What is incredible about Behind the Candelabra is that this didn't premiere in a theater. It came out on HBO. Why is this a big deal? Consider that Liberace is one of these musical icons, known for his wild showmanship. True, his popularity has weaned in recent decades, but the cast behind it is also very intriguing. It stars Michael Douglas and Matt Damon, two considerable stars with enough name recognition to land a movie some financial success. Also, it is from director Steven Soderbergh, whose work has become well known as a lexicon of ingenuity in film making. In fact, his swan song, Side Effects is so good that it may be making an appearance in my Top 10 when 2013 calls it quits.
For these and many more reasons, one should be excited for a Liberace movie. So why is it that it ended up on HBO and not in theaters? HBO is known for producing low quality biopics, which usually tap out at 90 minutes. No need to look further back than at director David Mamet's Spector, which saw Al Pacino and Helen Mirren sleepwalk through bad wigs and a half-ass procedural that answered nothing about its topic. But Soderbergh is above this, is he not?
Yes he is. The film, despite its cast, had trouble getting a theatrical release in the states for being too gay. As progressive as the times are, that's an interesting note to make. After all, there are plans for a European theatrical release and the simple fact it screened at Cannes should suggest that we're dealing with something bigger and better than Spector. In fact, the film clocks in at almost two hours, which is a far cry from the 90 minutes typical run time of HBO biopics.
Finally, before going in, I figured that I would share my personal relationship with Liberace. I don't really have much of one. I was aware that he was gay and flamboyant, but I couldn't rattle off his songs. In fact, what little I knew of him can be summed up in two things. I remember him as a villain on the 60's Batman, in which he played a pianist who seemed so vain that he lacked interest in his female henchmen. The other is this gem, which I saw at a get together many years ago:
To say the least, I knew nothing about, as the tagline suggests, the secret life of Liberace. This was to be a treat, especially from a director who was already on a hot streak. From the opening scene, I felt like I was to be a little mislead. This wasn't the secret life of Liberace (as played by Michael Douglas), but the story of Scott Thorson (Matt Damon). Thorson was someone who befriended Liberace and quickly developed an intimate relationship with him. There he discovered all of his flaws and his vain desire to give the audience his best. At least, that is how it starts. Add in plastic surgery and diet modifying techniques to turn him into a clone is also just some of the small ways that Behind the Candelabra decides to paint the flamboyant pianist as something other than.
Thorson definitely is the sympathetic lead here, as he is forced to sacrifice his family and life in order to please this one man. His journey through the movie is what gives the film a backbone. Despite a beginning that slowly introduces us to the world in a very dragged out fashion, things begin to reveal and once the relationship is established, that is when the drama starts and everything gets interesting. Maybe it is because I don't know much about Liberace as a person, but the simple megalomaniac behavior can easily jeopardize anyone's perception. It is unflinching and at times gruesome to watch.
Of course, this couldn't have been done without a fantastic performance by Michael Douglas. While his accent feels a little too deep to be Liberace, his mannerisms and control over the subtle nuances compensate. He wears the bright clothes with such authority that the very sight of him intimidates. Even if he is just playing a piano, he captures the essence of Liberace in an exciting way that causes the performance to jump off of the screen. Of course, what helps is that there's also those subtle moments when everything requires him to be serene.
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| Michael Douglas |
Of course, what is amazing is that Liberace is notoriously flamboyant. However, there was always a sense of self in him. Douglas's portrayal manages to hit all of the beats without satirizing the homosexual aspects. There's plenty of male nudity that comes in the film, but all of it lacks taboo. It is all just normal for this man's life, and by not attracting attention to it, it almost elevates the story beyond sexuality. Liberace was a man who wanted to please, and that is the main takeaway from the film.
Matt Damon's more impressive side is not in being anywhere near as dynamic as Douglas. He kind of wanders through everything with a sense of wonderment. It isn't until the final act when the conflict rises that Damon really is allowed to show range. He is a bland protagonist otherwise, and maybe it is just in comparison to Douglas, who almost exudes too much confidence for his own good. After all, a small animal vet cannot compare to a man who has a very dark private life with rotating clones that he tries to pass off as his son.
The film does drag at points and it isn't nearly as amazing as it could be. For those expecting great moments of Michael Douglas performing as Liberace, they are few and far between. Besides some key moments that connect the private life to the stage persona, this is about, as the film suggests, what goes on behind his famous candelabra. We are not meant to be in awe of Liberace, but to understand what he was like in his downtime.
It is true that stories cannot work without drama, but the question is raised: was this necessary? Did we really need to exploit Liberace's private life? In the modern society with TMZ exploiting every moment of celebrity, it kind of feels overdue. I for one am not a fan of it, but there is no denying that Liberace had a fascinating life when not on stage. For modern audiences unaware of the performer, this is probably almost too damaging to make revisiting the real Liberace's work anything but depressing. Knowing that he had control issues only makes it harder to watch "Aruba Liberace" and not think that there is a tortured man inside.
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| Matt Damon |
Does this ruin the film? No. In fact, the dark secrets is what makes the film work. Add in an impressively note-for-note adaptation of Liberace's piano pieces into the score and you get something that manages to feel more upbeat than the subject would suggest. This is largely thanks to the late composer Marvin Hamlisch, who bid adieu with catchy renditions worthy of awards. The production almost feels like it is laced with glitter and it feels too fun not to recommend. Still, at close to two hours, you should be prepared for long stretches of tedium and intimate conversations. Still, Soderbergh adds an impressive technical level to it, often shooting scenes in single takes that elevate the glamorous lifestyle almost into an interactive tour video of Liberace's house.
While it is still pretty good and features a great performance from Douglas, I have trouble seeing how this could have lasted with a theatrical cut. The film at times feels too cold to have box office potential. This isn't meant to be nothing but fun. However, as a TV movie, it shoots everything else out of the water and manages to prove through technical, performance, and writing, how to make a compelling story. In fact, as ratings suggest, more people watched it on HBO than saw Side Effects in theaters if translated to gross.
Maybe this is one of the smalls steps to getting TV movies to have far more respect than they deserve. With a Larry David movie only months away, HBO is looking at a chance to break from just making high quality TV shows and miniseries and getting into the movie game. They always have been, but they have produced junk like Spector. Behind the Candelabra, for all of its exploiting, shocking aspects, is worthy of a peek, even if it isn't the most impressive thing Soderbergh has done this year. However, if Douglas doesn't win some awards, that will be the film's biggest tragedy.
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