De-Lovely (2004)

Inspecting a magical biographical stage musical, composer Cole Porter reviews his life and career with his wife, Linda.

Director:

Irwin Winkler

Writer:

Jay Cocks

Stars:

Kevin Kline, Ashley Judd, Jonathan Pryce

Nominated for 2 Golden Globes. Another 2 wins & 11 nominations.

Cast

Cast overview, first billed only:
Kevin Kline	...	Cole Porter
Ashley Judd	...	Linda Porter
Jonathan Pryce	...	Gabe
Kevin McNally	...	Gerald Murphy
Sandra Nelson	...	Sara Murphy
Allan Corduner	...	Monty Woolley
Peter Polycarpou	...	L.B. Mayer
Keith Allen	...	Irving Berlin
James Wilby	...	Edward Thomas
Kevin McKidd	...	Bobby Reed
Richard Dillane	...	Bill Wrather
Edward Baker-Duly	...	Boris Kochno
Angie Hill	...	Ellin Berlin
Harry Ditson	...	Dr. Moorhead
Tayler Hamilton	...	Honoria Murphy

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.

---

Plot Keywords:

jukebox musical | horseback riding | love | cole porter | composer | 

---

Taglines:

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

---

Genres:

Biography | Drama | Music | Musical

---

Motion Picture Rating (MPAA)

Rated PG-13 for sexual content

Details

Official Sites:

MGM

Country:

UK USA

Language:

English French Italian

Release Date:

6 August 2004 (USA)

Also Known As:

Just One of Those Things

Filming Locations:

Café de Paris, Coventry Street, Soho, London, England, UK

Box Office

Budget:

$20,000,000 (estimated)

Opening Weekend USA:

$400,001, 4 July 2004, Limited Release

Gross USA:

$13,337,299, 17 October 2004

Company Credits

Production Co:

Metro-Goldwyn-Mayer (MGM), Potboiler Productions, Winkler Films

Technical Specs

Runtime:

125 min

Sound Mix:

DTS Dolby Digital SDDS

Color:

Black and White Color

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

Final film of Natalie Cole.

---

Goofs

The scene depicting the song "So In Love" on the opening night of "Kiss Me, Kate" depicts the song as a duet between the two leads during the show's Shakespearean play-within-a-play. In "Kiss Me, Kate," "So In Love" is not a duet. Both of the leads do sing solo versions of the song at a different point in the show, however neither takes place in the play-within-a-play.

---

Quotes

[first lines]
Gabe: Hello, Cole. I let myself in.
Cole Porter: We're not late, are we? I hate to be late.
Gabe: No, no. We're fine. That sounded lovely.
Cole Porter: I hate funeral music. Though, under the circumstances, I suppose I should say my prayers.
Gabe: Why start now?
Cole Porter: Exactly.

---

Connections

References Casablanca (1942)

---

Soundtracks

Blow, Gabriel, Blow
(1934)
Performed by Jonathan Pryce, Kevin Kline, Cast and Chorus
Music and Lyrics written by Cole Porter
Music Published by Warner Bros. Inc./Chappell & Co, Inc. (ASCAP)
Produced by Stephen Endelman and Peter Asher

User Reviews

De-lovely film with de-sasterous singing

Cole Porter wrote many of the wittiest and most beautiful songs ever, and had a very unconventional love life to back them up. Overall, this movie does a fair-to-excellent job of showing both the highs and lows of a complex relationship and of the man himself.

I was pleased to see that accomplished singer Kline was able to croak out the songs that his character wrote, because Porter was known to be a poor singer. It would have been a big mistake to have him sing like an angel.

That said, I can only presume that the studio's desire to pander to a young audience is the explanation for an absolutely horrible series of botched attempts by various pop artists to sing Porter's songs. Some, like Elvis Costello's effort, are just able to slide in under the radar, and Natalie Cole's is pretty reasonable. But somebody in charge should have stricken the songs sung by Alannis Morissete ("Let's Do It") and the even worse Sheryl Crowe ("Begin the Beguine"), or at least replaced them with other singers in body or at least in voice. I can see how Morissete's croaky, glitchy vocal stylings work for her in her own pop music, but they only annoy in this context; she also has no sense of the style required. Crowe's voice is actually less irritating in her number, but what were they thinking otherwise? Doesn't she know the melody? Does she only have a range of 5 notes? Instead of attracting younger people to Porter's songs, I expect that it will only make them ask 'why do people like this rubbish', not realizing who is really at fault.

This one would be a DVD keeper for me, if it were not for this glaring problem.