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De-Lovely: The Cole Porter Story (Special Edition)

Kevin Kline (Actor), Ashley Judd (Actor), Irwin Winkler (Director) Rated:
PG-13
Format: DVD
4.6 4.6 out of 5 stars 817 ratings
IMDb6.6/10.0
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Genre Musicals
Format Closed-captioned, Color, NTSC, AC-3, Subtitled, Dubbed, Dolby, Widescreen, Special Edition, Multiple Formats See more
Contributor Irwin Winkler, Sandra Nelson, Kevin McKidd, Edward Baker-Duly, Jonathan Pryce, Richard Dillane, Kevin McNally, Jay Cocks, Ashley Judd, Keith Allen, Peter Polycarpou, Allan Corduner, James Wilby, Kevin Kline See more
Language English
Runtime 2 hours and 5 minutes
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Customer reviews

4.6 out of 5 stars
817 global ratings

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Top reviews from the United States

  • Robert M Guedin Jr
    5.0 out of 5 stars Good sshow
    Reviewed in the United States on November 23, 2024
    Verified Purchase
    Wanted DVD of show.
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  • Mr. Jefferson Esq.
    5.0 out of 5 stars Perfect for theater nerds
    Reviewed in the United States on September 17, 2024
    Verified Purchase
    Most of this is already available on YouTube so if that's all you want, don't worry about it. You absolutely want to get the DVD so you can get all of the multiple extras and multiple commentaries and all manner of subtitles. This thing is the reason DVDs exist. If you love Cole Porter and you really want to absorb this movie, buy the DVD.
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  • Martin H. Block
    5.0 out of 5 stars It's Delightful, It's Delirious, It's "De-Lovely."
    Reviewed in the United States on May 7, 2014
    Verified Purchase
    "De-Lovely" is "Armedeus" set in the 20th Century. Don't look for accuracy -- though it is based on much of what we knew about the primary charcteres, composer Cole Porter and his wife Linda Lee Thomas, played by Kevin Kline and Ashley Judd. Look for music -- wonderful music, from the first bit of Cole Porter musical genius to the finale. This delightful movie is best described as a musical fictitious biograph about a consumate composer for the stage; the genius who gave the world songs that will remain part of our repertoire probably forever, "Let's Fall in Love," "Be a Clown," "Night and Day," "True Love," "Anything Goes," "Begin the Beguine," and the hauntingly beautiful songs "So in Love," "Love for Sale," and of course, "In the Still of the Night."

    Some may complain about the songs that were sung by pop music artists of today, but I still enjoyed them, When you listen to the heartrendering words and music in "Love for Sale," or the beautifully biographical lovesong, "In the Still of the Night," anyone is going to feel the music pulling at them.

    So don't look for the real biographical story of Cole Porter, or try to understand the man and his complexities as addressed in the movie. No, just sit back and be entertained by some great music and dancing interwoven with a wonderful love story.

    I don't care what the snobs say; I found the movie absolutely "De-Lovely."
    9 people found this helpful
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  • Samuel
    4.0 out of 5 stars Great acting, good intentions, wasted opportunities
    Reviewed in the United States on March 23, 2008
    Verified Purchase
    At one point Jay Cocks' script borders on the self-congratulatory when Cole and Linda are shown viewing the earlier biopic starring Cary Grant with obvious displeasure. This remake, of course, is going to tell it like it is, and indeed the script of "De-Lovely" strains to account for the (frequently) flawed face of artistic genius. Linda tells Cole that his music stems from his talent, not his behavior, whereas Cole tries to explain that it's all part of the same inseparable package: without the excesses, the disloyalties, the self-indulgences he wouldn't be who he is--arguably America's greatest songwriter. In the end, "De-Lovely" is self-descriptive: not a pretty picture--more Asbury Park than Granada, to paraphrase a Porter lyric.

    Perhaps today's audiences need more proof that he really was a great songwriter. Or given the moral correctness of our times, perhaps audiences are incapable of empathizing with those given to self-indulgences. Or they may think they know all too well "the wages of sin." Or perhaps the acting of Kline and Judd overwhelms the script's good intentions. Indeed, they come across as two people who, as each is fully aware, ask too much of one another. He gives her gifts, love, sporadic devotion; she gives him gifts, his vanity (i.e., useless legs), and undying devotion. In the end, and in the still of the night, Linda's devotion cuts through the darkness--a flickering memory but all that Cole has left before the screen goes black.

    We believe the characters, their relationship, and their deep if unconventional love--perhaps too much. The film becomes a frequently luminous and tuneful soap opera about a main character who is more pathetic than tragic, about a self-destructive songwriter who self-destructs for obvious reasons, but in a deliberate, slow, very sad and depressing manner. Orson Welles had in essence a similar character and plot framework in "Citizen Kane," but he also had the directing "style" (which above all should be foremost in anything related to Cole Porter's music and life) and a "motivator" to make Kane's willful and self-ignorant destruction a mutually shared obsession, inviting us at every moment to become adventurer-detectives searching for the clues that will lead us to "Rosebud."

