FEATURE REVIEW High Society MGM-—Cole Porter Musical (Color by Technicolor) igh Society’ the sefting to song of a play that was its original form. ‘This picture's 301 Story,” which was @ huge comedy si ceessful as a film in 1940, its pristine state, as those with long jemories will remember, it was a great personal triumph for Katharine Hepburn, for whose highly individualized talent i had been carefully made-to-order by the playseright. Thin in substance, it was given theatrical force and wit by the star's vir those seting, This time around it may lack Hepburn, but it has been recharged with a large battery of potential assets for ex- hubitors to exploit, ‘The greater part of the box office volt- ase is likely to emanate from the cast which is headed by Bing Crosby, Grace Kelly and Frank Sinatra—all well-proved aitractions individually. Collectively they should constitute a bombshell, and their supporting east will surely help in setting it off, For i includes such popular and able personalities as Celeste Holm, Jobn Land, the late Louis Calhern Gn his last formance) and Sidney Blackmer. As fn extta bonus, the incomparable Louis ‘Armetrong is also on hand with his Band to make some of the music sound even better than might be expected. As for the picture's seore, it has plenty of facets to sell, too—the foremost being that it is by Cole Porter and is the first fone that he has written expressly for the creen in 1 years. In it, furthermore, there are at Teast three or four songs whieh should soon be blasting from juke nowes all over the land follows what has become a prosperous trend in musicals: fold asa straight comedy or drama in ce is Philip Barry's “The Philadelphia on Broadway and then equally Add to these assets photography in VistaVision and color by Technicolor and the exploitative material for this Sol C. Siegel produetion is all in array. Tn adapting the story to be told with me odious interludes, which are fitted for the ‘most part naturally into the proceedings, Soho Patrick has changed the locale from Philadelphia to Newport and brougnt the time up to the present, Otherwise the plot fs essentially the same and again concerns the coming to emotional maturity of a vain and self-centered society girl, This growth is manifested in her decision to reject her Raneé—a priggish, self-made fellow—and remarey her former husband wealthy, ne'er-do-well (and sometime song-writer, in this version). Helping the heroine to reach this mo- mentous decision is an assortment of odd ‘characters a male magazine reporter and a female news photographer sent to cover the lavish wedding which bas a change in bridegroom; the bride's impu- dent kid sister, her philandering father, her long-suffering mother and a Mighty lunele who is something of a black sheep, ‘Some of the incidents in which these people are involved—and some of the lines they. are given to speak—are still delightfully amusing while a few appear to have suffered somewhat from repeti tion over the years. Fortunately, before tedium hos # chance to set in—a musical interruption comes along to give the show new and exciting life Ty far its most exhilarating moments (in this observer's opinion) are provided by Crosby and Armstrong in & bouncy, riotous uct called “Now You Has Jazz.” There is plenty of infectious vitality, too, in “Well, Did You Evah?” in which Crosby and Sinatra join voices and then do some impromptu “dancing.” The Iyries get even more Porterish—and trieky—in "You're Sensational,” which Sinatra sings to Miss Kelly (and refers to her at one point as “my fair frigidaire”). Charles Walters has staged the musieal numbers ina pleasantly casual 99, ‘Voeally, Miss Kelly is not given much ‘chanee, limited to a brief duet with Crosby (Gn a ashback) and humming 2 few bars at the wedding eve party. On the other Inand, she shines brightly enough in the acting department. Seen a a “enna” previow at Low's Les- ington tn Now ‘York. Reviewer's Rating Becettent —Roctcato Chua