Reżyseria:
Steven SoderberghScenariusz:
Richard LaGraveneseZdjęcia:
Steven SoderberghMuzyka:
Marvin HamlischObsada:
Matt Damon, Michael Douglas, Rob Lowe, Dan Aykroyd, Scott Bakula, Debbie Reynolds, Paul Reiser, Cheyenne Jackson, Eddie Jemison, Johnny Yong Bosch (więcej)Opisy(1)
Wielki Liberace to prawdziwa historia wielkiej gwiazdy rozrywki XX wieku. Świat znał go jako Valentino Liberace – bajecznie bogatego, niewiarygodnie utalentowanego i kochanego przez publiczność celebrytę polskiego pochodzenia. Jego występy zawsze były wielkim wydarzeniem, a pełen przepychu styl stał się inspiracją m.in. dla Eltona Johna, Madonny, czy Lady Gagi. Jednak jego prywatne życie odbiegało od wszystkiego, co wiedziały o nim miliony fanów. (Gutek Film)
(więcej)Recenzje (7)
Sex, lies and videotape. In Behind the Candelabra, Soderbergh takes the same ambivalent approach to the characters as he did in Magic Mike, his previous revealing commentary on the contradictory nature of the American Dream. He has sympathy for the emotional lives of the protagonists, who are rootless orphans in a certain sense. He doesn’t observe them from a distance as if they were two bizarre creatures, but rather delves into their private lives, taking an interest in the most intimate moments of their cohabitation, but without sensationalising (or ridiculing) the fact that he put Gordon Gekko and Jason Bourne in the same bed together. He raises his eyebrows at the extravagant lifestyle that Liberace represented in the 1970s and which today is regularly touted by many generally less talented celebrities. ___ The shots are bathed in artificial light and are dominated by warm colours, which recede only a few times when the “mask is removed” (a psychologically charged black-and-white flashback, scenes from the hospital and at the funeral of Liberace’s mother in shades of black and white). The excessively lighted mise-en-scéne in Liberace’s residence (unlike the more modest apartment of Scott’s surrogate parents) abounds with reflective surfaces, as if the same reflection of reality is also the life of Liberace, who hides his true identity behind outward splendour. Due, among other things, to the atypical (for an interior drama) filming in unbroken wholes, the characters literally get lost behind the props. It is necessary to point out that the jewellery and costumes, including the truly appropriate “peacock” shirt, are faithful copies of items housed in the museum of Liberace’s estate, so there is no exaggeration in the purely material sense. ___ The gleaming surface is a manifestation of the film’s self-aware campiness, which combines the extremes of 1970s fashion (i.e. the style of the Village People and David Bowie) with the glittery aesthetic of music videos by Madonna and Lady Gaga. Emotional turmoil on the inside, falsity and exaggeration on the outside. Altogether, a stimulating deconstruction of the phenomenon of camp. ___ The film also alludes to the 1970s with long Steadicam shots and the casting of the queen of camp, Debbie Reynolds, who began to shine on Broadway in the ’70s. We can understand this return to the “rebellious” period of New Hollywood as Soderbergh’s expression of disillusion over the direction of the current American film industry, which – like Liberace – is focused on the surface and short-term enjoyment, and is thus marked by a lack a genuineness. ___ Though the narrative has a less subversive structure than that of Side Effects, it is comparably sophisticated when it comes to drawing parallels (Billy as the first monster that Liberace created), using ellipses and changing the point of view, with the related redistribution of sympathies (the second half of the film, after a reprise of the Jacuzzi scene, this time with the characters sitting with their backs to the camera, is richer in subjectivising shots simulating Scott’s perception of reality). Mainly, however, Behind the Candelabra is a showcase for the magnificent acting of Michael Douglas, who after (or thanks to) his cancer performs as if his life depends on it. 80%
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A traditional biopic of an untraditional person. It’s held above water by the performances of the two gentlemen. 7/10
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Watching this movie made me feel really gay. At the same time, I admired Michael Douglas and Matt Damon for going for it with such enthusiasm. Actually, that was partly why I stuck with the movie till the end. And in the end, I can say that the movie was not bad at all. Perhaps it was too personal for a biography, at times also too far beyond the line, but so what. Not only successes speak of life, but also life in itself. It may be a pity that Miloš Forman did not decide to shoot this story. If only he had the strength…
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The Douglas/Damon duo is perfect. Those two literally wallow in their characters, Soderbergh directs with a firm hand and everybody enjoys themselves royally. Behind the Candelabra never slips into parody, never falls into the mud of some other gay comedies and even so it’s entertaining. The fact that this is based on a true story where the aging piano virtuoso is screwing a sixteen-year-old boy (with the innocent face of forty-two year-old Damon) gives the picture a completely different dimension. Relationship problems are nothing new to us, ingeniously escalating partner rows, losses and emotional breakdowns, we’ve seen it all before, but I guarantee you that you’ve never seen it quite like this. The delivery - these are Oscar-winning performances, ladies and gentlemen. I would even dare to say that Liberace is Douglas’s best role for the past several years. P.S.: As for females, I think the only one we see is a cleaning lady. This is an exclusively male affair. So come on, boys, no holding back, go for it! - I’ll do anything you want... you crazy old fairy. You know that. - Just love me.
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Behind the Candelabra is the second adaptation of Scott Thorson's memoirs about the years he spent in a relationship with Liberace. The first film was released practically immediately after Liberace's death - Liberace: Behind the Music. The theme is clear: the turning of the 70s and 80s, starring a gay celebrity who cannot afford to be open, and the story of a young lover that ends... badly. Scott Thorson was lucky not to contract HIV, but he had his face ruined by plastic surgery at Liberace's request. The end of their relationship then led to legal battles over alimony, something that was dealt with by a homosexual couple for the first time. The message of this film falls into the series of biographies such as Milk or later Bohemian Rhapsody. The atmosphere is identical to Spinning Gold.
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Starring the absolutely excellent, brilliant and disarming Michael Douglas as a famous, extravagant and homosexual pianist who starts a relationship with lover who is many years younger (the excellent Matt Damon). Brilliantly shot, great visuals, excellent makeup, great gay humor. Towards the end it gets a little weaker, but Soderbergh should definitely film other things for HBO, because this is quality.
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Yes, Liberace was a special person. The audience loved him and he loved his audience. So much so that he didn't want to lose anyone. His manager understood this and tried to present Liberace as a heterosexual at all costs, even though he never had any inclination towards women, even though he tried to love them. This person lived in disguise his whole life, until his unexpected death - AIDS. Even on his deathbed, he longed for one thing - no one must find out who he was. Nevertheless, people did find out. Was the whole disguise necessary at all? It's hard to say. Matt Damon, however, excellently supported Douglas in the film and their intimate scenes are incredibly convincing. The film's conception is simply excellent. We understand the life of this person, although we don't know them at all, their tragedy. We can sympathize with them or judge them. That's up to each of us. But one thing cannot be denied about the film - it is well-directed and has a lead actor who has overcome a personal tragedy and made a big comeback. More: http://www.filmovy-denik.cz/2013/07/liberace-2013-90.html
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