The story of the life and career of the legendary rhythm and blues musician Ray Charles, from his humble beginnings in the South, where he went blind at age seven, to his meteoric rise to stardom during the 1950s and 1960s.
A chronicle of John Lennon's first years, focused mainly in his adolescence and his relationship with his stern aunt Mimi, who raised him, and his absentee mother Julia, who re-entered his life at a crucial moment in his young life.
Kristin Scott Thomas,
De-Lovely is an original musical portrait of American composer Cole Porter, filled with his unforgettable songs. In the film, Porter is looking back on his life as if it was one of his spectacular stage shows, with the people and events of his life becoming the actors and action onstage. Through elaborate production numbers and popular hits like "Anything Goes," "It's De-Lovely," and "Night and Day," Porter's elegant, excessive past comes to light - including his deeply complicated relationship with his wife and muse, Linda Lee Porter. Written by
Ashley Judd was almost never cast because the producers and director thought that she was beyond their budget. Her agent later contacted and informed them that Judd was interested in playing Linda. See more »
Scenes showing Cole Porter musicals being produced on Broadway in the 1930s show African-American and white women dancing together in the chorus lines. Broadway chorus lines weren't racially integrated until the 1970s. See more »
Miss Morrison. The line is "away we go" not "off we go", dear. You couldn't manage to make me hear you before and now that I can hear you, you've got it wrong.
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The device of using a mystical figure showing Cole Porter a retrospect of his life is just too stagey for a movie. Plus it's been done so many times before that it's trite.
The story line omits the struggle that Porter endured when he began composing professionally, when his melodies and lyrics were too original and too sophisticated for the public at the time.
For anyone who knows Porter's biography, you'll see how highly fictionalized this film is. In today's world, when the unvarnished truth about a person's life can be told, why must this film hold back? Why must dates, events, people and places be altered? Porter didn't "swing both ways". He was a ravenous homosexual. The story line of the Porters devotion to each other was pure hogwash. She was his willing beard at a time when a man needed a female escort for appearances. Obviously the, filmmakers felt that Porter's life had to be sanitized for the public.
It irks me to see songs taken out of chronological order and out of the context of the shows for which they were written. Two examples: at the beginning of the film, Porter is singing "Well Did You Evah?" as though the song were written in the 1920s, when it was composed much later; and singing "You'd Be So Easy To Love" to Linda in a Paris park, when that song was written for the film "Born To Dance" (1935), many years later.
The casting is wrong. As much as I like Kevin Kline, a 57-year-old actor (at the time) playing a 25 or 35-year-old Porter is just unbelievable. There is no amount of make-up that could make Kline look 25 or 35, or hide his sagging 50-ish jowls and neck. Furthermore, Porter was a small man and Kline is reputedly 6'2". This is like having Tom Selleck portray Danny DeVito.
Maybe someday someone will make a true biographical film about Cole Porter.
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