Film Review: De-Lovely (2004)

Musicians' biopics have established themselves as one of the more enduring Hollywood trends of the twenty-first century. This phenomenon could plausibly be traced back to Chicago (2002), which proved that musicals could not only be immensely successful on the big screen but also win prestigious Academy Awards. The trend was further cemented by adding the tried-and-tested Oscar-grabbing recipe of protagonists suffering from serious mental or physical afflictions. De-Lovely, the 2004 musical biopic dedicated to the life and times of legendary composer Cole Porter, added yet another dimension to this formula: the protagonist's sexual orientation served as Hollywood's not-so-subtle middle finger to the conservatism of the Bush administration. In an era when same-sex marriage was a polarising political issue and "don't ask, don't tell" remained military policy, the film's unapologetic portrayal of Porter's homosexuality was both a creative choice and a political statement.

The script by Jay Cocks frames the plot through an imaginative fantasy conceit: the Archangel Gabriel, played by Jonathan Pryce, sets the stage for a musical that will depict the life of Cole Porter (Kevin Kline) in the very same theatre in Indiana where Porter began his career. This framing device allows Porter, whilst conversing with Gabriel, to recollect the most significant events of his life. The narrative centres primarily on the moment when he met his socialite wife, Linda Lee Thomas, portrayed by Ashley Judd. They are depicted as being madly in love with one another, despite Porter openly admitting his homosexuality and, as an unrepentant hedonist, engaging in endless casual affairs with men. The marriage appears happy notwithstanding these indiscretions and Linda's previous failed marriage, whilst Porter's songwriting career flourishes. However, when some of his dalliances lead to blackmail, Linda temporarily abandons him and departs for Paris. When Porter suffers a terrible leg injury during a horseriding accident, Linda returns to nurse him. Their life together concludes with her death from emphysema, and Porter ultimately has his leg amputated, never composing again, though he remains a highly respected artist and prominent society figure until his death at seventy-three.

Although Porter enjoyed the zenith of his career during the 1930s and 1940s, there is a great likelihood that most contemporary audiences have encountered his songs—either as background music in period pieces or through modern-day covers. This enduring popularity renders him one of the most instantly recognisable composers in the American songbook, and thus he appeared a perfect subject for an ambitious musical biopic featuring painstaking period reconstruction and likeable musical numbers.

Irwin Winkler, known for producing some of the most legendary films of the 1970s and 1980s—including an Oscar win for Rocky—invested considerable money and talent into this project. The costumes and props are genuinely impressive, with many scenes, particularly the musical numbers, looking as though they belong to a grand musical of the Classic Hollywood era. These numbers feature an array of contemporary music artists, including Diana Krall, Elvis Costello, Natalie Cole, Robbie Williams, and Alanis Morissette, each bringing their distinctive style to Porter's timeless compositions.

Kevin Kline, one of Hollywood's most accomplished actors, approaches the role of Porter with evident gusto. He even allows his singing abilities to be purposely downgraded in order to portray Porter accurately—a composer who, despite his immense musical talent, was not much of a vocalist. Kline shares excellent chemistry with Ashley Judd, who plays the socialite wife with considerable charm and grace. Their performances lend the film an emotional core that might otherwise have been entirely absent.

Yet all these considerable talents cannot compensate for the film's principal flaw: the script's inability to weave the impressive music into a coherent and sensible plot. Porter's life, whilst far from perfect, was to a significant degree lacking in dramatic conflict, owing to his generally happy marriage, successful career, and upper-class background—circumstances that precluded the "struggling artist" stereotypes prevalent in other musical biopics. Cocks attempts to compensate for this narrative deficiency by occasionally emphasising obscure details unearthed from posthumous biographical research, such as Linda's miscarriages, and by placing far greater emphasis on Porter's homosexuality. Yet all of this feels like a cheap and unconvincing attempt to "spice up" a life that appears too "normie" for a proper Oscar-grabbing biopic. The result is a film that oscillates uncomfortably between celebratory musical revue and half-hearted examination of a complex personal life, without ever fully committing to either.

De-Lovely nevertheless deserves praise for its sumptuous costumes, impressive props, and genuinely memorable musical numbers. However, as a biopic, it largely fails. The film can be recommended to fans of Cole Porter's music, who will undoubtedly appreciate the loving renditions of his greatest works. Yet at the end of the day, it appears more like a feature-length collection of music videos than a proper biographical film—a disappointing outcome given the wealth of talent involved in its production.

RATING: 5/10 (++)

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