Behind The Candelabra

Originally posted to the DMI Review on 6/2/13

Shinier Than Your Average Biopic

by Hunter Isham

        When Bob Black (Scott Bakula) takes his new friend Scott Thorson (Matt Damon) to see his buddy Liberace's (Michael Douglas) show in Las Vegas, Scott quickly wonders how (in the 1970s) so many people could be drawn to, and adore, such an obviously gay performer. "Oh, they don't know he's gay," Bob explains. Well, if there was any doubt before, that can be laid to rest with Steven Soderbergh's supposedly final* film, Behind The Candelabra, which takes a look at the relationship between an aging Liberace and the young Scott for a number of years. Of course, I don't think there were many who doubted Liberace's private life, at least not in the years since the great pianist passed away, but this film is a compelling view of a rather ordinary relationship twisted by Liberace's penchant for the gaudy life of a celebrity that was every bit as glittery and surprising as his show in Vegas.
        The oddities on display in this film are brought out through its characters, although it remains grounded due to the wonderful performances by Michael Douglas and Matt Damon. I've never seen much footage of the real Liberace, but based on photographs and stories alone, Douglas seems to capture his personality with the appropriate amount of flamboyance and charm while never tipping over into a caricature. One review I read prior to the film's debut noted how this may be Douglas' best performance since the original Wall Street, something I wholeheartedly agree with, because this is yet another commanding performance (though not forceful like Gordon Gekko) in which he simply disappears into the character. Damon doesn't have the same luxury of such a public persona on which he can base his performance, but he nonetheless conveys an appropriate naiveté while helping to create a believable relationship with Douglas. The fact that I never doubted their bond as real, or thought they might be winking at the camera, is a testament to their ability to perfectly inhabit their roles.
        While Damon and Douglas ground the sometimes crazy elements at play here, as I said before, they along with the rest of the cast are what give Behind The Candelabra its unmistakable quirk. Scott Bakula has fun as that man who first introduces Scott and Lee (as Liberace like to be called), and Dan Aykroyd is very good as the manager who tries so desperately to keep his client's personal life from the public eye. An unrecognizable Debbie Reynolds is a treat to see in a few short scenes as Lee's mother, sporting a big prosthetic nose and a thick Polish accent. The cast member who damn near steals the show is Rob Lowe as Liberace's horrific plastic surgeon. With an accent I couldn't quite place (New York?) and a face pulled as tight as humanly possible, it's great fun to see speak so seriously about the work he does (which, for the squeamish out there, gets a bit of cringeworthy screen time). The casting itself is hilarious as Lowe is no stranger to parts where his characters are considered handsome, yet here he plays someone who's so flattened and pulled that it hurts just looking at him**.
        Soderbergh had a lot of the hard work done by casting such fantastic actors to portray these distinctive characters, and a wonderful script by Richard LaGravenese keeps things moving while providing the proper amounts of humor along the way (some dark, some just plain funny). However, the director creates a deft balance between of tone, not just with the comedy provided him in the script, but also with how much he should wink at the audience with Liberace's personality and lifestyle. Soderbergh never betrays his subject, yet he also allows us to laugh at the excess on display, gently poking fun at how Lee had a garish home that included a ceiling mural of his own face. The film is also quite beautifully shot, especially the performance scenes in Las Vegas, and that can also be attributed to Soderbergh, who acts as his own cinematographer (credited as Peter Andrews).
        "Too much of a good thing is wonderful," said Liberace, and while that may not be the case for Scott Thorson and those who orbited around Lee, it is certainly true for this film. Great direction, a fantastic script, and a potential all-time best performance by Michael Douglas help communicate an inherently gonzo tale with heart and humor. Matt Damon and Douglas' chemistry make us believe that Scott and Lee were just like any other couple going through tough times, no small feat for such recognizable screen personas (especially Douglas). Although it's a shame this possible last film for Soderbergh is on HBO rather than in theaters, it's still a biopic well-worth your time, whether you DVR it, stream it, or catch it later on DVD. Liberace's story has been dragged into the spotlight in the past, but here it's told with just the right amount of glamour and heart. 9/10



Note: For those curious, Michael Douglas' head was digitally put on to the body of a pianist trained to play exactly like Liberace, so no, Gordon Gekko has not been hiding a secret prodigious talent for playing the piano.

*He's taking an indefinite break (but may work in TV).

**Lowe has stated that the makeup process involved a migraine-inducing procedure of pulling skin and holding it in place while they were shooting.