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"Sometimes people come to a place and don't expect to get the message," Combs said. "This generation, they come for entertainment ... then they realize, 'oh man, this movie is really touching. It's making me really appreciate my family."'

Combs has acted before. He had a small but key role in the 2001 movie "Monster's Ball" and his Broadway run in "Raisin" earned him respectable reviews and won over audiences.

Yet Combs admitted to a case of nerves before his debut at Sundance, the top U.S. festival for independent film that has a history of launching TV movies like "Raisin" with a social conscience.

Last year, the AIDS-related HBO film "Life Support," starring Queen Latifah, opened here.

FAREWELL, BROADWAY

Combs said his stage experience helped train him for the film co-starring Phylicia Rashad and Audra McDonald, who also starred in the 2004 stage version and earned Broadway's top honors, Tony awards, for their work.

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Bikin fashion,

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The Mr Big Award Now that Karl is skinny and Gianfranco Ferré is dead, fashion’s new Mr Big is Harvey Weinstein. The godfather of Miramax is pulling strings behind Marchesa and the soon-to-be-relaunched Halston.

RIP:thigh-high socks on all but the nubile; ludicrously dimensioned handbags; fake tans; plastic bags; WAG style; Ugly Betty(can there be any clichés left?); body con (we’re conscious enough of our bodies, thank you); going knickerless (so passé); lip gloss (come on, we can kick this if we really try; all we have to do is look in the mirror and see how porn-star “chic” worked its way into our make-up bags).

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Cyndi Lauper wore her now-blond hair in a loose curly updo, and her gown was black with lace around the bust. She also wore long black leather gloves.

Faith Hill played it safe in a one-shoulder black gown and then jazzed it up with oversized earrings, and Natalie Cole chose a flattering draped metallic dress with twisted-fabric straps.

Not everyone took that route, though. Perhaps Adrienne Lau thought her silver slip-style micromini would capture the paparazzi's attention, while Paramore's Hayley Williams might have thought all up-and-coming rock stars wear shocking red hair, a mostly sheer dress and ankle socks.

"I think anything goes in the music industry," said Evanescence's Amy Lee of Grammy fashions. Her own outfit was a black gown with roping on the bodice and a slit up the front that had a bit of a Goth vibe

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"Whatever you want to wear is going to work," Lee added. "There's women in full formal dresses and you see guys in jeans."

There were indeed some men in jeans but there were plenty of full-fledged tuxedos. Jay-Z wore a traditional tux, complete with bow tie, by Tom Ford, and Ne-Yo topped his tailored Ferragamo suit with a brown suede fedora. He — like so many others — wore aviator sunglasses, but he was happy to tell E! that his were from Banana Republic instead of a bank-breaking designer.

Seal wore a white suit by Yves Saint Laurent and a skinny black tie, and Chris Daughtry was in all black — suit, shirt and tie. Akon had on a fur-trimmed jacket despite the warm and sunny weather.

Dierks Bentley wore a dapper taupe suit by Dsquared that he complemented with a black tie and black pocket square, while Ludacris added a white pocket square to his black jacket by Armani.

Armani also dressed John Legend. He wore a shawl-collar tuxedo with velvet lapels and a high-neck shirt — and another pocket square.

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Guest judge Victoria Beckham joined host Heidi Klum, Nina Garcia and Michael Kors, in judging the collections of five finalists: Kathleen "Sweet P" Vaughn, Chris March, Jillian Lewis, Rami Kashou and Christian Siriano.

Generally speaking, the collections were not in keeping with the mood of disheveled, easy femininity and emphasis on sleek, menswear-inspired tailoring that characterized most of the New York collections this week. Instead, most of the five designers showed overdone show pieces in garish colors and fabrics. Few of the collections felt like coherent, winning statements about the designer's vision and instead seemed to be "made for TV" clothes that seemed to be designed instead to make a splashy impression on camera.

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A long, sherbet orange and pink check dress won applause, not least for the wearer's kisses to the audience, while the same fabric pitched up in a dress under a purple wet-look cape coat.

Swirling skirts and satin shirts were cinched at the waist in wide chestnut leather cummerbunds or swathes of fabric.

A pistachio and sparkle loose short-sleeved shirt was worn with black cotton baggy trousers and chestnut suede boots.

Half-gloves, which covered fingers, thumbs and just part of the palm, triggered more smiles in the audience.

The lighthearted mood reined in a little for evening wear, with a midnight blue satin dress worn under a black swinging coat with another cummerbund.

The audience clapped along to the rousing sounds of The Pogues' "Sally Maclennane" as Bini herself appeared at the end to dance down the catwalk.

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As her co-star (and the film's producer) Reese Witherspoon explained earlier at a press conference for the comedy, it wasn't Ricci's piggy properties that got her the leading role.

"Christina was my first choice," Witherspoon recalled. "We were lucky when we sent her the script. She and I sat down for lunch [to discuss it] and I thought 'She is not going to want to do this.' Here is this weird pig face. I think that people around her were thinking she didn't want to do it, she just came in and was like 'No, I'm excited! I want to do this. I want to wear this pig face, I think it's great, and it's awesome.'"

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