Latest news with #HighSociety
The Age
06-08-2025
- Entertainment
- The Age
‘She knows the younger version of me': When two friends reunite after 50 years
Workmates in the 1960s, centenarian Iris Palmington and Moira Scully, 95, reunited when they moved into the same aged-care home in Melbourne. Now they lunch together, happy to have a friend they knew before they were 'old ladies'. Moira: My husband, Frank, and I had a newsagency in Sandringham and Iris came to work with us in the 1960s. She was in circulation and TattsLotto; I was in books and stationery. Iris was always charming and got on well with the customers. The Age was huge, especially with the weekend classifieds, and we had to deliver it to people's homes before seven in the morning. Some people would say, 'Where's my paper?' if it was just one minute past. Iris used to handle that. She always stood up for the paper boys. She worked with us for six years, but I lost track of her after that. Then, in 2018, she turns up here [at Mercy Place Fernhill]. I was so pleased! We sit together at lunchtime. She tells me I eat anything and everything. I've always been big, whereas she's tiny. I get hungry – I'm terrible! We love the same films, which is important here. We want good, frothy musicals of our era – South Pacific and High Society. We do the grizzles if there's something on that's on the more serious side. Iris chose Waterloo Bridge; it was so sad, I carried it around with me for a week. We love Friday night movies here; we're like little kids, with an interval and our plates of lollies. Iris still loves dressing up. If it's a special day, she'll have a tiara on. She always wears beads and a bit of lippie. She used to do ballet – I think she was on one of the trucks once at the Moomba Parade – and she's always spotlessly clean. Not me, I dribble a bit. But if she does dribble, she knows about it. She has a standard and wants that kept up. 'It's nice that she knows the younger version of me, that I haven't always been an old lady.' Moira Scully Iris is a passionate Carlton supporter; I barrack for Richmond. I used to watch the games but now I've got so much reading to do – I like Irish and Australian history – and I didn't anticipate the macular degeneration. I just have the football on silent so I can see the results, but Iris can tell you every jolly kick in the game. She has a little Carlton garden gnome outside her room and if he's happy, he looks outwards with his little glasses on, but if Carlton has lost, he's turned with his nose to the wall in disgrace. Carlton hasn't been doing well lately, so Iris is very cross with them. She's a goer, always ready to have fun. I'm not a talker like Iris; I'm more of a listener. We don't have the number of visitors we used to because a lot of them have gone to heaven if they're our age, and when they're gone, they're not replaced. Frank died a short time after I moved here, which was a very, very big loss. When Iris arrived, I was just pleased to have a friend here, somebody from the past. And Iris sometimes has funny stories to tell me about Frank. It's nice that she knows the younger version of me, that I haven't always been an old lady.
Sydney Morning Herald
06-08-2025
- Entertainment
- Sydney Morning Herald
‘She knows the younger version of me': When two friends reunite after 50 years
Workmates in the 1960s, centenarian Iris Palmington and Moira Scully, 95, reunited when they moved into the same aged-care home in Melbourne. Now they lunch together, happy to have a friend they knew before they were 'old ladies'. Moira: My husband, Frank, and I had a newsagency in Sandringham and Iris came to work with us in the 1960s. She was in circulation and TattsLotto; I was in books and stationery. Iris was always charming and got on well with the customers. The Age was huge, especially with the weekend classifieds, and we had to deliver it to people's homes before seven in the morning. Some people would say, 'Where's my paper?' if it was just one minute past. Iris used to handle that. She always stood up for the paper boys. She worked with us for six years, but I lost track of her after that. Then, in 2018, she turns up here [at Mercy Place Fernhill]. I was so pleased! We sit together at lunchtime. She tells me I eat anything and everything. I've always been big, whereas she's tiny. I get hungry – I'm terrible! We love the same films, which is important here. We want good, frothy musicals of our era – South Pacific and High Society. We do the grizzles if there's something on that's on the more serious side. Iris chose Waterloo Bridge; it was so sad, I carried it around with me for a week. We love Friday night movies here; we're like little kids, with an interval and our plates of lollies. Iris still loves dressing up. If it's a special day, she'll have a tiara on. She always wears beads and a bit of lippie. She used to do ballet – I think she was on one of the trucks once at the Moomba Parade – and she's always spotlessly clean. Not me, I dribble a bit. But if she does dribble, she knows about it. She has a standard and wants that kept up. 'It's nice that she knows the younger version of me, that I haven't always been an old lady.' Moira Scully Iris is a passionate Carlton supporter; I barrack for Richmond. I used to watch the games but now I've got so much reading to do – I like Irish and Australian history – and I didn't anticipate the macular degeneration. I just have the football on silent so I can see the results, but Iris can tell you every jolly kick in the game. She has a little Carlton garden gnome outside her room and if he's happy, he looks outwards with his little glasses on, but if Carlton has lost, he's turned with his nose to the wall in disgrace. Carlton hasn't been doing well lately, so Iris is very cross with them. She's a goer, always ready to have fun. I'm not a talker like Iris; I'm more of a listener. We don't have the number of visitors we used to because a lot of them have gone to heaven if they're our age, and when they're gone, they're not replaced. Frank died a short time after I moved here, which was a very, very big loss. When Iris arrived, I was just pleased to have a friend here, somebody from the past. And Iris sometimes has funny stories to tell me about Frank. It's nice that she knows the younger version of me, that I haven't always been an old lady.
