Talk:High Society (1956 film)

I suggest
I suggest moving this to "High Society (film)" and making "High Society" a disambiguation; see high society, which is actually almost entirely disambiguating "High Society". -- Infrogmation 16:03, 31 August 2006 (UTC)

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. intooblv (talk) 06:04, 22 March 2008 (UTC)

Fair use rationale for Image:HighSocietyposter.jpg
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Forgettable Porter
i wouldn't dream of putting this in the article but; with the possible exception of 'true love', this music is some of porter's least notable work.Toyokuni3 (talk) 05:24, 19 August 2008 (UTC)
 * It's grown on me. Porter was quite disillusioned and more world weary than usual by this time, but "I Love You, Samantha" is fantastic. Gareth E Kegg (talk) 10:41, 19 August 2008 (UTC)
 * I wouldn't call myself knowledgeable about Cole Porter's work, but fifty years later I still enjoy the songs "Did You Evah?", "Who Wants To Be A Millionaire?", "True Love", and "Now You Has Jazz". Bwotte (talk) 00:20, 6 November 2009 (UTC)
 * Yes I know this isn't supposed to be the place for this, nevertheless, the Cole Porter songs here are dull and almost without merit (sadly). The only memorable tune Well Did You Evah, barely fits the film in moving along plot or character development...at least based on how the film is scripted and edited. Perhaps the film should have been completely re-scripted around this song! Of course the film as a whole is a complete dud, but at least if Mr Porter's songs were as nifty (and brilliant) as those in Kiss Me kate, the pic might at least be watchable! As far as Now You Has Jazz, this may have fit if the filmwas made 10 (or 20) years earlier. I LOVE Armstrong, G*d Bless him, but 1956 was surely the era of post-Parker modern jazz (even if what was then called "traditional" New Orleans derived jazz was pushing back against this), and the song, and even Armstrong himself and his band seem out of place in the film.  — Preceding unsigned comment added by 71.125.236.189 (talk) 02:56, 10 September 2012 (UTC)

Anti-Segregation Statement?
This film was released in 1956, at a time when Negro entertainers touring the segregated South were still required to stay in segregated lodgings. In the film, Louis Armstrong and his band are guests in millionaire Bing Crosby's home in wealthy Newport while performing at the Newport Jazz Festival. In the film, this is treated as perfectly natural, although in retrospect it seems like an incredibly courageous stand for the times. I wonder if anyone with deeper knowledge of the history of this film could add commentary about this? It really seems like a remarkable accomplishment! Bwotte (talk) 00:20, 6 November 2009 (UTC)
 * If you are looking for an anti-segregation statement you will find it best in Immitation of Life. In High Society the African-American characters' only acceptable roles are that of performers, just like in the south of that time. It is highly doubtfull that in those days any major studio would have paired a rather costly feature with a civil rights agenda and risking to loose audiences over it. — Preceding unsigned comment added by 46.115.45.222 (talk) 11:40, 3 September 2013 (UTC)

credits
I just watched this film on TCM, and in the credits, Crosby's character was listed as C. K. Dexter-Haven — with a hyphen. Same with "Gordon Richards as Dexter-Haven's butler." PurpleChez (talk) 02:01, 27 April 2019 (UTC)