Review: Behind the Candelabra

A biopic of the infamously flamboyant ivory tinkler, who remained a closeted homosexual (perhaps only to deaf and blind people), in order to be accepted by mainstream audiences. The film mostly focuses on his tumultuous relationship with former foster child Scott Thorson (Matt Damon), his much younger bisexual lover. Rob Lowe plays a cosmetically altered plastic surgeon acquaintance, who introduces Scott to the California diet, that turns him into a paranoid, drug-addicted mess. Scott Bakula plays Thorson’s best friend, an unrecognisable Debbie Reynolds (who was friends with the real Liberace) plays Liberace’s ailing Polish mother, Dan Aykroyd is Liberace’s long-serving manager, and Paul Reiser has a small role as Scott’s lawyer.

 

Said to be the last feature film from Steven Soderbergh (“sex, lies, and videotape”, “Traffic”, “The Good German”, “Contagion”), this 2013 biopic debuted on cable in the US, but had a theatrical release elsewhere. It’s probably one of Soderbergh’s more accessible and conventional films…well, for a film about Liberace at any rate.

 

Based largely on the book by Scott Thorson himself, I found it a pretty easy watch, even if 40 odd year-old Matt Damon was clearly miscast and seemingly ill at ease playing Scott, who was much younger during the period depicted in the film (from his teens and into his early 20s!) than Damon was at the time of filming. I don’t know whether to blame Damon’s performance, Soderbergh’s direction, or screenwriter  Richard LaGravenese (“The Fisher King”), but the character of Scott seems a bit confused to me. At times he doesn’t seem to be in love with Liberace at all, and so when we get to the final stages of their relationship, something was amiss for me.

 

The title character and lead performance from Michael Douglas fare considerably better. Douglas is frankly odd and a little creepy as the flamboyant ivory tinkler (This is Gordon Gekko in the role, after all and Liberace liked ‘em relatively young), but not only does he do a reasonable impersonation of the guy, it’s fascinating (and sometimes amusing) watching him play a guy who is probably the polar opposite of who Douglas is. The fact that he manages to pull it off might be more impressive than if they cast a mere impersonator in the role. The fact that there’s something inherently masculine and macho about Douglas strangely enough doesn’t torpedo the portrait. He’s a bit jarring perhaps, but compelling to watch. Douglas is a fine movie star, but here he is actually acting, not something he is always called upon to do. He certainly deserves credit for not descending into mere one-dimensional caricature. Liberace was so guarded that you’re never gonna get a 3D portrait of the man, but Douglas and the film get as close as presumably possible.

 

Soderbergh shows a sense of humour not only in casting 80s heartthrob Rob Lowe as a plastic surgery nightmare, but also in having this character be the one to suggest plastic surgery to Liberace. The guy looks hilariously warped.

 

Easily the glitziest, sparkliest thing you’ll see all year, as it well should be. It focuses less on Liberace’s piano playing (which was wonderful) and more on his flamboyant and salacious personal life, but one surely must expect that. It’s a pretty solid, entertaining film, if nothing substantial. Watch it for the glitz and Douglas’ entertaining performance.

 

Rating: B-