    By contrast, "De-Lovely" wallows in pain and misery for the last 30 minutes, insulting us with a momentary deus ex machina ("Blow, Gabriel, Blow"--the clumsy choreography and camera work are exceeded only by the execrable, cheesy musical arrangement), and then attempting to rescue everything with that flickering, potentially powerful, image that is the film's final moment. Too little, too late--and too soon, moreover, after we've endured the spectacle of our subject reduced to a pay-for-play "John," a victim of blackmail (triply so, because Linda is included, as is their relationship and mutual trust). The soundtrack plays "Love for Sale," but what we witness is a love that's far more than "slightly soiled."

    The project needed to be rethought. Most of today's viewers are totally unsympathetic with the private lives of artists (one would think the writers would pay attention to politics) and, for that matter, unfamiliar with Porter's songs. The film would have done a great service had it opened viewers' hearts and minds to the "obsessions" (an apt term used in the film) of others, the personal mind-images and different objects of desire that motivate the passions of the artist in ways that move us all. (What's the gain in portraying Monty Wooley as a pimp?) Or it would have done an equal service had it launched a whole new wave of interest in the music of Cole Porter.

    Sadly, it fails there, too, for reasons too numerous to mention. As a musician, I have no answers for the film's complete re-harmonization if not rewriting of "Begin the Beguine." (If such flagrant disregard of the man's music is acceptable, why should we accept the film's representation of Porter's life?) Perhaps it's just as well the film bypasses Porter "essentials" like "I've Got You Under My Skin," "I Get a Kick Out of You," and "At Long Last Love." And, of course, only Hollywood can be counted on to make a musical about American jazz musicians' favorite American composer with nary a measure of music that swings! In short, musically this production is clueless about the heart of great American popular music. The performances and arrangements in "De-Lovely" owe more to the late Victorian-era sounds of the British music hall than to the African-American musical forms that directly inspired Berlin, Gershwin, Arlen, even Kern and, indirectly at least, Cole Porter.

    This is a movie/DVD that few people will care too watch more than once. If you count yourself in that number, and if you're wondering why someone would bother to make a movie about Cole Porter, pick up any recording by Sinatra and Nelson Riddle with "I've Got You Under My Skin" ("Songs for Swinging Lovers" is a good start) or "Night and Day." If you tire of either song (virtually impossible), try the inspired, absolutely scintillating version of "In the Still of the Night" on the first disc of the recent "Sinatra-Vegas" box. And if that's not enough, there's plenty more from the same source, or from Ella Fitzgerald on the "Cole Porter Songbook." Or listen to Mabel Mercer explaining how it (in Porter songs, love is frequently an "it" or "thing") was "Just One of Those Things," or to Dinah Washington actually selling it on "Love for Sale," or to Danny Kaye performing the pyrotechnical verbosity of "Let's Not Talk About Love," or to any singer who imparts to these timeless, immortal songs and lyrics the life that is theirs, allowing them to become the magnificent obsessions of yet another generation of listeners.

