High Society (1956)

A dumb guy who works at a service station becomes an unwitting accomplice … wait, no. Socialite Tracy Lord (Grace Kelly) is getting remarried and is worried that her ex-husband C.K. Dexter-Haven (Bing Crosby), in town for the Newport Jazz Festival, might spoil the mood. Additionally, Spy magazine sends a writer (Frank Sinatra) and photographer (Celeste Holm) to cover the event in return for not publishing a scandalous story about her father’s affair.

High Society is a remake to The Philadelphia Story (1940) and bares no resemblance to High Society (1955). The major beats of the story are more or less intact as is most of the memorable dialog. The biggest difference is VistaVision color and musical numbers padding the film to just under two hours. Also, much of the subtext that was revealed in the first act of the original is spelled out on the outset.

Changes were made from the original story, and I don’t take issue with any of them. The biggest change is the music, which works for some people. The star power is every bit the 1940 version, but the script was uniquely Kathrine Hepburn’s. Kelly, as wonderful as she was, feels miscast. Hepburn’s dialog coming out of Kelly’s mouth simply doesn’t land the same.

Lydia Reed was almost as charming as Virginia Weidler was as Tracy’s little sister, no small feat. It’s curious they didn’t have her sing “Lydia, the Tattooed Lady”. That feels like a missed opportunity. Louis Armstrong and his orchestra appear briefly. This was Kelly’s last film, as was Louis Calhern’s. He died on the set of his next film.

The Philadelphia story is widely regarded as the better film. Still, High Society was a box office success and not hard to watch. Still, I wish Kelly could have ended her Hollywood career on a higher note. AMRU 3.

Dial M for Murder (1954)

Tony (Ray Milland) discovers that his rich hot wife (Grace Kelly) is having an affair, so he arranges for a complicated hit on her. When that doesn’t pan out, he tries to frame her for a murder. And everyone lived happily ever after.

Whenever you plot to kill the hot, hot Grace Kelly, you cannot be the protagonist, but Milland almost pulls it off. He gets the bulk of the screen time, is charming almost to a fault, and you can almost see his point of view. Almost. Ex-tennis pro Tony is a manipulator. If the rich Margot divorces him he loses his means to a comfy lifestyle. If she dies, he takes it all. He manipulates the would-be assassin with surgical precision. When things go awry he tries to engineer his way out of things, manipulating Margot in the process. A true master at work.

Ray Milland was a better actor than his reputation. He did a bunch of forgettable light rom-coms but his better work (The Lost Weekend) proves his ability. Dial M for Murder is a better work. Cary Grant was considered for the role but Cary must always play nice guy.

Filmed almost entirely in one room, the studio decided to make it 3D. Hitch had no interest in even making the movie, but he was contractually obligated. Not exactly a recipe for success but this is Hitchcock we are talking about. It was a great stage play and Hitch’s tenacity made it an excellent film. Then he made Rear Window.

Dial M for Murder is a smart, charming story. It is very wordy in a good way and the crime plan is very well thought out. There is no real mystery except to see how it all plays out. It’s Hitchcock at the top of his game. In his top five, for sure. Mom would have loved it. AMRU 4.

To Catch a Thief (1955)

Reformed cat burglar John Robie (Cary Grant) is under suspicion when jewels go missing in a manner identical to his old M.O. Rather than cooperate with the police and provide an alibi, like a crazy person, he goes on the lam and tries to expose the real burglar. He convinces an insurance agent (John Williams) to hand over private details of clients with insured valuable jewels, you know, for research. Sign me up for that insurance company.

The real mystery here is, is Robie the Robber, and if not, who is? It could be just about nobody. Back story: Robie was convicted, served in the French underground during the war, and became a hero. He doesn’t want new allegations to besmirch his name and risk his lucrative career of living in a luxurious villa on the French Riviera and doing nothing. His first victim … I mean, research participant is a his mom from North by Northwest and her hot hot hot hot way-too-young-for-him daughter (Grace Kelly). Guess which one he falls in love with.

John Williams (no relationship to John Williams) was an interesting man. Basically he played only formal British types, but he did it well. He didn’t appear in a huge number of films (27 not including TV, uncredited, and shorts) but they included Dial M for Murder (1954), Witness for the Prosecution (1957), Sabrina (1954), and this, just to name a few. A favorite of Hitchcock, he also did ten episodes of Alfred Hitchcock Presents.