Geek Vibes Nation
11-07-2025
- Entertainment
- Geek Vibes Nation
'High Society' (1956) 4K UHD Blu-Ray Review - Star-Studded Musical Comedy Gets The Deluxe Treatment
Bing Crosby, Grace Kelly and Frank Sinatra romp elegantly through the scenic, moneyed grounds and waters of outwardly elitist Newport, Rhode Island, in this hip, witty musical version of Philip Barry's The Philadelphia Story. Legendary Louis Armstrong as himself, plays his trumpet and narrates in prose and song the peccadillos of his songwriter friend C.K. Dexter Haven (Crosby), his beautiful perfectionist ex-wife Tracy Samantha Lord (Kelly, in her final film role), and her stuffy fiancée George Kittredge (John Lund). Sinatra and wise-cracking Celeste Holm are a scandal sheet reporter and photographer who arrive to cover the wedding and complicate the tangled romances. Armstrong and his composer buddy conspire musically and by other devious means to stop Tracy's marriage. Dexter wants her back, but she takes off with the magazine writer – all of which gives everybody wonderful excuses to break into the incomparable songs of Cole Porter. M-G-M pulled out all the stops to make High Society a must-see screen event back in 1956, even arranging to license Paramount's magnificent widescreen process VistaVision, to ensure the film would be something special. Now meticulously restored and remastered from its original VistaVision negative, and accompanied by a thrilling new Dolby Atmos remixed soundtrack (as well as the film's original theatrical mono optical soundtrack), this long-awaited release is sure to be most welcomed by fans of this box-office smash For thoughts on High Society, please check out my thoughts on No Streaming Required: Video Quality High Society makes its highly anticipated 4K UHD Blu-Ray debut with a tremendous 2160p Dolby Vision/HDR transfer derived from a new 13.5K restoration from the Original VistaVision Negative. This release also marks the Blu-Ray debut for the film (available separately or as a part of this package), so the simultaneous jump straight to 4K UHD Blu-Ray is a welcome development for fans. It has been a long road to a proper restoration for this film, as the Warner Archive only had access to inferior elements for the longest time. With access to the VistaVision materials, the film is able to shine as one of the most beautiful Golden Age films on the format. The film features some spectacular colors within the costumes and settings that pop off the screen with a vibrant intensity. The utilization of Dolby Vision offers a depth and stability of color that is frankly mind-boggling. You only need to take a look at the opening sequence on the bus to see what a stunning sight this presentation is overall. The same could be said of the natural tones that present with an immense complexity in the various lush locations. The black levels are simply perfect with nothing in the way of crush present, and the highlights are solid as a rock with no semblance of blooming. The level of detail and clarity is astounding with the appropriate amount of natural film grain intact. The grain resolves well without ever being clumpy or unsightly. The texture on display in the clothing and within the production design is a revelation. Even facial details like the makeup of the performers present with impressive clarity. This presentation is authentic to the original look of the film without the added resolution making any settings seem out of place. The film is entirely free of dirt and damage, which makes the feature feel like it could have been made yesterday. If it were not for the optical dissolves, which naturally have a dip in quality due to the process, it would be difficult to tell the difference. There do not appear to be any jarring digital anomalies such as compression artifacts, banding, or any other such nuisances. This presentation is an award-worthy effort from the team at Warner Archive Audio Quality The 4K UHD Blu-Ray disc comes with both a new Dolby Atmos track and the original theatrical DTS-HD 2.0 Master Audio mono track that offers a splendid audio experience. The inclusion of the theatrical mono is an essential inclusion in this release, but the label is also