I’m a big dum­b­ass for not think­ing De-Lovely, a movie about Cole Porter, would be a mu­si­cal. Of course it was a mu­si­cal, you big dum­b­ass! Not you. Me. I don’t par­tic­u­lar­ly like mu­si­cals, so bear that in mind as I re­view this one.

This is one weird mu­si­cal. It is ac­tu­al­ly a self-re­flex­ive mu­si­cal biopic. Somehow it gar­nered a PG-13 rat­ing for sex­u­al con­tent. I think the on­ly rea­son it was rat­ed PG-13 is be­cause there is one scene where a dude smooches an­oth­er dude. I’ve seen more sex­u­al con­tent dur­ing Mass. The movie’s great­est strength is its use of Cole Porter tunes as frames for the ac­tu­al ac­tions of the man. For peo­ple that re­al­ly love Cole Porter mu­si­cals, they’ll hear most of their fa­vorites in this movie. Kevin Kline and Ashley Judd can’t sing. Although in their de­fence, ap­par­ent­ly Cole Porter couldn’t car­ry a tune in the re­al world and Ashley Judd looked good enough in her roar­ing twen­ties garb that I could ig­nore her speak-n-say singing. 

Most of the oth­er songs were sung by Top-40 artists, Robbie Williams, Natalie Cole, Sheryl Crow, Elvis Costello [OK, maybe he isn’t Top 40]. The mu­si­cal num­bers them­selves were a bit schiz­o­phrenic. Sometimes all the ran­dom folks in the ac­tion start­ed danc­ing and join­ing in, like typ­i­cal mu­si­cals but most of the time Cole was just in places where there hap­pened to be live mu­sic, al­most like a mu­sic video. Still, the mu­si­cal num­bers were bet­ter in­te­grat­ed than in some­thing like Chicago, which I hat­ed every mo­ment.

All in all, it wasn’t a waste of my time, but I have no de­sire to see it again.