Behind The Candelabra

America is not ready for this film. That was the opinion of the many Hollywood production companies who refused to fund Steven Soderbergh’s Behind The Candelabra, a biographical picture about the great entertainer and pianist Liberace – who was, between the Fifties and Seventies, one of the highest paid entertainers in the world. Despite the presence of Soderbergh, a reliable director with a history of box office success, and two high-profile actors, Michael Douglas and Matt Damon, those companies still considered anything to do with Liberace as ‘too gay’, a damning indictment of risk averse corporations and the regressive values they perceive Americans to hold. Based on Scott Thorson’s memoir Behind The Candelabra: My Life With Liberace, the story – eventually financed by HBO as a television film – delves into the debauched depths of the relationship between Liberace and Thorson, his lover and companion. Liberace’s dazzling flamboyance and foppishly camp aesthetic pioneered the preening on stage persona that musical performers David Bowie, Freddie Mercury and even Lady Gaga would make more famous. Suffice to say any actor trying to play Liberace had a large mink coat to fill.

And yet, Douglas fits remarkably snugly into that coat. Truly his performance as Liberace is brilliant, from the lurid voice and eccentric narcissism to the piano playing – an aspect of the character that Douglas learnt himself, without recourse to CGI or a pianist double. The hours of study that must have gone into the single scene in which he plays the piano is admirable, and telling of the caliber and dedication of the actor – particularly in light of his recent health problems. In a recent interview with Simon Mayo of BBC Radio 5, Douglas stressed that he found the role of Liberace to be inspirational after his successful battle with throat cancer. It’s stories and performances like these that usually warrant Academy Award attention, but unfortunately that will not be forthcoming because of Behind The Candelabra’s release as a television movie (rendering it ineligible for the Oscars). But Douglas’ splendour shouldn’t diminish Matt Damon’s portrayal of Thorson. Damon is an actor who continues to confound with his versatility and the commendably varied roles he chooses for himself. His Thorson is a malleable character that shares an absorbing synergy with Douglas’ Liberace – including, amusingly, a bona fide Brazilian tan line.

Although primarily a drama, Behind The Candelabra is touching and warm because of the pervading spirit of joviality; hilariously symbolised by the startlingly memorable appearance of Rob Lowe as an ersatz plastic surgeon. Still there is a litigious undertone present but because of the intelligence of Richard LaGravenese’s screenplay the humour doesn’t detract from the serious message. This was especially prescient at the movie’s premiere in Cannes, with France debating the fiery topic of gay marriage in the days leading up to the film festival.

Without being an expert on American culture or what its citizens think at a grassroots level, it seems that those production companies have lost out on an absorbingly tasteful insight into an important piece of twentieth century cultural history: A piece of which America should be ready for.

by Lewis Fraser