embracing modern technology and tastefully expanding the soundscape for those who want a more immersive experience that puts their surround system to work. The dialogue and singing hold up very nicely, coming through clearly without being overshadowed by the music or other effects. One of the most enjoyable aspects of the feature is the smattering of songs which sound vibrant and lovely here. Fidelity typically never waivers even at the height of the track. The environmental effects are delineated nicely including the din of certain rooms and the sounds of weather. This track does not present any glaring instances of age-related wear and tear. This is a track that represents the film in a practically perfect way. Optional English SDH subtitles are provided. Special Features Audio Commentary: Debbie Reynolds, Donald O'Connor, Cyd Charisse, Kathleen Freeman, Stanley Donen, Betty Comden, Adolph Green, Baz Lurhmann and Rudy Behlmer are stitched together to provide a well-rounded assessment of the picture. Reynolds guides you through as you learn about the development of the idea for the film, the film's legacy, personal anecdotes, the iconic songs and dance numbers, the groundbreaking nature of the feature and more. This is a must-listen for classic film fans. Cole Porter In Hollywood – True Love: A nine-minute archival retrospective hosted by actress Celeste Holm who discusses the development of the film, the contributions of Cole Porter, the updates from The Philadelphia Story , and more. Gala Hollywood Premiere Newsreel: A minute-long glimpse at the premiere of the film. Bing Crosby, Grace Kelly, and Frank Sinatra Radio Promo Spots (15:36) Classic MGM Cartoon – Millionaire Droopy: A seven-minute remastered Droopy short from Tex Avery that is very amusing. Original Theatrical Trailers Bing Meets A Friend at MGM (4:03) High Comedy (4:13) Together For The First Time (0:46) Final Thoughts High Society is a pretty amusing remake of a beloved film that cannot quite conjure up the magic of that one but manages to find an identity of its own. The main shortcoming of this narrative is that none of the men seems worthy of the angelic Grace Kelly, but it manages to make up for this with other positives. The songs are performed with great confidence and charm, and the comedic banter connects more than it doesn't. It may not have been a strictly necessary update to the material, but it is a worthy outing for everyone involved. Warner Archive has released a 4K UHD Blu-Ray sporting a spectacular A/V presentation and a valuable array of legacy special features. Those who have been waiting for a proper presentation have been amply rewarded. Recommended High Society can be purchased directly through MovieZyng or through various other online retailers. Note: Images presented in this review are not reflective of the image quality of the 4K UHD Blu-Ray. Disclaimer: Warner Archive has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author. Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies. Related Posts
Wall Street Journal
07-07-2025
- Entertainment
- Wall Street Journal
‘High Society': ‘The Philadelphia Story' Remade, Not Recycled
In present-day Hollywood, movie remakes are too often initiated without any consideration for how a past project might be meaningfully improved. The goal seems to be to present a facsimile with modest modifications rather than a thoroughgoing reimagination, but in the absence of such changes, why bother? Nearly 70 years ago, however, one of Hollywood's most honored romantic comedies was retooled in ways that remain fresh and surprising. Released by Metro-Goldwyn-Mayer in July 1956, Charles Walters's 'High Society' had its roots in Philip Barry's 1939 play 'The Philadelphia Story,' which, the following year, was turned into a motion picture starring the triumvirate of Cary Grant, Katharine Hepburn and Jimmy Stewart—the last of whom won an Oscar. That earlier picture was an instant classic for its affectionate but barbed portrait of the marital challenges of inhabitants of the Philadelphia Main Line.
The Guardian
23-06-2025
- Entertainment
- The Guardian
‘We had therapists on standby': Chris Tarrant on making Who Wants to Be a Millionnaire?
