond his star power, of course. Crosby remained immensely popular, even as rock ‘n’ roll encroached on the music charts.
Still, all the star power in the world can’t cover a mismatch with a character. Nearly twice as old as his love interest and far too “average guy” for the role in question, Crosby becomes a real problem.
Does this become a fatal flaw for Society? No, though the casting choices do damage the tale.
And not just in the case of Crosby, as I think Kelly fails to pull off the demands of her role. Rather than come across as strong and independent, Kelly makes the role feel bratty and whiny.
Sinatra does fine as the journalist, but I can’t say he brings a lot of personality to the part. Granted, he shows more spark than his two co-leads do, but Sinatra nonetheless does nothing to elevate his role.
Even without the issues I relate to the actors, Society simply lacks the punch and pace it needs. What should deliver a lively mix of comedy and romance just tends to meander.
The inclusion of musical numbers doesn’t help. Occasionally these serve plot purposes, but they mostly exist solely as performances unto themselves.
Fans of the format might enjoy them, but they seem so superfluous that I think the movie would fare better without them. Really, the songs exist solely as an excuse to get Crosby and Sinatra to croon – and also to take advantage of supporting actor Louis Armstrong as himself.
Director Charles Walters often plops the musical numbers in the middle of the proceedings without fluidity. He can’t muster much of a positive pace at other times either, so the movie tends to drag and fail to build a head of steam.
Though I can’t deny that some of my disenchantment with High Society comes from my belief it compares unfavorably with Philadelphia Story, I suspect I’d find it to deliver a snore regardless. Even a good cast can’t save this dull mix of romance and comedy.
