With Sideeffects earlier, it was Steven Soderbergh's plan that we don't see his name on the big screen, having announced his retirement as a features director. Well, that plan has been put on hold for one more movie, with the release of Behind the Candelabra in European cinemas, having previously aired on HBO in America. An adaption of the memoirs of Scott Thorson, it offers a look at the flamboyant, excessive lifestyle of Mr. Showmanship, pianist Liberace (Michael Douglas, mimicking the man's unique voice and mannerism's perfectly), and follows his secret affair with Thorson (Matt Damon), one of many he had throughout his career.
As you would expect from a movie about Liberace, or even a movie set in the seventies, camp and kitsch are to the fore here. The style and attitude of the era oozes from the screen, but it is really only window dressing, and quickly gives way to something much darker as Thorson's new life takes several sinister turns, including being forced to get plastic surgery to look like his much older lover, and developing an addiction to weight loss pills. In fact, several characters go under the knife over the course of the movie, and it is a credit to the make up work that the results are seamless. Seriously!! Wait till you cop a load of Rob Lowe as a sleazy plastic surgeon. The story here is an extremely compelling one. You know it's not going to end well, early scenes between Thorson and the current "love" of Liberace's life get replayed with Thorson switching roles, but it's a story that keeps your attention for the duration. The way it is shot feels like a departure for Soderbergh, with most of his films coming off as very raw and real (Haywire, Contagion). Some of his trademarks do sneak in from time to time, but overall it feels a lot more staged than his previous moves, at one point he throws in a musical fantasy number, and that suits it down to the ground. It is story of a man who's entire life was a production, from his lavish live shows to his public life where he sued anybody who even suggested he was gay, a little theatricality doesn't hurt.
Behind the Candelabra is a darkly comic story, with some moments of real humour, and no real clear cut hero/villain of the piece. Liberace is presented here as a master manipulator, getting what he wants when he wants it, then throwing it away as soon as he's done with it. But Douglas imbues him with a lot of charm and sympathy. His performance is a credit to the movie, throwing himself into the role, echoing the man with every scene. Thorson, on the other hand, is far too willing to let himself get caught up in this world, the innocence he displayed in the beginning disappearing easily. Damon plays it perfectly, the realisation of what he's become slowly etching itself across his face before exploding in crushing depression. The chemistry between Damon and Douglas is fantastic, adding some real meat to later scenes as their relationship breaks down.
Well executed and extremely well acted, this a compelling drama of the pitfall's of excess, and a fascinating look inside the private life of one of the world's most flamboyant and entertaining musicians.
As you would expect from a movie about Liberace, or even a movie set in the seventies, camp and kitsch are to the fore here. The style and attitude of the era oozes from the screen, but it is really only window dressing, and quickly gives way to something much darker as Thorson's new life takes several sinister turns, including being forced to get plastic surgery to look like his much older lover, and developing an addiction to weight loss pills. In fact, several characters go under the knife over the course of the movie, and it is a credit to the make up work that the results are seamless. Seriously!! Wait till you cop a load of Rob Lowe as a sleazy plastic surgeon. The story here is an extremely compelling one. You know it's not going to end well, early scenes between Thorson and the current "love" of Liberace's life get replayed with Thorson switching roles, but it's a story that keeps your attention for the duration. The way it is shot feels like a departure for Soderbergh, with most of his films coming off as very raw and real (Haywire, Contagion). Some of his trademarks do sneak in from time to time, but overall it feels a lot more staged than his previous moves, at one point he throws in a musical fantasy number, and that suits it down to the ground. It is story of a man who's entire life was a production, from his lavish live shows to his public life where he sued anybody who even suggested he was gay, a little theatricality doesn't hurt.
Behind the Candelabra is a darkly comic story, with some moments of real humour, and no real clear cut hero/villain of the piece. Liberace is presented here as a master manipulator, getting what he wants when he wants it, then throwing it away as soon as he's done with it. But Douglas imbues him with a lot of charm and sympathy. His performance is a credit to the movie, throwing himself into the role, echoing the man with every scene. Thorson, on the other hand, is far too willing to let himself get caught up in this world, the innocence he displayed in the beginning disappearing easily. Damon plays it perfectly, the realisation of what he's become slowly etching itself across his face before exploding in crushing depression. The chemistry between Damon and Douglas is fantastic, adding some real meat to later scenes as their relationship breaks down.
Well executed and extremely well acted, this a compelling drama of the pitfall's of excess, and a fascinating look inside the private life of one of the world's most flamboyant and entertaining musicians.