I was responsible for the schedule. I'd listened to Chris Tarrant doing this game on the radio – Double or Quits – which was brilliant. I was intrigued by its TV version, called Cash Mountain, because it was well known in the industry that various people had turned it down. I invited the producer, Paul Smith, to pitch the full idea to me and Claudia Rosencrantz, ITV's controller of entertainment. My main worry was: how likely was it to bankrupt the network? Four multiple-choice answers seemed too easy. I played the game with Paul in the office, with Claudia as my phone-a-friend, and quickly realised that as the amount of money at stake got higher, more and more doubt crept in. 'We're not going to call it Cash Mountain. I think that's a terrible name,' I said. 'Let's call it Who Wants to Be a Millionaire?' It's the title of a song written by Cole Porter for the 1956 film High Society. I agreed to commission it, so long as we could do a non-broadcast pilot. It was clear that the quiz never really drew to an end: one contestant would win or lose, then another comes on and does the same thing. There was no natural climax. So I thought we should launch it as a strip – on every night – to maximise the drama. Initially I was going to schedule it at 7pm, but I already had Emmerdale working well at five times a week at 7pm, so I decided to go for broke and play it at 8pm, in the hope that the tension of someone potentially winning a million quid would create gripping prime-time drama. Rather brilliantly, it did very well and became a hit within its first week. Because everyone was talking about it, the ratings got bigger, and we had a phenomenon on our hands. Then the whole world recognised that what was happening in Britain was quite extraordinary – and everybody wanted their own version. I was at Capital Radio presenting the breakfast show, and also doing the clip show Tarrant on TV. David Briggs, my former producer at Capital, had left to seek his fortune on TV. We'd done a game on the radio called Double or Quits, where your pound doubled with every correct answer. Briggsy said over a lunch one day: 'I'm trying to turn it into a TV format.' I was so bloody busy, up at 5am, I only did the pilot as a favour. We shot it in July. The producer Paul Smith said: 'It needs more menace.' Composers Keith Strachan and his son Matthew were given 24 hours to rewrite the music, all those stings and 'Da da das …' so we could shoot a second pilot straight away. We knew the prizes had to go up fast. Nobody would say: 'Better not put the kettle on in case somebody wins a quid.' It was my job to add tension. The prize was a cheque, so I'd say: 'We don't want to give you that …' The pauses were added to really milk the tension. The show was filmed the day before, with rough spots where we needed to break to the adverts. I'd deliberately choose the most dramatic places to cut to commercials, usually between the contestant giving their final answer and me saying whether it was correct. I always wondered if, when the first person played for a million, I'd still have the guts to say: 'We'll take a break.' But I did when Judith Keppel was on her way to winning the first million, and she looked at me like: 'You bastard!' Briggsy said it was about the shoutabilty: people shouting at the television. My screen didn't show the answer. Even if I did know the answer, I'd taught myself to do this really gormless face, not even raising an eyebrow. I remember one contestant, this really nice guy, a fireman. His £500,000 question was: which of Henry VIII's wives did Holbein paint a portrait of? It's weird what you remember from school. I was thinking: 'For fuck's sake, just say Anne of Cleves.' He didn't answer and settled on £250,000. I'd have bet a million quid I was right. The press thought winning such high amounts of money would ruin people's lives. We had therapists on standby, but no one who won £500,000 said: 'Take me to my therapist.' Before the first show, I was in my dressing room with my wife and manager. I said to them both: 'Do you mind giving me 10 minutes?' I must have thought: 'You better take this one seriously, mate. It might go big.' The Grand Tour had just gone from weekly to two specials a year, freeing up a lot of time. Wayne Garvie, president of Sony Pictures Television and an old mate from the BBC, had worked out he owned the rights to Millionaire, and asked if would I like to host it. Kevin Lygo, the managing director of ITV Studios, said: 'That sounds like good idea.' I signed on the dotted line right there. We went through a couple of runs on a laptop in my office. Before I knew it, I was learning how to use the Autocue in the TV studios in Manchester. The main problem is that the Autocue is so far away, I've had to start wearing spectacles. I didn't think I needed to stamp my personality on the show. I thought: 'Chris Tarrant did a pretty good job. I just have to do what he was doing.' One of the new things was the 'Ask the host' lifeline. I don't think there's any shame in not knowing about Greek mythology or tiramisu. Sometimes you luck out. I was asked: 'What was the first American spaceship to orbit the Earth?' I knew it was Friendship Seven, and thought: 'I'm going to look like an absolute genius.' Other times you're asked, 'What's a four-legged animal that barks?', don't know the answer, and feel like an idiot. Donald Fear is the only person who has won a million on my watch. He was unbelievably cool. The million-pound question was something about pirates that I didn't know, even though I'd just done a programme about pirates, but he knew it was Blackbeard. I'm supposed to wear hearing aids these days – I'm deaf as well as blind – but people would assume it was an earpiece and I'm feeding people the answers, so I thought I'd better not. These days you can even get spectacles that translate any language in real time. Presumably you could use similar technology to help you answer various questions, but they have an independent adjudicator to spot any anomalies like that. How the coughing thing ever happened was incredible. When you watch it, you think: they must have known something odd was going on. It's a show I really look forward to. I get up with a spring in my step when I think: 'I'm off to ask people what the capital of Ecuador is.' It's great. I get to sit in a nice, warm chair and make people happy. You can't ask much more than that.
