Laikals The greatest movie ever made..!

Supelice Dreadfully Boring

Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Jerrie It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Kirpianuscus the charm of this movie is its basic virtue.because it is one of biographic films who not presents a life but a state. bitter, sweet, seductive, heavy, nice. without a real clear definition but ideal for portrait of a great artist and his time, and his fights, and a sort of romanticism who seduce but, in same measure, is far to give a legend/myth/hero to the public. sure, Kline and Judd are the keys for this film who is almost only a honest confession about a man and about the levels of his career. but it represents more than a beautiful film. because it gives the flavor of a lost time in the right way.

bronweis Bought the movie without knowing anything about it, because of stars Ashley Judd and Kevin Kline. I did have to watch it more than once before I "got it". The key to understanding the film, is think of it like Dickens' ghost of Christmas past. And realize that Angel Gabriel is showing Cole his life, flashed before his eyes. Then we begin..Loved the idea because of the period. Like ANY truly amazing work of artistic genius, you have to give this movie a once-over before it sets in. Once, to watch the biography. Once to soak in the Linda and Cole love story. Once to understand the complexity of Cole Porter's true nature. He is truly in love with Linda, yet has other preferences- for men.Strangely, made me think of Freddy mercury (see Queen: A Night at The Opera, documentary). Finally, you settle into the musicality of this film. Re-watch several times, and like a fine wine or a groundbreaking new album, you realize the genius that is in Cole Porter's lyrics, musical writing, and larger-than-life personality. Actress Caroline O'Conner does an unreal Ethel Merman-esque performance. How did this film not win multiple Oscars? Actress, Actor, screenplay, etc, etc. Standing ovation to entire musical cast, theatrical performers, and all the amazing hard work. <3 thank you. thank you. thank you. Want to see this on stage!!!

emdragon De-Lovely is excellent. I am pretty surprised that there are no Academy award nominations for it. The sound track is simply wonderful. Cole Porter's life is biographically and aesthetically portrayed by the director. The two leads, Kevin Kline and Ashley Judd, are perfectly cast and perform beyond perfection in it. That this is a mixture of gay and straight relational behavior in the same man is deftly depicted, and represents the period well. The sets and the choreography in many of the song and dance numbers brought me back to brighter times. A few of the singing extras did not quite capture the period perfectly, perhaps (Ms Morissette comes to mind), but the songs are all so wonderful, so that it is easy to forget. The director, Irwin Winkler, had to try to make a biographical tale depicting the music the man created in his lifetime, which he did wonderfully, while all the time giving the leads free reign to portray real human beings who loved each other, while continually pondering who, exactly, they themselves really were. Mr Winkler uses something of an artist's brush to pull this thing off so well. Not an easy task given the hidden (gay) subject matter of Cole Porters other life.

hcoursen This is better than the Grant/Alexis Smith pic, in which "In the Still of the Night" is sung as a Christmas carol while Porter is still living in Indiana, but some great songs are undercut by their treatment. Why must we watch "Night and Day" sung while the singer touches Cole's heart? That's excruciating, particularly when the straight rendition, of which we get half a chorus, is brilliant. Of the many songs left out, Porter's greatest -- "I Concentrate on You" -- is the one most egregiously omitted. If the music is good, let it be. Natalie Cole's "Love for Sale" is superb, sung, it seems, in a male brothel. Crow's minor "Beguine" is somewhat beguiling, undercutting as it does the song's movement to a triumphant validation: "Oh yes, let them begin the beguine, let the stars that were there before return above you." But I wish we had had the contrasting version. The homosexual stuff and Mrs. Porter's sentimental longing for a little girl of her own is overdone and unnecessary. That's all irrelevant now. It is the music that still counts and this film does not do it justice. That's a disservice to a generation that might really perk up if it heard what this greatest of our songwriters had written, even if in some of the original settings. The verse of "I Love You," for example, is one of the best things Porter ever did ("If a love song I could only write..."). Here we only got the refrain, which is banal, as Porter knew it was. As a disc jockey, I learned that you never voice-over a singing voice. Here, it happens all the time. As someone said, get Ella. She doesn't have the ironic touch for some of the songs, as she was humbly aware, but you hear the lyrics.