De-Lovely (2004)
Although this biopic of massively
popular song writer Cole Porter includes the reality
that the man was primarily a homosexual, something
that was left out of 1946's "Night and Day," this
is still a homophobic and regrettable film. Porter
is shown as a miserable and lonely proponent of gay
one night stands who moves from boy to boy much the
way one moves from street to street when in an automobile.
He never once establishes a warm, tender and caring
relationship with a man. Instead, he is shown as a
bon vivant and gadabout who is not a whole person
until, sigh, he finds the love of a good woman.
Sure, she's also a good and UNDERSTANDING
woman at first but as the film continues, she is shown
to be a jealous harpy who undermines any attempt at
male/male intimacy that Porter might be able to generate
here. And, yes, perhaps this is the reality of Porter's
life but it is also a reality of modern films to suggest
that if Porter had been a happy and secure homosexual,
this film perhaps never would have been made. Hollywood
isn't interested in showing two men in love in a committed
and equal relationship. The most intimate moment here
that Porter has with anyone male or female is a kiss
on the cheek.
Think I'm being militant and a poor
sport? Just witness the scene where Porter is shown
in a "gay bar" in the 40's where sailors and rent
boys profit from plying their wares while a black
songstress pours her heart into Porter's classic "Love
for Sale." It's a stereotypical and disgusting look
at what being a gay person is supposedly all about.
(You know, if you believe Jerry Falwell and Ronald
Reagan). Had this film any interest in showing us
something resembling a positive portrayal of Porter's
lifestyle, perhaps a moment between he and his muse
for "Nature Boy" might have been portrayed. Your not
going to even get to hear that song here. The only
love songs here are to his beautiful hetero muse.
The plot device for this film is
a typical and contrived mess as well with Jonathan
Pryce playing a sort of creative person (playwright,
stage director, choreographer? Who knows) who acts
as tourguide through Porter's supposed life story
while his aged corpse (played by Kevin Kline in a
ton of bad make- up and prosthetics) looks on and
remarks in witty criticisms. It's quite ridiculous,
a narrative device that is unnecessary and doesn't
work.
Kline plays Porter as a passionless
and sexless curmudgeon, wavering between boring as
a youth and hostile and cynical as a wheel-chair-ridden
old man who has lost a leg to a horse- riding accident.
It is extremely difficult to garner any sympathy for
the character but this is as much the fault of Jay
Cock's script as it is Kline's inability to do anything
interesting here. Equally abused by the script is
Ashley Judd as Kline's hetero life partner. Judd fluctuates
from easy- going support mechanism to harpy quicker
than you can say "green-eyed monster." These are very
trite, very unappealing character arcs and watching
them unfold for 2 hours is sometimes torturous.
The songs here have some moments
that shine and it is only here that the film becomes
something similar to "interesting." While some of
the pop singers who lend their facade and voicebox
to the film don't quite work (Robbie Williams is a
narcissistic showboat, Lemar and Natalie Cole are
wasted and Sheryl Crow is about as boring as one can
tolerate), others do quite a wonderful job. Elvis
Costello, Alanis Morrissette, Caroline O'Connor and
Mick Hucknall do quite a lot to make the film palatable
for a small diverting portion of the film here and
there. Even Kline has a decent musical number in "Be
a Clown." In that scene Porter meets L.B. Mayer and
finds himself trapped in the mindlessness of the Hollywood
of the 30's and 40's. (It's interesting to note that
this film is released by MGM and it portrays their
founding father in a far less than flattering light).
But a few great musical numbers
do not a movie make. Mainly this film is anything
but De-Lovely. Instead it's easier to call it de-boring,
de-passionless and de-basing to the idea that homosexuality
can be normal and acceptable. Typical Hollywood homophobic
crap.
Note:
Scenes from the first Hollywood
Porter biopic 1946's "Night and Day" are shown and
Kline and Judd comment upon the film in a scene. Porter
is seen in a film clip early in the film and is later
heard on a recording singing one of his own songs
over the end credits.
There are at least 8 films called
"Night and Day," including one released in 2003 which
may account for the different title here. The film
was also known as "She's De Lovely" and "Just One
of Those Things" in pre-production phases.
Viewed in Austin in July 2004 with
Johnny Oh!, his friend Brett, and my roomie Amanda.
