DE-LOVELY

US, 2004, 126 minutes, Colour.
Kevin Kline, Ashley Judd, Jonathan Pryce, Kevin Mc Nally, Sandra Nelson, Alan Cordunner, Kevin Mc Kidd, James Wilby, Peter Polycarpou.
Directed by Irwin Winkler.

Of course, that is a Cole Porter word and this is a film about Cole Porter, part biography, part portrait, part tribute.

The device used is that of having the aged Porter meet with a producer who wants to stage a musical about his life, the characters coming into the theatre to greet Porter and then beginning the play which will include a great number of his songs – which have been specially chosen to illustrate different phases of his life and his relationships. The film keeps coming back to the producer and Porter for comments about what is happening in the biography, for some re-assessment and for Porter to be able to reflect on his life.

Jonathan Pryce is the producer and has the opportunity at the end to lead the troupe in Blow, Gabriel, Blow. But the focus of the film is directly on Porter with Kevin Kline giving an often incisive performance, even commenting on Warner Bros 1945 Night and Day, the colourful and sanitised version of his life (with Cary Grant) that, if he could survive this, he could survive anything, especially the injuries sustained in a riding accident which led to almost thirty operations on his leg and eventual amputation.

But the two features of the film are his songs and his relationship with Linda Lee Porter despite his homosexual orientation.

There are plenty of songs worked into the plot and sung by a number of contemporary artists including Robbie Williams, Sheryl Crow, Alanis Morrissette and Elvis Constello. By the end one has a fairly comprehensive appreciation of his melodies, his witty lyrics, his constant theme of love, his ballads and his songs for shows culminating in Kiss Me Kate. We hear Night and Day, Under My Skin, Begin the Beguine, True Love, Anything Goes, De-lovely, What is this thing called Love, Let’s Misbehave and, poignantly, at the end of the film, In the Still of the Night as well as during the final credits, You're the Top by Porter himself (rather squeakily).

As regards relationships, the focus is on his love for and marriage to Linda, played here by Ashley Judd as a rather charming wealthy American aristocrat who knows what she is doing in marrying Porter, supports him, often with great difficulty, for around thirty years until her death from lung cancer (there is a great deal of smoking in the film). Porter's orientation was not public in those days. The film shows his liaisons as well as the potential for blackmail.

Porter's was an affluent world, a world rather remote from the struggles of everyday life. He lived for years among the 1920s expatriates in Paris. He had a very successful Broadway career. He also took well to Hollywood for a while (with a mock presentation of Be a Clown sung with MGM head, Louis B Mayer).

De-Lovely is probably of limited interest, younger audiences (unless devotees of golden oldie movies) may wonder about it all, but those who remember the musicals with fondness will relish it.

1. The Cole Porter heritage, music, lyrics? The film as a tribute?

2. Cole Porter’s life, American, celebrity, American culture? Personal life?

3. The theatrical device: the producer, his enthusiasm, the musical play, the characters assembling in the theatre, his being able to communicate, Cole Porter not being able to? Porter old, watching, delighted, curious, having no control? Looking at his life? The theatricality?

4. The moving back and forth to Porter and the director during the film? Porter’s changing attitudes, regrets, explanations?

5. The songs and the range: the credits, the title song? Seeing Porter composing, his skills at the piano, creativity, teasing out melodies? The visit of Irving Berlin and his encouragement? Berlin encouraging his being recommended for Broadway? The lyrics, the wit, clever, daring? You’re the Top, De-Lovely, Anything Goes, Let’s Misbehave, What a Swell Party This Is, Be a Clown? The love songs: the classics, the particular songs for Linda, for his own life, for the homosexual relationship, for example Love for Sale? So In Love for Linda’s dying? The range of performers for the songs – 21st century singers? Their interpretations?

6. Porter and his life in Paris, being away from the United States, his Indiana background? His lifelong friendship with the Murphys, their children (and Patrick’s illness and death, funeral)? Singing with Jerry, What a Swell Party This Is, seeing Linda leave? Thomas, the attraction, his courting of her, sharing talk, experiences, the marriage – and the disturbance with the tantrum of her husband?

7. Linda in herself, aristocratic, her bearing, singing True Love with one of the Murphy children? Her delight in being with Porter, his music? The smoking – and her later cancer? Knowing his sexual proclivities, accepting this, living with it? Sharing his life, the composition of the songs, Easy to Love? Her easy life, with Porter at the Ballet Russe and seeing the ballet dancer with whom he was having an affair? Living with his affairs?

8. Irving Berlin and the invitation to Broadway, the discussion about whether they should go or not? On Broadway, the rehearsals, his self-confidence but his doubts? The opening, the gift of the cigarette case – and Linda continuing this throughout his career? The increasing successes? His friendship with Monty Woolley in Paris, in New York, his procuring men for him? Singing Night and Day with Jack, coaching and encouraging him? The Central Park ride, the affair? Porter as an American success?

9. The going back to the old Cole Porter, the discussions with the producer, discussing Linda, the nature of their love, relationship, his loving her as much as he could? Her wanting to have a child, her illness, the blood? Her disappointment in his staying out all night?

10. the discussion about going to Hollywood, Linda seeing it as a new beginning, possibilities? Bobby Reed and his being an assistant, procurer, the discussions with Linda, the blackmail, the scenes at the club, kissing, the photos? Going to the studios, meeting Louis B. Mayer, singing Be a Clown? The films, Rose Marie, meeting Nelson Eddy? Mocking Mayer and his tears at the songs? His liking the Hollywood lifestyle? Linda not? Her leaving for Paris?

11. The accident, the horse falling on him, Linda’s return, no amputations, the number of operations, limping and with sticks? Trying to build a new life, Linda buying the house in Massachusetts?

12. The difficult years, the writing of Kiss Me Kate, the rehearsals and the singing of Another Opening, Another Show, So in Love? His rebuking of the singer, his affirming the cast? The play, his walking down the aisle, its success?

13. Linda’s illness, her death? Her getting Bill to be his companion and look after him? The scenes at the grave? The Murphys and Bill at dinner, his wanting to be alone, their leaving? His writing Can Can?

14. The end and his achievement? The love songs, What Is This Thing Called Love, and the perennial theme of love, Night and Day, Under My Skin? The cast arriving, the producer leading the singing of Blow Gabriel Blow? The return of Linda, the kiss, the narrowing of the focal light on the two, singing The Still of the Night?

15. The film as a piece of Americana, musical theatre, the world heritage of Cole Porter’s music (and listening to him singing You’re the Top during the final credits?