De-Lovely Page #4

Synopsis: 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.
Director(s): Irwin Winkler
Production: United Artists
  Nominated for 2 Golden Globes. Another 2 wins & 11 nominations.
 
IMDB:
6.6
Metacritic:
53
Rotten Tomatoes:
48%
PG-13
Year:
2004
125 min
$13,148,028
Website
143 Views


And plant it like that. See?

Good catch.

l always thought so.

Sun-tanned, wind-blown

Honeymooners at last alone

-You know, this was written as a duet.

-Thanks.

Oh, how lucky we are

While I give to you and you give to me

True love, true love

So on and on it will always be

True love, true love

Cole, l know this is your song,

but it just doesn't sound like you.

Linda thinks it does.

With nothing to do

Are you going to put it

in the new show you're working on?

-Why not?

-Because it doesn't sound like me.

Love forever true

Bravo!

Oh, my goodness,

could you be any more wonderful?

Come in.

-Hello.

-Hi.

l was lying in my bed just now, thinking...

l don't want to stay in that room.

l want to stay here tonight, is that all right?

Of course it is, darling.

ls everything all right?

Are you lonely?

No, l'm fine.

lt's just that....

lt's funny, this afternoon...

l was watching you...

and watching you

watching the Murphys' kids...

and l thought about how happy we are

and how much we have...

and then l thought about the Murphys

and how happy they are...

and l think we could be....

We are as happy as the Murphys,

but we could be happy in the way that...

the Murphys are happy

if we had what the Murphys have.

They bring them so much happiness.

l'm so glad l'm not trying

to write this as a song.

lt would be a beautiful serenade.

Champagne,

or how do you wanna play this?

Comedy, tragedy? Musical comedy, farce?

Why don't we just play?

Good idea.

Night and day

You are the one

Only you beneath the moon

And under the sun

Whether near to me or far

It's no matter, darling, where you are

I think--

Stop!

-lt's impossible, l just can't do it.

-Cole.

He is only an actor,

but he's still maybe right.

He's tried it seven times.

The song is a problem.

l told you, we should have given it

to Astaire.

Beard, the song is not a problem,

it's a challenge.

Just give me a moment.

Jack, dear boy...

what can l do to help?

Anything, just name it.

Write another song.

God, that cuts me right to the quick.

l know it's God-awful,

but it's the best l can do.

And we open in three days.

Look, Mr. Porter, the song goes

so high and so low, it is impossible.

lt's not impossible.

Jack, l wrote it with you in mind.

l know you've got it. l can sing it,

and l have a range of three notes.

Where did you come up with it?

l get all my ideas from a little Chinese man

in Poughkeepsie.

Listen, you can sing this.

The problem is, you're not having any fun.

Just don't think about the melody.

Just think about the words.

lt's about obsession.

lt's about being in love.

You've been in love?

All right, obsess about it.

Just sing it with me.

Think about the lyrics and just look at me.

One more time. Jimmy?

Like the beat beat beat of the tom tom

When the jungle shadows fall

Like the tick tick tock of the stately clock

-As it stands against the wall

-lt's relentless, it's obsessive.

Like the drip drip drip of the raindrops

When the summer shower is through

So a voice within me keeps repeating

You you you

Night and day

You are the one

Only you beneath the moon

And under the sun

That's beautiful.

Whether near to me or far

It's no matter, darling, where you are

I think of you

Night and day

Jimmy, try E flat.

Day and night

Why is it so

That this longing for you

Follows wherever I go?

In the roaring traffic's boom

In the silence of my lonely room

I think of you

Night and day

Night and day

Under the hide of me

There's an, oh, such a hungry yearning

Burning inside of me

And this torment won't be through

Till you let me spend my life

Making love to you

Day and night

Night and day

Bravo.

I never believed in anything,

least of all myself, until Linda.

She restored me to myself.

And l gave her back...

me.

Hardly payment in kind.

lrving swears that The Times critic

was dancing up the aisle.

Our producer was still standing

in the front row, applauding.

No triumph complete without this.

Thank you.

You're welcome. Let's not be late.

l'm gonna ride with Monty

if it's all right with you.

He says the London producers

are dying to talk to me...

about the West End transfer.

ls it all right if l join you later?

Can't you speak with him at the party?

No business at the party, only fun.

-lt's all right, l'll be there soon.

-All right.

Bye-bye.

Beard, you know, you're very dear to me,

always have been...

but these opening night gifts of yours

are becoming more and more intricate.

lt's not as elegant as one of

Linda's cigarette cases, l know...

but l believe it may be better suited

to the daring side of your nature.

Monty, you've always been so solicitous

vis--vis my nature. You pamper me.

l have to, my boy. Nature is a nasty b*tch.

lf nature were fair, l'd be Marlene Dietrich.

If you wake up and dream

Life will suddenly seem

as gay as it used to be

Never mind what they say

Let your dreams dream away

And you'll still be alive

when they're dead

Your words.

Yes, Monty, but it's a song,

not a call to arms.

Arms weren't what l had in mind.

l wanted to tell you privately

how much all your attention did for me.

And Night and Day,

how much it means to me.

From here on,

you two will have to improvise.

l'm gonna find some trouble of my own

in the Ramble.

Shall we have a cigarette?

Good morning.

This is something new.

To be inconsiderate,

to ignore your obligations.

l know.

l'm so sorry, l really am.

That was unforgivable.

Cole, you disappointed a lot of people

last night.

The London producers were there.

Some Hollywood people were most anxious

to speak with you.

l don't want to go to Hollywood,

and l don't want to fight.

l don't want to fight.

-And l don't want to blame.

-Thank you for that, dear.

But if things are gonna be different...

l'd like to know.

l'll tell you as soon as l know.

You must have known already.

l got the ending.

I didn't know how much my happiness

would hurt us.

We couldn't hear the songs

the same way anymore.

Suddenly the lyrics all sounded like code.

In olden days, a glimpse of stocking

was looked on as something shocking

Now heaven knows

Anything goes

Good authors, too,

who once knew better words

Now only use four-letter words

Writing prose

Anything goes

If saying your prayers you like

They love your song.

-If green pears you like

-If green pears you like

-If old chairs you like

-If old chairs you like

Don't you?

If backstairs you like

-If love affairs you like

-If love affairs you like

If love affairs you like

With young bears you like

Why, nobody will oppose

So though I'm not a great romancer

I know that I'm bound to answer

When you propose

Anything goes

Ellin says lrving is having

a great run in Hollywood.

The Gershwins are there--

You want me to leave

at the top of my game?

-If old hymns you like

-If old hymns you like

-If bare limbs you like

-If bare limbs you like

-If Mae West you like

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Jay Cocks

John C. "Jay" Cocks, Jr. (born January 12, 1944) is an American film critic and screenwriter. He is a graduate of Kenyon College. He was a critic for Time, Newsweek, and Rolling Stone, among other magazines, before shifting to screenplay writing.[1] He is married to actress Verna Bloom. more…

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Submitted on August 05, 2018

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