|
De-Lovely | 
| Director: Irwin Winkler
Actors: Keith Allen, Natalie Cole, Alan Corduner, Vivian Green, Ashley Judd
Studio: MGM
Category: DVD
List Price: CDN$ 15.98
Buy New: CDN$ 9.58
You Save: CDN$ 6.40 (40%)
New (17) Used (6) from CDN$ 5.25
Rating:  3 reviews
Sales Rank: 16710
Format: Ac-3, Dolby, Dubbed, Ntsc, Special Edition, Subtitled, Widescreen
Languages: English (Original Language), English (Subtitled), Spanish (Subtitled), French (Subtitled), French (Dubbed), Spanish (Dubbed)
Aspect Ratio: 2.35:1
Shipping Weight (lbs): 0.2
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: MGMD1007346D
ISBN: 0792863631
UPC: 027616914378
EAN: 9780792863632
ASIN: B00067BBLY
Theatrical Release Date: 2004
Release Date: April 23, 2007
Availability: Usually ships within 1 - 2 business days
Shipping: Expedited shipping available
Shipping: International shipping available
Condition: ******BRAND NEW****SHIPS WITHIN 24 HRS DIRECTLY FROM CANADA USING CANADA POST, NO DUTY FEES TO BE PAID, WE ARE THE SOURCE FOR MOVIES, GAMES AND MUSIC~~~~
| |
| Similar Items:
|
| Customer Reviews:
 Not quite Anything Goes... March 1, 2006
FrKurt Messick (Bloomington, IN USA)
'Delovely' is an interesting portrait of Cole Porter and his wife, Linda, played out against a backdrop of Cole's songs from various musicals. The film is framed in a tryptych manner -- the first act is the Paris/Venice time; the second act takes place in New York; the third act in Hollywood. In between are minor scenes fleshing out the life of the Porters. pCole Porter was born in the late 1800s, and came to prominence in the same post-war, roaring 20s ages that also saw people such as Irving Berlin and Noel Coward. He met the desirable and socially-connected divorcee Linda Taylor in Paris; their marriage seemed from the outside rather idyllic, but there was a secret. This was a marriage of love, to be sure, but not lust. Cole Porter was gay, not really even bisexual, but gay. While this came as no surprise to Linda, over time Cole's attachments to his other loves threatened the integrity of their relationship in Linda's eyes. pCole Porter tried to be faithful to three things -- to his wife, Linda; to his music; and to his own identity. These did not always fit well together. Even though faithfulness to Linda meant emotional and relationship attachment rather than sexual fidelity, even here, Cole's attachments to some of his lovers would become strong enough to warrant Linda wanting a change; unfortunately for her, Cole was able to find a gay life no matter where they moved. Linda's ultimate reconciliation to this came from her recognition that Cole's life, like his music, couldn't be restrained. Cole's ultimate regret was that he couldn't find the perfect someone, that his love was always meaningful but not always satisfying. pKevin Kline's protrayal of the conflicted Cole Porter is a very good one; Ashley Judd's Linda is very sensitive and stunningly portrayed. Jonathan Pryce is the shadowy director, who pieces together the life of the Porters in a montage in front of an aged Cole, not quite in flashback, but in time-sequence inspiration. We as the audience watching with Cole are introduced to major figures in his life, including some of his lovers (but only peripherally), and many of his friends, but most figures remain undeveloped save for Cole and Linda. pThe sets, the scene sequence changes from 'actual' to 'stage', and the scene-shift tone of character are all very effective. Cole Porter's running commentary on his own life helps provide an historical framework as well as an emotional one; the narrative is carried by both the relationship interactions and the songs -- Cole Porter put so much of his own life into the songs. He claims at various points that they were all written for Linda; Linda, ever the realist in the shell of an idealist, knows better, and says so. pWhile much of the story, the sets, the costume and even the credits are done in a style of the 1920s and 1930s (Art Deco is a prominent, recurring theme), the music did not take on this style. More in the tone of 'Red, Hot, and Blue', the Cole Porter-themed tribute album of the late 80s, the songs were often modern renderings of old standards, but modern stars such as Elvis Costello, Alanyis Morrisette, and Sheryl Crow. There are a good number of pieces performed by Kevin Klein and Ashley Judd themselves, Klein performing them as the less-than-stellar-singer Porter himself might have done them. While the music being performed in more modern arrangement jars a little bit with the more time-bound theme of the film, it is still effective in the sense that Porter's music is timeless in many ways. pThe movie drags a bit at times, but it covers the long stretch of Cole Porter's career, and his marriage with Linda from beginning to end. Romance with a decided twist, this is a somewhat sad film, in that despite the obvious love around the characters in the film, no one is finally satisfied with such love. And still, it is de-lovely.
