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De-Lovely (2004)

PG-13 | | Biography, Drama, Music | 6 August 2004 (USA)
Inspecting a magical biographical stage musical, composer Cole Porter reviews his life and career with his wife, Linda.

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Nominated for 2 Golden Globes. Another 1 win & 11 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Gabe
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Gerald Murphy
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Sara Murphy
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Monty Woolley
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L.B. Mayer
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Edward Thomas
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Bobby Reed
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Bill Wrather
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Boris Kochno
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Ellin Berlin
Harry Ditson ...
Dr. Moorhead
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Honoria Murphy
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Storyline

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 Anonymous

Plot Summary | Add Synopsis

Taglines:

A love that would never die and music that would live forever.


Motion Picture Rating (MPAA)

Rated PG-13 for sexual content | See all certifications »

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Details

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Release Date:

6 August 2004 (USA)  »

Also Known As:

Just One of Those Things  »

Box Office

Budget:

$20,000,000 (estimated)

Opening Weekend:

$400,001 (USA) (2 July 2004)

Gross:

$13,337,299 (USA) (15 October 2004)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The old Cole Porter make-up took 5 hours to complete. See more »

Goofs

After the conclusion of "Let's Do It (Let's Fall In Love)" Linda reaches into her purse twice to give Cole his cigarette case. See more »

Quotes

Linda Porter: A friend Bobby Reed has been to see me with his... nefarious portfolio.
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Connections

References Can-Can (1960) See more »

Soundtracks

Why Shouldn't I
(1935)
Performed by Nic Greenshields
Music and Lyrics written by Cole Porter
Music Published by Warner Bros. Inc./Chappell & Co, Inc. (ASCAP)
Produced by Stephen Endelman and Peter Asher
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User Reviews

De-Lovely is indeed lovely
15 August 2004 | by See all my reviews

As a biography, De-Lovely is not historically accurate, but as drama and a tribute to Cole Porter, a prodigious talent in musical theater, it is sublime. Kevin Kline is perfectly cast in spirit as the songwriter extraordinaire who stormed Broadway as Hollywood beckoned. His marriage to Linda Porter (a terrific Ashley Judd) is a relationship of lasting love fraught with infidelity and heartbreak in which Porter is portrayed as an insatiable artist whose homoerotic dalliances were legend. The timeline spans the 1920's through the 1950's. This is not so much a simple biopic but, rather, an interesting depiction of Porter's constant struggle to find happiness in love and life and it proves to be an addictive intoxication. As his accepting and understanding wife grows increasingly frustrated with his lies and deception amid his growing list of male suitors, Porter's life and health begin to unravel.

Serving as a framework for the life events is a curious narration of sorts by an aged Porter and a mysterious host/angel (a nice theatrical turn by Jonathan Pryce). This bracketing narration is reminiscent of A Christmas Carol, and there are striking similarities to the classic All That Jazz in narrative and tone. The main story is told in a series of mini-vignettes; some scenes are almost too brief. Then there are the songs. It is truly phenomenal just how many wonderful Porter songs became standards. The recreations of many of his top hits are interspersed throughout the film and are performed often by top vocalists including some amusing cameos by Elvis Costello, Diana Krall, Alanis Morissette, and Natalie Cole. The songs serve to parallel and punctuate the life events throughout the story in much the same way paintings served as a co-narrative in Frieda.

Although production values are good for a period and location piece, it feels a little less grand in scope than it ought to be. Perhaps that works in the films favor as a more intimate story. Standout credit goes to the makeup effects especially showing the aging of Kevin Kline's character. The camera work and editing are imaginative especially in a series of circular tracking shots which seamlessly meld one timeframe with another. The music is timeless and enjoyable even when sung in pedestrian fashion by Kline. And regarding Kline, he deserves an Oscar nomination for a richly etched portrait of a tortured soul whose search for true love spanned his entire life. Perhaps in the hands of Bob Fosse or Baz Luhrmann, this could have really launched into a wildly imaginative send-off of a musical genius, but director Irwin Winkler (a respected producer turned director like Alan Pakula) has done Cole Porter proud.


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