“Behind the Candelabra” was troubling from the start. First came the wearisome sight of Michael Douglas congratulating his heterosexual costar Matt Damon for having the “courage” to play a gay role. Then followed the repeated assurances from director Steven Soderbergh: In crafting this biopic about the flamboyant pianist Liberace (Douglas) and his decade-long relationship with Scott Thorson (Damon), he claimed to be “very conscious of trying to not look at it through any sort of political lens.” As if such political content or relevancy to the ongoing debates about marriage equality might somehow diminish the purity of his vision.
But worst of all has been the way this shrill, deeply unconvincing movie has been praised by critics for its “universality.” On NPR’s “Fresh Air,” David Bianculli talked about screenwriter Richard LaGravenese’s decision to “underscore the similarities between gay and straight relationships, not the differences.” (Bianculli went on to say that “nothing in “Behind the Candelabra” feels gratuitous” – “gratuitous,” apparently, being a synonym for “too gay.”) And in the New Yorker, Emily Nussbaum read the film as a portrait of “a typical Hollywood marriage: a powerful star spots a young blonde, drapes her in jewelry, foots the bill for plastic surgery to suit his fetishes, and makes promises of security that ping all her daddy issues … The difference, of course, was that, because they were two men, Liberace never called Scott his husband.”
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