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Plenty to Like, Plenty to Dislike

Absolutely the worst movie.

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

It has now been several days since watching this film and with every silent moment, I hear these songs in my head non-stop! They are simply brilliant, beautifully crafted and uplifting. However, I did not enjoy the movie for the most part. It moved too slowly and the stylistic arrangements did not meet my expectations, save the "Night and Day" rendition. The costumes, sets, locations were stunning and encourage a future viewing.I was unaware that such an august set of professional modern day crooners would be covering Porters major hits and most of them fell flat. I did venture to YouTube to hear other interpretations from Ella, Frank, etc., and think they were an improvement but just not as powerful. Any suggestions for the proper treatment, please advise.I have great respect for Kline and Judd but saw such flawed chemistry despite his obvious preference for men, who btw were extremely handsome. I remain clueless concerning the scenes at such a small venue and assume this was his first theatrical debut location? Where was this addressed and by whom? The flashback format was fine and I was surprised to discover that Kline was playing all roles, young and old.The prominent take away from this film was how fast life goes by and no one really prepares you for the glory to gutter existence. And good thing, who wants to ruin that incredible party!! Having such a serious injury provides a grand opportunity for growth in many areas and like Frida, the crippled artist, your work transcends the handicap.I was surprised at how many songs I knew, enjoyed, and unaware they were of Porter's creation. What a treasure of talent in that he developed both lyrics and melody. I doubt I could remain in his world without true love, despite the social elevation and financial security.I recommend this film for Porter fans as many of his songs are presented, albeit in several cheesy rehearsal scenes or Kline singing himself. Also for the lavish sets and divine dresses!

When oh when are the Hollywood studios going to make decent and factual bio's of their countries songwriters from the 20's, 30's and 40s ???????Most of these songwriters were Jewish immigrant's, Cole Porter wasn't, but this isn't the point.De Lovely is crammed with Cole Porters songs, but with todays singers singing them and I cringed.The greatest singers to sing the songs that were crafted by masterful songwriters and lyricist have all but left us, albeit Tony Bennett is still around at 80 plus.Today's singers think more about their own careers and therefore themselves than they do the song they are singing that were written for an adult audience fresh from WW2.I loathed De-Lovely, I loathed Kevin Cline as Cole Porter.The Great American songwriters left a huge legacy, but I bet if I walked the streets of New York, and asked one person if he or she could tell me the songwriter behind just one song standard, that person would have no idea, and this is a double crime.We haven't got the caliber of songwriters today, its all about money. Beat has replaced melody. Songs today are written for a young audience, and uncultured adults.George Gershwin, Irving Berlin, Jerome Kern, Harry Warren, Richard Rodgers, Frank Loesser, to name just a few composers from the 30's and 40's were geniuses.I could spend a week writing this because I feel strongly about it.Its about time Hollywood played factual tribute to the men and woman of the 20's 30's and 40's who contributed so much to the studio's and American musical culture.

Anyone who knows anything about the life of Cole Porter has got to find this movie absolutely ludicrous. I was told how wonderful it was by a family member who knew nothing about Porter and his world, and when I finally saw it, I laughed initially and then became disgusted.There was a great opportunity to dramatize the real Cole Porter, especially since the biopic from 1946 was a white-wash. But of course that was understandable, given that society simply didn't discuss gay people, and particularly those who married. It was well known in Hollywood that major stars who were gay were told to marry so that they would seem 'normal' to the public (as late as the sixties, gay people were considered sick). That the producers and screenwriter blew it here is really sad. Both Cocks and Winkler are talented filmmakers; how could they have gone so wrong? This mess is a real shame, as Kevin Kline is a marvelous actor who can do anything, and Ashley Judd is also wonderful. Even they can't save this disaster.One writer said that Porter would have loved this film. Sure he would have loved it. He would have been terrified to have been outed as gay, and frankly it was nobody's business anyway. He suffered enough when he had the accident from which he never recovered.

I have never ever been a fan of Broadway musical type movies, until I stumbled on this movie. I also never knew anything about Cole Porter or his life, much less that he wrote many of the very popular tunes we've heard.I believe Kevin Kline performed amazingly in this movie, along with Ashley Judd's performance. I believe they are the reason I enjoyed it so very much. The cameo performances in the film were so fabulous to enjoy with the various artists.Mr. Kline & Ms. Judd, thank you for bringing Cole Porter's life more into the light and for me to enjoy. Thanks to you, I now have another one of those FANTASTIC movies that I can put into the DVD player at any time and watch beginning to end, no matter how many times I've watched it. BRILLIANT PERFORMANCE!!!!