Grant had decided to retire, annoyed by the growing popularity of method acting. He was lured back to play the elderly love interest to Kelly, who had a reputation of having a reputation. He would continue to play the dashing young man well into his 60's. Grace would film on a stretch of road she would die on twenty eight years later. So it goes.

A teensy bit sloppy by Hitchcock standards. There is a scene early on between Grant and a French man who was clearly not saying anything actually heard by audience. More than simply taking me out of the story, I found it klunky and confusing. Thankfully he didn’t prove to be a major character. Overall it was a good, if not up to its reputation. AMRU 3.5.

“A child? Shall we stand in shallower water and discuss that?”

Rear Window (1954)

An injured photojournalist (James Stewart) is laid up in his New York apartment with nothing to do save spy on his neighbors through the rear window. From his vantage point he can see directly into the apartments of several of his neighbors and learn about their private lives. Conveniently, they are always perfectly framed and well lit.

Into this he is pestered by his beautiful, stylish, and way too young for him girlfriend (Grace Kelly) who wants to marry his old and dumpy ass. You can see why this is such a problem. Thankfully Hitch acknowledges the irony.

Anyhow, he notices one angry neighbor and gets the impression that he done off'd his wife. His girlfriend and housekeeper, initially unreceptive to his voyeuristic ways, become rapt up in our little mystery. His war buddy cop doesn't see anything he can investigate.

Rear Window is filmed entirely on one huge set. It had 31 apartments, some with electricity and running water. They tore out the first floor so that "ground level" could start in the basement, giving the set more height. It's the only time I can remember looking at a set, knowing it was a sound stage set, and thinking it looked wonderful.

There's a risque scene involving "Miss Torso". She is seen doing ballet in her bra and panties in front of a picture window. At one point she turns away from the camera, takes off her top, and bends at the waist, effectively mooning the camera. Oddly, I couldn't find a good image of it. I know I've seen housekeeper Thelma Ritter a million times, I just don't know where. No relation to John, apparently.

This is the kind of movie Hitchcock did well. A complex scene filled with drama for our hero to draw lines and create suspense. The mystery itself isn't very complex but it serves the story well, and the performances and dialog are excellent, along with the right dose of humor. Maybe my second favorite from Hitch. AMRU 4.

"When I married Miles, we were both a couple of maladjusted misfits. We are still maladjusted misfits, and we have loved every minute of it."

High Noon (1952)

The movie starts with Marshal Will Kane (Gary Cooper) marrying, apparently, his granddaughter (Grace Kelly). While in the literal process of hanging up his tin star, he learns that his old nemesis' homies are back in town, waiting for the Noon train. Could this mean trouble?

Apparently so. Seems that said nemesis was released from prison. Might he be on the aforementioned train? Hmmmm? Of course he is. Maybe he has it out for the man who put him behind bars? Hmmmm? Of course he does.

Marshal Kane's close friends try to convince him to turn chicken and run, but that doesn't sit well with 'oll Coop. So instead he tries to get a posse together to stand bad Frank Miller down. This is where it gets tricky.

It seems that not everyone is all that willing to get involved. Young Lloyd Bridges wants a hand-out, the previous sheriff (Creighton Chaney) is chicken, and some townsfolk side with Frankie. What's going on? Maybe this isn't a simple morality tale. Maybe there's some complexity to Marshal Kane. Maybe he isn't the hero he (and his delicious wife) think!

Nope, it's a straight up morality tale. Kane = Good, Miller = Evil, and the townsfolk who don't stand behind our hero are all yeller. What we have here is an allegory for McCarthyism, and not everyone in Hollywood was willing to stand firm.

51 year old Cooper was a fading star when he took the role. Not only did this revitalize his career (bleeding ulcer and all), it's rumored he bagged 22 year old Grace in the process. Not too shabby for the old mule.

Well made movie, almost done in real time. Clocks feature prominently showing how close we are to High Noon. Well acted and directed. It's considered the greatest slight in Oscar history when it lost best picture to some DeMille circus movie. It's my favorite movie of '52. So far. ARMU 3.5.