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De-Lovely (2004)
Tomatometer
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Reviews Counted:9
Fresh:5
Rotten:4
Average Rating:5.4/10
Consensus: Musical numbers save movie from cliches.
Runtime: 2 hrs 5 mins
Genre: Dramas
Synopsis: Directed by Irwin Winkler, DE-LOVELY depicts the life of the great American composer Cole Porter (Kevin Kline). Despite his sexual preference for men, Porter found inspiration and virtually... Directed by Irwin Winkler, DE-LOVELY depicts the life of the great American composer Cole Porter (Kevin Kline). Despite his sexual preference for men, Porter found inspiration and virtually unconditional love with Linda Lee (Ashley Judd). Told in flashback as Porter is near death, the film follows the Porters' fabulous, unconventional relationship from their meeting in Paris to their subsequent moves to Venice, New York, Hollywood, and Williamstown, as well as the many stops along the way. Kline perfectly captures the Porters' zest for life and seemingly inexhaustible need for love. Classic tunes such as "Let's Do It, Let's Fall in Love," "Let's Misbehave," and "Anything Goes" take on whole new meanings when considered in the context of Porter and Lee's life together. Contemporary musical performers, including Alanis Morissette, Natalie Cole, Robbie Williams, Elvis Costello, and Sheryl Crow, appear in the film singing Porter standards, a device that works surprisingly well. Judd holds her own as the devoted Linda, who gives her love to Porter and supports his musical ambitions while trying to overlook his homosexual affairs. Historians may debate the details of the Porters' relationship, but one thing is clear: DE-LOVELY dazzles with great music, period costumes, and fine performances. [More]
Starring: Kevin Kline, Ashley Judd, Jonathan Pryce, Keith Allen
Starring: Kevin Kline, Ashley Judd, Jonathan Pryce, Keith Allen, Natalie Cole, Angie Hill
Director: Irwin Winkler
Director: Irwin Winkler
Screenwriter: Jay Cocks
Producer: Irwin Winkler, Rob Cowan, Charles Winkler
Composer: Cole Porter
Studio: MGM/UA
Reviews for De-Lovely
There are enough glorious songs, energetically warbled by a host of modern pop stars, to keep us enthralled.
This elegant production beautifully captures a time and place that no longer exists -- and perhaps never did -- except in song.
The movie contains more music than most musicals, yet is not a concert film because the songs seem to rise so naturally out of the material and illuminate it.
You have the creepy sense of watching adult children (with the singular exception of Mr. Kline, who can surmount any disaster) dressed up in period costume at a school pageant.
You enter a movie with that title, prepared to be enchanted. You straggle out a couple of hours later, lost in a fog of gloom.
Keeping it all alive through all the dramatic ups and down, and limited psychological and emotional complexity, is Kline.
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