De-Lovely Really Sings
Porter Bio-Pic is Intriguing

Biographies are usually stuffy affairs, filled with somber reflections on the history of the subject. Not so with the new production examining the life and music of Cole Porter. With a sense of style and flair, De-Lovely takes an honest and sometimes daring look at the man's personal and professional life. It falls flat at times, but despite its flaws this film still sings.

Directed by Irwin Winkler, De-Lovely is a scrapbook of Cole Porter's life, viewed from the end by a tired and worn out Porter (Kevin Kline). As the film begins, this elder Porter is plunking out a tune on his grand piano in a darkened apartment. Gabe (Jonathan Pryce) fades in through the shadows, telling Porter that he had better hurry or they will be late. Soon Porter and his guide are in a small theater where the story of his life is being produced on the stage. Cast members are rushed in to the music of "Anything Goes," until finally Linda (Ashley Judd) appears. Porter objects and the production halts, forcing a segue to his memory of meeting Linda in Paris.

Kline as Porter may be one of the best casting jobs this year. He's charming, funny, and his singing leaves something to be desired. In all these ways, he's reminiscient of the man who brought us songs like "It's De-Lovely" and "You're the Top." To his credit, he does an amazing job of Porter at any age. Whether young and dashing or transformed by make-up into an old man, Kline pours his heart into the role.

The film slips between memory, stage production, and commentary between Porter and his producer. Sometimes the comments are bitter. "Not this," Porter tells him when a scene between he and Linda turns ugly following her absence from one of his shows. But Gabe is there to tell the whole story, the good and the bad, and he doesn't shy away from Porter's more scandelous activities.

De-Lovely openly explores Porter's interest in sex, with women and men. It may seem strange, but in many ways his gay lifestyle makes his love affair with Linda more romantic. She knows about his affairs from the beginning and has asked only that he be discreet. But the affairs grow more wild, more bold, and more dangerous. Although unconventional, it is a touching love story.

Like Kline, Judd is amazing. As Linda, she changes ever so slightly through the years. Yet, even under layers of makeup, her beauty shines through. In her final scene with Kline, Judd is completely believable and tragic. Her stock as an actress has to rise after this performance.

Throughout the film, Porter's music provides a perfect backdrop for the story. This is not a musical, in the sense that big dance numbers spring from nowhere or leading men and women burst into song. There is plenty of singing, but most is a natural part of the setting. We see Porter composing, but also hear others singing his famous tunes. Only once, when Porter confronts Louis B. Mayer (Peter Polycarpou) of MGM, does the film resort to musical spectacle.

The beauty of the film is hearing Porter's tunes interpreted by a new generation of singers, including unlikely candidates like Elvis Costello and Alanis Morissette. The frustration is that these great songs are merely background to the film and often the action moves away from the music making it difficult to enjoy.

When I first watched De-Lovely, I was a little disappointed. I had expected something bigger, more spectacular. But upon reflection I find myself respecting the film. The story of Porter is intriguing and complex, and I think this film deserves a second viewing to truly appreciate it.

MY RATING: 8 out of 10.

RATED: PG-13
RUN TIME: 125 min.