    [Why the 4-star rating? Maybe I got the movie entirely wrong, and if I didn't, maybe the movie succeeded in creating sympathy for and interest in Cole Porter as well as the original, indigenous art form at which Cole excelled: the "American Popular Song," along with "The Great American Songbook," which owes so much of its brilliance to the contributions of his inarguable genius. Musical composition--in verbal, cinematic, or musical language--is not a thumbs up, thumbs down proposition. I'm frankly bummed by dismissals of Robert Altman's "Nashville" (my favorite movie), but I'll respect the opinion of any reviewer who took the time to screen the film and give it some serious thought.]
    5 people found this helpful
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  • N. Fairbairn
    5.0 out of 5 stars and the music ain't bad either!!
    Reviewed in the United States on March 1, 2009
    Verified Purchase
    this story, told so carefully and lovingly,left no doubt about the chosen lifestyle of it's central character without taking away from the deep love,respect and yet heartfelt regret of the way it 'had to be'.I thoroughly enjoyed this movie,its honesty and the skill of the actors so well cast in this case. Ashley Judd as the quintessential Linda( Lord can ANYONE cry prettier or more convincingly than she?) was the perfect foil for the devoted yet self indulgent lover that Cole was. their story broke my heart! the whole stylish presentation and attention to detail that only Mr Kline can offer the viewer is very apparent and appreciated.the fact that they wore the clothes of the period with such a natural air made one believe they were born to the period and not merely visiting. the only hiccup for me, and it was a minor one , was Sheryl Crows rendition of "Begin the Beguine" Don't expect the steamy ,rhythmic number that used to make us all close our eyes and surrender to the passion of the original mood of the song,instead,especially if you are "of the era" you may be jarred unforgivably into the modern world of music, But only for a moment, you will soon willingly retake your front row seat for the experience of Mr Klines' genius of interpretation. i have already watched this movie over and over and i thank everyone involved for this gift
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  • SEDON
    5.0 out of 5 stars Connaître le jazz de cette génération
    Reviewed in France on March 19, 2020
    Verified Purchase
    J'ai adoré. La vie de Cole Porter, ses compositions, les costumes, le jeu des artistes, merci à M. Winkler. Référence à Fred Astaire qui fut un des grands maîtres de la comédie musicale, pour "Night and day" . Vous appréciez le jazz, pas d'hésitation, déguster ce petit joyau !
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  • Alan Sturgess
    5.0 out of 5 stars An underrated, undiscovered masterpiece
    Reviewed in the United Kingdom on September 2, 2005
    Verified Purchase
    Why this film hasn't been acclaimed worldwide, I don't know.
    It has a fantastic sense of style with performances that are faultless. Kline and Judd are so perfectly matched and believable that you become convinced you're watching the real people.
    But it's the music that wins you over - and the way in which it is woven into the story so that you suddenly see every song in a whole new way as it becomes an illustration of Porter's own life, weaknesses, passions or longing.
    The entire basis of the film is that Porter (Kline in wonderful prosthetics) sees his life flash before him in the final moments of his life. This is 'orchestrated' by 'Gabe' (Gabriel) who acts as the director of the 'show' that Kline is watching in its final rehearsal. he is thus able to comment on his own life as it is acted out before him.
    Truly wonderful and definitely not to be missed.
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  • Carl-heinrich Bock
    5.0 out of 5 stars Eine große, außergewöhnliche Liebe
    Reviewed in Germany on February 22, 2005
    Verified Purchase
    Hollywood hat die Musikerbiographien wieder entdeckt. Nach dem Biopic „ Ray" erscheint hier in „De -Lovely" nach 1946 die zweite Cole-Porter-Story. Doch einen erfolgreichen Film hatte schon Michael Curtiz 1946 nicht gedreht, als er die Hauptrolle mit Cary Grant besetzte, aber wohlweislich die Homosexualität verschwieg. Ohnehin wäre es schwierig gewesen vierzig Jahre nach dem Tod des Komponisten ein großes Publikum für die „Cole-Porter-Story" zu begeistern.
    Winkler stürzt sich vornehmlich auf die tragischen Momente im Leben des Künstlers, und ohne Mut auf das Weglassen des Belanglosen, verliert er bei der Abspulung der Lebensstationen des Cole Porters, das Entscheidende aus den Augen.
    Den angemessenen Film hat ergo auch Irwin Winkler nicht gedreht. Im Mittelpunkt des Films steht die Beziehung Porters (Kevin Kline) zu seiner späteren Frau Linda (Ashley Judd). Zwischen dem Paar gilt als stillschweigend vereinbart: Am Tag und in der Nacht passieren unterschiedliche Dinge. Linda, eine selbstbewusste, zielstrebige Frau, eine der schönsten und klügsten Frauen der Pariser Gesellschaft, entscheidet sich trotz Kenntnis der Homosexualität den Künstler zu heiraten. Die Toleranz die sie ihm in den ersten Ehejahren entgegenbringt, verschwindet mit der Zahl zunehmender gleichgeschlechtlicher Affären und der lebensbedrohenden Krankheit Lindas. Die vielen Szenen aus dem Leben des Paares, die vielen Erfolge und Niederlagen lassen keine glaubwürdige Beziehung des Paares zu. Eigentlich findet der Film überhaupt keine richtige Haltung zu der Person Cole Porters(1893-1964), zu seinem wirklichen Leben. Insofern kann man bei dem Film von einem wirklichen Desaster sprechen, nach dem Motto „Thema verfehlt". Und dennoch gibt es auch Höhepunkte.
    In der Titelrolle überzeugt Kevin Kline, und auch Ashley Judd, im Film anders wie im Leben an der Seite von Cole Porter, ist nicht nur hübsch, sondern sie überzeugt mit einer recht ordentlichen Schauspielleistung und stellt ihre vielseitigen Talente wieder deutlich heraus. Und natürlich ist De-Lovely auch ein Vergnügen durch das erstaunliche, unaufdringliche eingebrachte Gastaufgebot an Sängern und durch die geradezu Oscar-reife Ausstattung.
    Alles in allem, trotz aller Kritik, ein unterhaltsamer, leicht beschwingter, geistreicher Film mit viel Musik und einer bezaubernden Ashley Judd. Vielleicht muss man, wie ich, Fan von Ashley Judd sein, um diesen Film zu mögen.
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  • Juan Carlos Leyva
    5.0 out of 5 stars Lo mejor de esta película son todos los musicales de Porter
    Reviewed in Mexico on January 3, 2024
    Verified Purchase
    Es una película muy original sobre la vida de uno de los más célebres compositores de su época
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  • Ursula Elisabeth
    5.0 out of 5 stars De-Lovely
    Reviewed in Germany on July 2, 2013
    Verified Purchase
    Der Film hat mir sehr gut gefallen. Ein schwuler Musiker, der aber eine Frau heiratet, sie auch liebt, aber eigentlich Männer liebt. Eigentlich eine tragische Geschichte. Kevin Kline ist ein toller Schauspieler und er verkörpert Cole Porter sehr gut. Es treten im Film ettliche Stars auf, die auch singen. Sehr schöne Musik. Am Besten gefällt mir die Performance von Robbie Williams und Mick Hucknall.
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