Director Irwin Winkler's "De-lovely" isn't any more a determined attempt at accuracy - a biopic with integrity - than was its 1946 romantic predecessor, "Night and Day," a star vehicle for Cary Grant. "De-lovely" is a truly lovely retelling with much liberty taken of the life of the great song writer, Cole Porter, and the woman he loved - and who loved him intensely, Linda, his only wife.
In real life Porter was probably exclusively gay and Linda, a wealthy divorcee bearing sharp-edged, hurting psychical scars from the brutalization she experienced in her first marriage, was happy to settle into deeply rewarding platonic matrimony with the brilliant, witty Cole. Porter here is marginally bisexual and the two are shown chastely but lovingly entwined in bed. Cole and Linda, from reasonably informed accounts, probably never had sex.
What makes this film work are the imagined, powerful performances of Ashley Judd as Linda and Kevin Kline as Porter. The rest of the cast is fine and many songs are bellowed by famous singers but this is Judd and Kline's inspired genius from beginning to end. Winkler drew ecstatically engaging portrayals from these gifted actors. I can't imagine who could have played these roles as Judd and Kline do.
The film begins with an aged Porter watching and commenting on rehearsals of a new production that will showcase his wonderful songs. Is Porter actually alive? The director tells him that his shouted comments can't be heard by the actors. The film goes back and forth to this rehearsal which affects Porter increasingly as the main story follows the couple's life together.
Linda, rich, independent and very smart (as well as glamorous) knew she wanted Porter from their first encounter. When he delicately indicates his attraction to men she responds that she doesn't care-he simply likes men more than she does.
Kline's Porter is a genius but also he's somewhat immature and, as his fame spreads and his wealth grows, innocently insensitive to how his activities create a wall of estrangement between himself and the woman he totally adores. Petty lies replace the earlier openness as Porter is attracted to a homosexual sub-culture.
Judd - certainly one of the most intelligent women acting today - is grippingly compelling as she progresses from divorcee to globe-trotting wife to indispensable muse to a premature death when she's racked by a progressively fatal malady. Folks were crying in the theater today.
Perhaps in wry acknowledgment that he's messed about with the facts, Winkler has the befuddled Cole and Linda watch a private studio preview of "Night and Day" which leaves Porter commenting that it can't be so bad to be played by Cary Grant. But both quietly recognize that their lives have been captured and transformed by Hollywood, reality playing second place to the whims of powerful vulgarians like Louis B. Mayer (who is parodied nicely).
But seminally and for all time Cole Porter was and is about his songs and shows and "De-lovely" offers an almost unending performance of tunes both familiar and not (today's audience, by the way, largely remembered Porter). Both Kline and Judd sing-Kline sounds remarkably like Porter and Judd gives it the good old Phi Beta Kappa try (she's a member). In any event what a "De-lovely" treat to see this extraordinary actress unleashed from her recent past of portraying women victimized by homicidal misogynists.
At the least this film will probably garner the Oscar for costumes. Armani designed the wardrobe and Kline and Judd seem to change for every scene. The whole cast is attired in perfect garb, suggesting the magic of Porter's circle.
Rarely do I leave a theater determined to immediately get a film soundtrack but today I rushed from the Loew's Lincoln Square Theater across to Tower where I scoffed up the disc-I've played it twice already.
Don't miss this drama/musical which shows that Hollywood can still bring beautiful and timeless songs to the movie houses. And do it wonderfully.
The DVD release will have (I hope) many extra and terrific features but even if it doesn't, "De-lovely" deserves repeated viewings.
10/10
In real life Porter was probably exclusively gay and Linda, a wealthy divorcee bearing sharp-edged, hurting psychical scars from the brutalization she experienced in her first marriage, was happy to settle into deeply rewarding platonic matrimony with the brilliant, witty Cole. Porter here is marginally bisexual and the two are shown chastely but lovingly entwined in bed. Cole and Linda, from reasonably informed accounts, probably never had sex.
What makes this film work are the imagined, powerful performances of Ashley Judd as Linda and Kevin Kline as Porter. The rest of the cast is fine and many songs are bellowed by famous singers but this is Judd and Kline's inspired genius from beginning to end. Winkler drew ecstatically engaging portrayals from these gifted actors. I can't imagine who could have played these roles as Judd and Kline do.
The film begins with an aged Porter watching and commenting on rehearsals of a new production that will showcase his wonderful songs. Is Porter actually alive? The director tells him that his shouted comments can't be heard by the actors. The film goes back and forth to this rehearsal which affects Porter increasingly as the main story follows the couple's life together.
Linda, rich, independent and very smart (as well as glamorous) knew she wanted Porter from their first encounter. When he delicately indicates his attraction to men she responds that she doesn't care-he simply likes men more than she does.
Kline's Porter is a genius but also he's somewhat immature and, as his fame spreads and his wealth grows, innocently insensitive to how his activities create a wall of estrangement between himself and the woman he totally adores. Petty lies replace the earlier openness as Porter is attracted to a homosexual sub-culture.
Judd - certainly one of the most intelligent women acting today - is grippingly compelling as she progresses from divorcee to globe-trotting wife to indispensable muse to a premature death when she's racked by a progressively fatal malady. Folks were crying in the theater today.
Perhaps in wry acknowledgment that he's messed about with the facts, Winkler has the befuddled Cole and Linda watch a private studio preview of "Night and Day" which leaves Porter commenting that it can't be so bad to be played by Cary Grant. But both quietly recognize that their lives have been captured and transformed by Hollywood, reality playing second place to the whims of powerful vulgarians like Louis B. Mayer (who is parodied nicely).
But seminally and for all time Cole Porter was and is about his songs and shows and "De-lovely" offers an almost unending performance of tunes both familiar and not (today's audience, by the way, largely remembered Porter). Both Kline and Judd sing-Kline sounds remarkably like Porter and Judd gives it the good old Phi Beta Kappa try (she's a member). In any event what a "De-lovely" treat to see this extraordinary actress unleashed from her recent past of portraying women victimized by homicidal misogynists.
At the least this film will probably garner the Oscar for costumes. Armani designed the wardrobe and Kline and Judd seem to change for every scene. The whole cast is attired in perfect garb, suggesting the magic of Porter's circle.
Rarely do I leave a theater determined to immediately get a film soundtrack but today I rushed from the Loew's Lincoln Square Theater across to Tower where I scoffed up the disc-I've played it twice already.
Don't miss this drama/musical which shows that Hollywood can still bring beautiful and timeless songs to the movie houses. And do it wonderfully.
The DVD release will have (I hope) many extra and terrific features but even if it doesn't, "De-lovely" deserves repeated viewings.
10/10