The Unseen Movie Review

De-Lovely

At a time when London’s West End is about to witness the launch of a number of new big-budget musicals (The Woman in White, The Producers, Mary Poppins and Billy Elliot) comes a biopic of one of the true masters of the form: Cole Porter. It is practically impossible for anyone living in the Western world not to be aware of at least one of Porter’s many fabulous musical numbers, from “Let’s Do It” to “I’ve Got You Under My Skin”, or superb musicals, from “Anything Goes” (a version of which is currently playing in London) to “High Society”.

Ignoring the fact that Porter was responsible for some of the best-known songs of the 20th century, he also had a fascinating life. He attended Harvard Law School with future US Secretary of State Dean Acheson (the equivalent of Colin Powell today), went to France during World War I, married to cover up his homosexuality, was confined to a wheelchair for five years after a horse riding accident, and worked with almost every big Hollywood name from the 1930s through to the 1960s.

This should be ideal material for a biopic, with the added bonus of being able to cash in on the huge success of the likes of Chicago and Moulin Rouge, especially as it covers similar periods. Such an ideal film should Porter’s life make that it already has been one, and more than half a century ago – 1946’s Night and Day, directed by Casablanca’s Michael Curtiz, saw Cary Grant as a rather dashing Porter in a fictionalised account of his life. Porter himself attended the premiere.

Despite the presence of Cary Grant, the only reason to watch that earlier biopic really remains Cole Porter’s music; sadly, despite the presence of Kevin Kline, Jonathan Pryce and Ashley Judd, the same could arguably be said about this new version. Although more accurate – acknowledging Porter’s sexuality for one – it lacks the charm of the earlier version, which at least had the decency to flow nicely. This places Porter in the role of a musical Forrest Gump, cropping up haphazardly and confusingly throughout Hollywood history in a series of flashbacks, with appearances from various figures whose names will almost certainly be unknown to the majority of modern audiences.

But where this film does justify its admission price is, unsurprisingly, the music. Kline as Porter does himself proud, once again stealing the show as he has done in so many of his recent films, and showing to boot an emotional versatility which belies his reputation as a primarily comic actor. Chuck in Porter tunes performed by the likes of Elvis Costello, Sheryl Crow, Alanis Morisette and Diana Krall, and the soundtrack for this movie looks like being one of the best of the year.

It may not be the best film ever made, and may give little or no insight into the creation of the classic songs scattered throughout, but if it revives Cole Porter’s music for a new generation then that can only be a good thing.

posted by Nosemonkey @ 12:00 AM