Prolific American song writer Cole Porter was a different kind of man, so it comes as no surprise that a telling of his life story results in a different kind of film. Framed with a narrative device, filled with musical numbers and focused on a love affair some won’t accept, De-Lovely may not be for everyone but offers great rewards for those who allow themselves to broaden their step and be led in a wonderful dance.

De-Lovely begins on the night Cole Porter (Kevin Kline) is to die. He’s visited by an angel credited as Gabe (Jonathan Pryce), who leads Cole through a review of and reflection on his life. As is fit for it’s subject, the review becomes a stage show with Gabe as director. Cole’s life, it turns out, revolved around making music and finding his pleasure – the latter often involving a choice young man. The thread that ties his life together however is his wife Linda (Ashley Judd) and their engaging if unconventional marriage.

The performances are stellar, especially from Judd who manages to ever so slightly outdo the always-skilled Kline. The frequent musical numbers provide a myriad of cameos, with performers ranging from Alanis Morissette to Elvis Costello. There is the danger that seeing modern performers putting their spin on Porter classics will pull some viewers out of the story, but my complete ignorance of who’s who in today’s songbirds kept me free of this problem.

With all this focus on the songs, a 5.1 Surround audio track was used (for the English version, at least). Still, lavish lifestyles aren’t just about the beautiful music you make together – they’re also about how you look doing it. The film is visually rich, full of period costumes and elaborate set pieces; all of it carefully lit and beautifully filmed.

The numerous features include two commentary tracks with director Irwin Winkler – one that pairs him with Kevin Kline and the other with writer Jay Cocks. Both offer numerous insights on Cole Porter and other background information that didn’t make the final cut of either the film or the script. There’s also discussion on the filmmaking, though Winkler annoys by refusing to tell Cocks (and thus the audience) how the most difficult shot of the film was achieved. There is repetition between the two tracks but each has enough distinct material to make both worthwhile. The other bonuses are enjoyable and include plenty on the musical cameos and choreography.

Being given the chance to review one’s life is an old idea made fresh by the seamless integration of show-stopping numbers. If I have any complaints, it’s that most of us wouldn’t get a finale like Porter gets in this film. We can watch his though, and revel in a life that was exceptional in countless ways - for better or for worse.