Review of Behind the Candelabra (2013) by Hannah S — 08 Jun 2013

Who would ever have thought in their wildest dreams that Michael Douglas would be able to portray Liberace? I was probably watching him in The Streets of San Francisco as a kid the first time I saw Liberace on TV.

It was definitely Liberace who caught my attention. He was a hugely camp, OTT personality that the old ladies loved and woe betide anyone who even hinted that he may be just a teeny bit gay, he'd just not found the right woman.

With all his glitz and flamboyance, and the bizarre and distasteful events that followed his sad death, we can forget what a huge star he was and what an accomplished pianist. This movie is fantastic.

Based on the relationship between Liberace his 'chauffeur' Scott Thorson from the late 1970s up until his death at the height of the AIDS hysteria of the 1980s it portrays Liberace as a complicated and rather lonely figure, as much a victim of his success and image as master.

It would be easy to see him as a devious and manipulative character, using wealth and power to dominate young men however, the story wisely does not do that and we actually come to see him as a man desperate for companionship and love that is lacking in his flamboyant, driven life.

The performances from Michael Douglas and Matt Damon are superb but there are also some amazing supporting turns from Dan Aykroyd, Scott Bakula (who I didn't recognise at all), Debbie Reynolds and Rob Lowe.

In fact Lowe steals pretty much every scene he's in as the deeply unpleasant, alcoholic Hollywood plastic surgeon. Steven Soderburgh has done a great job of directing with just enough Vegas campery to provide a few giggles and yet plenty of poignancy to enable the viewer to see beyond the glitter.

It is a shame that Hollywood was so negative towards this movie and speaks volumes of the attitudes still prevalent in the studios. Still their loss is HBOs gain and more power to them for backing such a fine movie and showing that there really isn't any such thing as minority interest when it comes to making good movies.