Behind the Candelabra (2013)

Based on the autobiographical novel, the tempestuous 6-year relationship between Liberace and his (much younger) lover, Scott Thorson, is recounted.

Director:

Steven Soderbergh

Writers:

Richard LaGravenese (screenplay), Alex Thorleifson (book),

Stars:

Matt Damon, Michael Douglas, Rob Lowe

1 nomination.

Cast

Credited cast:
Matt Damon	...	Scott Thorson
Michael Douglas	...	Liberace
Rob Lowe	...	Dr. Jack Startz
Dan Aykroyd	...	Seymour Heller
Scott Bakula	...	Bob Black
Caroline Jaden Stussi	...	Startz Surgeon
Debbie Reynolds	...	Frances
Max Napolitano	...	Bar Patron
Boyd Holbrook
Paul Reiser	...	Mr. Felder
Nicky Katt	...	Mr. Y
Cheyenne Jackson	...	Billy Leatherwood
Eddie Jemison	...	Second Assistant Director
Kiff VandenHeuvel	...	Wayne
Tom Papa	...	Ray Arnett

Storyline

Based on the autobiographical novel, the tempestuous 6-year relationship between Liberace and his (much younger) lover, Scott Thorson, is recounted.

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Genres:

Biography | Drama

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Details

Country:

USA

Language:

English

Release Date:

7 June 2013 (UK)

Also Known As:

Liberace

Filming Locations:

Palm Springs, California, USA

Company Credits

Production Co:

HBO Films

Technical Specs

Runtime:

118 min

Color:

Color

Aspect Ratio:

1.78 : 1

Did You Know?

Trivia

The Liberace Foundation (in Las Vegas) owns many of the original portraits from the pianist's famous home. However, the paintings which appear in the film are all recreations, with the original facial features altered to resemble Michael Douglas.

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Connections

Referenced in The Tonight Show with Jay Leno: Episode #20.155 (2012)

User Reviews

Liberace's Life In Front Of and Behind the Candelabra

Behind the Candelabra is not a biopic. Although the story revolves around the life of Liberace, the film is more than that. It is a love story that encompasses universal themes with a surrealistic twist. It is well crafted by Steven Soderbergh, a veteran director with such films as Traffic, Erin Brockovich and Ocean's Eleven under his belt. And although Soderbergh describes the work as "Alice going down the rabbit hole," it is a surprisingly strong film with convincing performances and a tender, yet out-of-the-box, point of view.

The film opens in an LA bar with Donna Summer's quintessentially 70s sex anthem "Love to Love you, Baby" blaring in the background. Matt Damon, here as Liberace's young lover-du-jour Scott Thorson, spots his "macho, macho man" across a crowded room on this some enchanted evening. Although Damon portrays the typical gay-blond bombshell, he does so without being stereotypically Village People. Once the two hook up, Thorson falls down the rabbit hole and is transported to the surreal world of glitz and glamour inhabited by Liberace. Damon is a wide-eyed kid in this candy store; and he is seduced by all the treats. But you know this world is unreal. And it won't be long before its time for a seat in the dentist's chair.

Two of Hollywood's big-name alpha males – Michael Douglas and Matt Damon – play the lead roles delivering strong and convincing performances. It would have been easy to portray the over-the-top flamboyance of Liberace in high camp theatricality. But not here. Douglas is restrained, measured, and deliberate. His Liberace straddles both sides of the male persona. Douglas goes from being tender lover and father-protector to the excessive, power-hungry controlling tyrant driven to an addiction for acquisition: homes, jewelry, dogs, new lovers, and all things Louis Quinze.

The supporting cast members are equally effective as the leads. The standout here is, unquestionably, Rob Lowe as Liberace's plastic surgeon Dr. Jack Startz. His face is wonderfully plastic and his acting sublime. Scott Bakula is Liberace's mustachioed procurer; Dan Aykroyd is his Foster-Grant-wearing manager/henchman; and Debbie Reynolds is Liberace's prosthesized-up-the-ying-yang, Polish mother. All submit strong performances despite brief appearances in almost cameo roles. None of the supporting actors distracts from the focus on the two tragic lovers whose end comes as expectedly as any Shakespearean tragedy.

To convey that 70s and early 80s look and feel, Soderberg seems to have used old-fashioned film in lieu of going "straight" digital. The movie is bracketed by what appears as grainy home movies. It opens with the LA bar scene and 17-year-old Thorson at his outlying rural foster home. It ends with the melodramatic flourish of Liberace's death in Palm Springs and the resulting saga over the Riverside County coroner's attempts to autopsy the body despite the family's efforts to keep his AIDS-related cause of death from public view. The conflict is told via newsreel storytelling straight out of Orson Well's Citizen Kane.

In between, we are taken on a trip to wonderland. Like riding in a monorail, we are shuttled between houses in Las Vegas, Los Angeles and Palm Springs. We enter rooms upon rooms replete with white painted pianos, crystal chandeliers and gold-gilt furniture. The journey is a magical mystery tour into a bizarre world inhabited by two larger than life figures beset with very ordinary problems. Like everyone else, they face issues of money and power; attraction and rejection; youth and old age; addiction and dysfunction; life and death. And weaving through it all, is the all-too-common story of "the next new thing; the next big fix." I guess in the end, the grass is always greener on the other side. And what we have is never enough.

Soderberg weaves a morality tale where choices have consequences and people get exactly what they deserve. In this movie, the consequences are cruel but quite sober and sensible. There are neither suicides nor any type of saccharine sentimentality. And while the pathos could be deliciously comedic – especially on a story about the avatar of kitsch when punctuated with high camp – Soderbergh is refreshingly restrained. He tells his story with a firm grip and a cautioned mannerism.

On stage – and in front of the candelabra – Liberace lived a life of champagne wishes and caviar dreams. But behind the glitz and the glamour, we glimpse the flawed, all-too-human and imperfect everyman who is uncomfortable in his skin, seeking miracles from plastic surgery and sexual hedonism. He is not a hero or anti-hero; victim or victimizer; predator or prey. He is all and neither. Liberace's life is heroic because he was able to achieve much despite the odds. But his real life was lived in darkness cast by the shadow of the lights behind the candelabra.

See the full review titled "Point and Counter Point: Liberace's Life In Front Of and Behind the Candelabra" in InFluxMagazine.com.