Not quite Anything Goes... March 1, 2006
FrKurt Messick (Bloomington, IN USA)
1 out of 1 found this review helpful
'Delovely' is an interesting portrait of Cole Porter and his wife, Linda, played out against a backdrop of Cole's songs from various musicals. The film is framed in a tryptych manner -- the first act is the Paris/Venice time; the second act takes place in New York; the third act in Hollywood. In between are minor scenes fleshing out the life of the Porters. pCole Porter was born in the late 1800s, and came to prominence in the same post-war, roaring 20s ages that also saw people such as Irving Berlin and Noel Coward. He met the desirable and socially-connected divorcee Linda Taylor in Paris; their marriage seemed from the outside rather idyllic, but there was a secret. This was a marriage of love, to be sure, but not lust. Cole Porter was gay, not really even bisexual, but gay. While this came as no surprise to Linda, over time Cole's attachments to his other loves threatened the integrity of their relationship in Linda's eyes. pCole Porter tried to be faithful to three things -- to his wife, Linda; to his music; and to his own identity. These did not always fit well together. Even though faithfulness to Linda meant emotional and relationship attachment rather than sexual fidelity, even here, Cole's attachments to some of his lovers would become strong enough to warrant Linda wanting a change; unfortunately for her, Cole was able to find a gay life no matter where they moved. Linda's ultimate reconciliation to this came from her recognition that Cole's life, like his music, couldn't be restrained. Cole's ultimate regret was that he couldn't find the perfect someone, that his love was always meaningful but not always satisfying. pKevin Kline's protrayal of the conflicted Cole Porter is a very good one; Ashley Judd's Linda is very sensitive and stunningly portrayed. Jonathan Pryce is the shadowy director, who pieces together the life of the Porters in a montage in front of an aged Cole, not quite in flashback, but in time-sequence inspiration. We as the audience watching with Cole are introduced to major figures in his life, including some of his lovers (but only peripherally), and many of his friends, but most figures remain undeveloped save for Cole and Linda. pThe sets, the scene sequence changes from 'actual' to 'stage', and the scene-shift tone of character are all very effective. Cole Porter's running commentary on his own life helps provide an historical framework as well as an emotional one; the narrative is carried by both the relationship interactions and the songs -- Cole Porter put so much of his own life into the songs. He claims at various points that they were all written for Linda; Linda, ever the realist in the shell of an idealist, knows better, and says so. pWhile much of the story, the sets, the costume and even the credits are done in a style of the 1920s and 1930s (Art Deco is a prominent, recurring theme), the music did not take on this style. More in the tone of 'Red, Hot, and Blue', the Cole Porter-themed tribute album of the late 80s, the songs were often modern renderings of old standards, but modern stars such as Elvis Costello, Alanyis Morrisette, and Sheryl Crow. There are a good number of pieces performed by Kevin Klein and Ashley Judd themselves, Klein performing them as the less-than-stellar-singer Porter himself might have done them. While the music being performed in more modern arrangement jars a little bit with the more time-bound theme of the film, it is still effective in the sense that Porter's music is timeless in many ways. pThe movie drags a bit at times, but it covers the long stretch of Cole Porter's career, and his marriage with Linda from beginning to end. Romance with a decided twist, this is a somewhat sad film, in that despite the obvious love around the characters in the film, no one is finally satisfied with such love. And still, it is de-lovely.
 Dreams are made of this! February 21, 2005
1 out of 1 found this review helpful
I grew up with the music of Cole Porter... and can sing most of the songs! brWhen the movie came out, I went to see it along with two friends. The experience had us all going through the full spectrum of emotions... Why the film was snubbed by the academy is beyond me: the acting is great, the photography is super, the reasearch is beyond the normal Hollywood surface scratching, and make up deserves a whole new award!brSeeing all the extras on the Special Edition DVD made the movie even more enjoyable. I had seen it twice already and had missed the subtilities of the Love For Sale scene...so I went back and watched it again... Wonderful!!!brMusic Lovers, Romantics, Historians... get this DVD! It is worth every penny and should be in everyone's collection.
|
|
|
|
| |
