In theaters

DE-LOVELY, directed by Irwin Winkler, written by Jay Cocks, 125 minutes, rated PG-13.

In “De-Lovely,” the entertaining, often salacious period musical that chronicles the highs and lows of Cole Porter’s life, it’s the complexity of being Cole Porter that director Irwin Winkler and screenwriter Jay Cocks work to get right.

Porter, who dominated the early to mid-20th century music scene with his stunning catalog of songs, is viewed here as a wealthy, self-destructive, bon vivant bisexual, with a clear interest in exploring his homosexual leanings. As played by Kevin Kline in a jaunty, anything-goes performance, he did so, too, with an openness and an enthusiasm that eventually put a strain on his 35-year marriage to his wife, the glamorous Linda Thomas (Ashley Judd).

Not that he deceived her. According to the movie, Porter was clear with Linda about his interest in men before they married. They had, shall we say, an unconventional relationship. They also had an unspoken agreement, with Linda breezily suggesting to Porter early in their relationship that “look – you like men more than I do,” thus essentially letting him off the hook to fool around.

What comes through in the movie is this – regardless of the cost, Linda wanted Porter’s heart and his soul. No matter what, she wanted to be near his talent and his infectious charm. What he did on the side was none of her business so long as he was discreet and that it didn’t interfere with the bones of their relationship.

Since nothing can ever be so neat where emotions are involved, they’re not neat here. That said, they’re also not as messy as they should have been, which is a fault of the film.

Covering nearly 40 years, the movie begins in 1964, the year of Porter’s death, with an elderly, dying Porter viewing his life with the help of Gabe (Jonathan Pryce), a mysterious Broadway producer who seems as if he stepped out of a Bob Fosse production of “A Christmas Carol.” Essentially, he’s the Angel of Death with a stage voice and a spotlight on his face.

On the stage before them, scenes of Porter’s life unfold, with Porter periodically discussing with Gabe those defining moments that lifted him up, crushed him down (literally in one scene) and shaped him into the lonely, unhappy man he became.

As Porter, Kline may be too good-looking for the part, but his performance is so convincing, he nevertheless persuades you to believe he’s the man. He has Porter’s wit, his complexity, his sophistication. He also sings here, nicely, as does Judd, who may once again be playing a woman in peril, but at least this time out she’s not tracking down some shady serial killer in the process.

Here, she’s refined, racy and lovely, possessing the very spark that likely proved the inspiration for so many of Porter’s songs. Like Kline, she’s alive and game for anything, which allows us to understand the strength of the Porters’ bond, which threatened to break apart more than once.

In the end, it’s Winkler’s willingness to explore Porter’s sexuality that marks “De-Lovely” as a departure from the slight, 1946 biopic of his life, “Night and Day,” in which Cary Grant’s Porter didn’t give a hint of the composer’s real sexual inclinations.

Whereas that movie was a cover-up, this one tosses back the sheets and allows us a glimpse at what occurred beneath them. In spite of the film’s awkward, gimmicky structure – and several songs by contemporary performers that are occasionally strained, with the exception of Robbie Williams, Natalie Cole and Alanis Morissette – the movie does offer insight into a man whose lyrics now are underscored with the deeper, hidden rhythms of truth.

Grade: B

On video and DVD

MAN ON FIRE, directed by Tony Scott, written by Brian Helgeland, 142 minutes, rated R.

Tony Scott’s “Man on Fire” is so burdened by its chaotic, quick-cut editing, there’s the sense that the director doesn’t trust his story, his characters or his actors. This is a film in which even the subtitles are restless – they zigzag about the screen in a jumbled attempt to evoke edgy style. The sort of empty flash proves unnecessary since the story behind “Man on Fire” doesn’t need the false energy its showy style promotes.

What sells the movie are its performances, beginning with Denzel Washington’s excellent turn as Creasy, a down-on-his-luck bodyguard living in Mexico City who has come to love the bottle more than life itself.

He’s ready to give up on everything when Lisa and Samuel Ramos (Radha Mitchell and Marc Anthony), a sketchy, wealthy couple saddled with rococo taste, hire Creasy to protect their young daughter, Pita (Dakota Fanning), from an inevitable kidnapping. Since there wouldn’t be a movie without the kidnapping, onward it pushes to that end, with Creasy failing to protect Pita when it occurs.

The last half of the movie is a bloody revenge fantasy, with Creasy rising as an avenging angel to make those responsible for Pita’s kidnapping and possible murder pay the ultimate price. Taut action, jolts of humor, and a fantastic supporting performance by Rachel Ticotin as an investigative reporter lift the film to a compelling ending.

Grade: B

Christopher Smith is the Bangor Daily News film critic. His reviews appear Mondays and Fridays in Style, 5:30 p.m. Thursdays on WLBZ 2 Bangor and WCSH 6 Portland, and are archived at RottenTomatoes.com. He may be reached at BDNFilm1@aol.com.