A conservative judge is appointed by the President to spearhead America's escalating war against drugs, only to discover that his teenage daughter is a crack addict. Two DEA agents protect an informant. A jailed drug baron's wife attempts to carry on the family business.
Benicio Del Toro,
Scott Thorson, a young bisexual man raised in foster homes, is introduced to flamboyant entertainment giant Liberace and quickly finds himself in a romantic relationship with the legendary pianist. Swaddled in wealth and excess, Scott and Liberace have a long affair, one that Scott eventually begins to find suffocating. Kept away from the outside world by his flashily effeminate yet deeply closeted partner, and submitting to extreme makeovers and even plastic surgery at the behest of his lover, Scott eventually rebels. When Liberace finds himself a new lover, Scott is tossed onto the street. He then seeks legal redress for what he feels he has lost. But throughout, the bond between the young man and the star never completely tears.Written by
Jim Beaver <firstname.lastname@example.org>
Special effects were used to digitally graft the actor's head onto the body of Philip Fortenberry, a Juilliard-trained Liberace virtuoso who was the in-house entertainer at the (now closed) Liberace Museum in Las Vegas for years. See more »
Towards the end of the film, there is an exterior shot of Palm Springs city hall which shows a modern dome CCTV camera. See more »
[final love song]
Why do I love you? I love you not only for what you are, But for what I am when I'm with you I love you not only for what you have made of yourself, But for what you are making of me. I love you for ignoring the possibilities of the fool in me, And for accepting the possibilities of the good in me. Why do I love you? I love you for closing your eyes to the discords in me, And for adding to the music in me by worshipful listening. I love you for helping me to ...
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Finally a film that suits Soderbergh's voyeuristic and clinical style.
It's starting to look like 2013 is Soderbergh's year. Side Effects and Behind The Candelabra seem to be my favourite of his career so far, though that's only relatively, as I'm not a big fan of him. I do have Out Of Sight on my to see list coming up soon and I do need to give Traffic another watch before I make any final assessment on him. Although Soderbergh is frequently the director, cinematography and editor on his projects, he may be efficient but he's far too clinical, pushing the audience as an observer that it's difficult to feel emotionally involved in his films. I can't get excited for his half-baked premises that most likely haven't been fulfilled to their potential. However, Behind The Candelabra may be the first film I've seen of his that suits his style ideally. His style is still distant and voyeuristic, but in this bizarre world where Liberace adopts his lover for a son and pays for plastic surgery to make him look like himself, it feels more deliberate to keep us at a distance.
Instead, the scenes of dramatic conflict, decision and choice are played off for jokes and it's really effective, always earning belly laughs with its brilliant one-liners without feeling like it's silly. Perhaps its nervous laughter but it makes for an entertaining and interesting film. Michael Douglas is terrific as Liberace. I've never seen him take a character on like this. He's nearly up there with Sean Penn's Milk. It feels like it's been a while since Matt Damon has been in films I've wanted to watch and with this and Elysium, I've forgotten how reliable a lead he is. The characters inhabit a flashy world, but its kept on the costumes and sets which are incidental more than anything and the style of the film is kept subtle, besides a great choice of swooping cameras. It does have its flaws with nearly soap opera-esque structure and conflict but my expectations were very low so this is a pleasant surprise. I think I even prefer it to Side Effects.
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