This film follows Norma Jean from her simple, ambitious youth to her superstar pinnacle and back down. She moves from lover to lover in order to further her career. She finds fame but never happiness, only knowing seduction but not love.
David Merrill (Robert De Niro), a fictitious 1950s Hollywood Director, returns from filming abroad in France to find that his loyalty has been called into question by the House Committee on... See full summary »
Robert De Niro,
An American girl inherits a fortune and falls into a misguided relationship with a gentleman confidence artist whose true nature, including a barbed and covetous disposition, turns her life into a nightmare.
De-Lovely is an original musical portrait of American composer Cole Porter, filled with his unforgettable songs. In the film, Porter is looking back on his life as if it was one of his spectacular stage shows, with the people and events of his life becoming the actors and action onstage. Through elaborate production numbers and popular hits like "Anything Goes," "It's De-Lovely," and "Night and Day," Porter's elegant, excessive past comes to light - including his deeply complicated relationship with his wife and muse, Linda Lee Porter.Written by
After the conclusion of "Let's Do It (Let's Fall In Love)" Linda reaches into her purse twice to give Cole his cigarette case. See more »
Hello, Cole. I let myself in.
We're not late, are we? I hate to be late.
No, no. We're fine. That sounded lovely.
I hate funeral music. Though, under the circumstances, I suppose I should say my prayers.
Why start now?
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DE-LOVELY (2004) *** Kevin Kline, Ashley Judd, Jonatahan Pryce, (Cameos: Robbie Williams, Elvis Costello, Alanis Morissette, Sheryl Crow, Mick Hucknall, Diana Krall, Natalie Cole) Kline gives a marvelously sublime turn as acclaimed songsmith Cole Porter whose career as one of the preeminent song writers of the twentieth century was inspired by his wife Linda (the usually irritable Judd who acquits herself nicely), whose marriage sustained quite a bit due to Porter's homosexual predilections which are depicted with class thanks to director Irwin Winkler who uses the flashback as seen by an aged Porter viewing his fabulous career as well as the pitfalls with a decidedly unsubtle angel (Pryce) escorting him into the afterlife thanks to a workman-like screenplay by Jay Cocks. Famous singers are sprinkled throughout to warble Porter's classic tunes with mixed results as the film is more-or-less loose and fancy free with great production design and lovely costumes bringing each era into full bloom.
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