Year: 2013
Director: Steven Soderbergh
Screenplay: Richard LaGravenese
Starring: Matt Damon, Micheal Douglas
Synopsis is here
Steven Soderbergh couldn't get Hollywood studios to fund his
biopic about outlandish musical entertainer Liberace as they deemed it “too
gay”. Despite the popularity and acclaim of films like Milk (2008) and
Brokeback Mountain (2005), the conservative stigma that can follow what could
be construed as a “minority” picture still lingers large on certain movies. Such
issues come to no surprise. Just look at the problems I love you Phillip Morris
(2009) had just getting released in the U.S.
Soderbergh’s REAL final U.K. theatrical release (I mistakenly stated Side Effects in a previous review) takes him back to the dazzling
bright lights of Vegas to capture the chaotic relationship of Scott Thorson and
Mr Showmanship himself.
I must admit I have an odd sense of frustration as to the
Studios resistance to Candelabra. But I have to admit that much of it stems from
what doesn't get blocked in any way. Consider the fact we've endured the
dubious antics of The Wolfpack for two sequels, with their bickering bromance
allowed the characters be as bigoted about sexuality as much as they please. Or
remind ourselves of the constant barrage of weakly scripted rom-coms that have
leads with little to no chemistry with each other. Behind the Candelabra is
sharper, wittier and warmer than those films and yet the sexual orientation of
the characters still caused enough drama to ensure that the film had a certain
amount of production issues with the film not only have to look for funding but
also “relegated” to television for its U.S release. No matter. These days,
television is often where all the decent drama is at.
The silver screen however, allows us to see all the gaudy
visuals in all their glory. I don’t want to upset the hardcore film fans as
much as I usually do, but seeing Candelabra on digital projection was a delight.
Lights and sequins sparkle and glare in the frame, while the amber glow that
has cropped up in Soderbergh’s recent movies appears again, bathing characters
in a shimmering artificial sunrise. In
this light, diamonds catch the light so bright that you could be blinded as
badly as Liberace’s dog; Babyboy. Amusingly, it is Babyboy that is the catalyst
which helps cause solidifies the connection between Damon’s Scott Thorson and
Liberace (Douglas). It soon becomes a relationship which is starts out as caring
but descends into one of dependency.
The film has a twinge of Sunset Boulevard (1950) about it, as Thorson
absorbs himself deeper into Liberace’s peculiar universe. Medicine for blind
dogs soon becomes a web of expensive gifts, plastic surgery and chauffeuring
Liberace to his gigs. Liberace from the start; calls Thorson Babyboy. Wonder
why that is.
The film takes on similar story beats to films like Boogie
Nights (1997), The People Vs Larry Flint (1996) and Goodfellas (1990), showing the relationship at its
peak at the 70’s before spiralling into chemically enhanced chaos. The film
swings wildly from gleefully camp to startlingly toxic as Liberace digs his
claws and ego further into Thorson’s personality. A plastic surgery assignment
has Thorson losing his sense of identity as the Liberace continues to mould
Scott in his own being. At least he doesn't look like Dr Jack Startz (A scene
stealing Rob Lowe), who’s horrifically static, cleaved face gazes vacantly as
he describes the procedures of surgery. Yet the emotionless visage of Startz
hints at an unfortunate life Thorson may face.
Candelabra is a film of performances; with the whole cast delightfully
showing off their talents. Damon balances naive and lost as easily now as he
did in his younger days. Douglas is brilliantly nuanced as Liberace, with his
downtime (due to cancer) allowing him to perfectly capture an absorbed and talented showman, lost in his own world. The supporting cast is a who’s who of solid character
actors (the aforementioned Lowe, Dan Ackroyd, Scott Bakula) who take on the smaller
roles with the same effectiveness as they would with their larger ones.
There’s a fabricated sense of family to proceedings, with characters
being quick to love and quicker to drop. Parentage is a large aspect of the
film with some of the films cruellest blows and emotional damage involving the
mothers of both men. The way the maternal relationships between these
characters play out, reveal much about why the couple treat each other the way
they do. At one point Liberace’s mother wins big on one the slot machines own
by her son. Nothing pays out, and Thorson has to go around anyone available to
try and acquire some cash.
Despite this, the main relationship that lies in the centre
of the film manages to maintain a sweetness to it that slips in-between the cracks of the ego,
drugs and tacky excess. There’s a connection between the two that they clearly
didn't gain with anyone else. It is clear that the film is completely taken from
Scott Thorson point of view but maintains a civility within such a turbulent relationship.
Behind the Candelabra shares the same chintzy nature as Baz Luhrmann’s The Great Gatsby (2013). What makes Soderbergh’s effort stand out, is the balance of tenderness
with the toxicity.
