Scanialara You won't be disappointed!

ReaderKenka Let's be realistic.

Fairaher The film makes a home in your brain and the only cure is to see it again.

Humbersi The first must-see film of the year.

namashi_1 Kevin Kline. A Prolific, Mesmerizing Actor, Who Proves His Status Once Again by delivering a BRILLIANT Performance as composer Cole Porter in 'De-Lovely'. The Oscar-Winning Actor elevates this biopic with the sheer power of his performance.'De-Lovely' Synopsis: Inspecting a magical biographical stage musical, composer Cole Porter reviews his life and career with his wife, Linda.As a biopic, 'De-Lovely' explores the Journey of Cole Porter, with sincerity. Jay Cocks's Screenplay Nicely Executes the entire journey of the talented personality. Irwin Winkler's Direction is under-stated. The Songs are wonderfully sung.Performance-Wise: As Mentioned Before, Kline delivers a BRILLIANT Performance as Cole Porter. The Versatile Actor is at his very best! Ashley Judd as his wife Linda, is equally terrific & compliments Kline in every level. Jonathan Pryce supports well. Kevin McNally & Sandra Nelson are perfect. Others lend good support.On the whole, 'De-Lovely' is a good film, with a sterling performance by Kline.

Armand not a biographic movie. only sketch of a career, shadows of a life, search of happiness, nuances of a gift, small pieces of a way to define essence and a love story like a palmer in storm. a delight. for actors - Kevin Kline is extraordinary, Ashley Judd - definition of fragility, for music, old, good and nostalgic, for labyrinth of a man personality, for post- death analysis, for the science of detail and art of show as cake cream. for courage to create a character far from public image - seductive, cold, strange and very vulnerable. for homo erotic page as few drops of cinnamon. for a fake easy comedy who gives questions, seeds and any answer. for recreation of a era. and for the joy to be, for more than 100 minutes part of a game , part, in secret, of yourself.

templepenn I love this film.It may not be historically quite accurate, but it works brilliantly.The film is almost structured like a Cole Porter song - and there isn't a much better compliment than that.That's what I wanted to say.What's the problem with brief pithy comments? Is this enough lines? Is IMDb destroying freedom of speech.If I can say what I want to say concisely shouldn't I be praised rather than penalised by having to think up a load of padding? Or don't you agree.I'm getting ****ed off now.I hope this is the last line.

rooprect This is one of the most ambitious musicals I've seen in a long while. It openly challenges the rules & format of every standard musical you've ever seen (as with the irony of the quote in my title), and it even goes so far as to challenge the distinction between what we see on screen vs. what's going on backstage--breaking down the proverbial "4th wall" to include the audience while at the same time setting up 4 new walls to distance us even further from the action. It's very, very cleverly done. At times you wonder if the film is all a joke, a dream or some some bizarre Ebeneezer Scrooge visitation by Xmas spirits. That, to me, is what surrealism should be about. Not just crazy random images à la Luis Buñuel's early work, but taking the audience to a level somewhere above reality and below total fantasy.Warning, though. This film requires a great deal of patience. I almost shut it off twice in the first 45 mins because I didn't catch the point of it all. And not being well versed in the music of Cole Porter nor interested in lifestyles of the 40s rich & famous, I came >>this close<< to ejecting the disc and watching reruns of I Dream of Jeannie instead. But I'm glad I stuck around.Cole Porter, as portrayed, is not necessarily a likable character. His brazen infidelity and elitist attitude will offend the puritans amongst us. His homosexual escapades will undoubtedly freak out guys who aren't comfortable with the subject (hence the low IMDb rating? I'm just guessing). But by the time it's over, I guarantee he will have hit some kind of chord with everyone. Whether that's due to Kevin Klein's excellent performance or something more subtle & thematic, I don't know.Ashley Judd is absolutely amazing. This is the first time I saw her as a legitimate actor, not just a musician-crossover-actor-wannabe. In fact it was Ashley's dynamic performance that got me over the hump of boredom/confusion I mentioned earlier.The music - sort of a mixed review here. Although I'm an Alanis Morissette fan, I don't think her vocal style, with its excessive vibrato & modern twang, complimented the nostalgic era depicted in the film. So we lose points there. Similarly, Elvis Costello stuck out as being a bit too stylish for the dated material. On the other hand, Cheryl Crow delivers a beautiful, haunting version of "Begin the Beguine". Natalie Cole was OK. Ashley Judd herself sings one song, and I thought it was very memorable. And Kevin Klein--great job (though cleverly, we are told up front that Cole Porter never had a great singing voice. That gets Kev off the hook). Overall, good music. If I were more familiar with Cole Porter tunes, I'm sure I would like it even more.Well, here I am wrapping up another long-winded review. And as always, if you read all the way through this, then I think you have the patience to handle a complex film like this. Enjoy it!