In the Cole Porter biopic "De-Lovely," this American songwriting genius accomplishes everything effortlessly, from his sophisticated charm to his memorable melodies and witty, romantic lyrics.

		'De-Lovely' Rating: PG-13 for sexual content. Starring: Kevin Kline, Ashley Judd. Director: Irwin Winkler.

One can only regret that the movie doesn't follow his lead.

"De-Lovely" tries too hard in many respects, from its clumsy structure to its sometimes fevered attempts at drama. At least Kevin Kline, who plays Porter, gets it right -- he's as smooth as a silk stocking in almost every situation.

Porter's so smooth, in fact, that the movie never really penetrates to the core of his emotional vulnerabilities -- not having enough confidence in himself and the need for every kind of love, which he says he could never find it in the same person, or the same sex.

Unlike "Night and Day," the 1946 Porter biopic, "De-Lovely" doesn't ignore his homosexuality. In fact, the movie tries to build its dramatic tension from the notion that Porter's wife, Linda (Ashley Judd), knew about and tolerated his affairs with men so long as it didn't overwhelm their own relationship, which was based not on sex but on mutual admiration and support.

Screenwriter Jay Cocks and director Irwin Winkler relate Porter's life story through a framing device that may be more trouble than it's worth. The elderly Porter accompanies a fellow named Gabe (Jonathan Pryce) to a small old theater where they appear to be preparing a show about the songwriter's life. His world on stage is populated by the important men and women in his life (who are merely players), and the movie moves back and forth from the enactment of the events in his life to his memories of them. Gabe is obviously the producer/director of the show (a God figure by definition) and an angel from above (not the kind who writes the checks).

It makes sense thematically -- Porter seems to be always performing. He can't see a vacant piano without sitting down to tickle the ivories and warble one of his tunes. He does so while courting Linda in Paris and leaps to the back of a chair that he rides to the ground. "I'm just showing off," he says. But he also can't resist the idea of photographs of his dangerous liaisons, which is nearly the final straw for Linda.

Only toward the end of her life is there a sense of separation between Porter's life and his shows. It comes in a poignant scene when he sings "So in Love" from "Kiss Me Kate" to Linda at home, knowing she won't be there for the premiere. The movie cuts back and forth from Porter and Linda to the actors doing the same number in the play.

As one would expect, Porter's music is the best thing about "De-Lovely." The movie features most of his greatest tunes, sung not only by Kline but by a bevy of contemporary singers dressed in period clothes in the guise of mostly anonymous performers. The lineup includes Elvis Costello, Diana Krall, Sheryl Crow, Alanis Morissette, Natalie Cole and Robbie Williams. Although some of them are better than others, I never found their presence obtrusive.

Kline is the next best thing about the movie, at one with his role. There's nothing wrong with Judd's performance except that, like the movie, you can see her trying. She spends much of the early portion of the movie with a big, tight smile on her face, looking good but not exactly the raving beauty Porter describes nor the sophisticate that her manner would indicate.

As for the movie, well, you're not the bottom, baby, but you're definitely not the top.