HBO Takes Us BEHIND THE CANDELABRA

Article first published as BEHIND THE CANDELABRA Review on Seat42F.

Grade: 95%

HBO generally does a great job with their original films, and the latest, BEHIND THE CANDELABRA, which premiered last night, is no different. The movie details the relationship between famous performer Liberace (Michael Douglas) and Scott Thorson (Matt Damon), from when they meet to Liberace’s death. Based on the book by Thorson, it may feel a little one-sided, but is well presented.

Douglas is excellent as Liberace. He lived before my time, so I don’t have personal memories of the performer, but from the little bit I know about him, Douglas seems to capture the spirit and the personality. He is a flamboyant showman, insecure and addicted to being loved. He seems to find peace for a time with Thorson, but is always hungry for more attention and affection.

Damon is equally captivating as Thorson. At first, Thorson seems stiff and wooden, but over time, as he adjusts to Liberace and his lifestyle, Damon makes the man come alive, embracing a home, something he desperately wants and lacks all his life, as well as a way of living and direction. Thorson may or may not be bisexual, as he claims at first, perhaps willing to be with whoever will accept him. He does seem to care about Liberace, but Thorson also cares about being taken care of.

BEHIND THE CANDELABRA is much more than a biopic. It is the very tragic tale of two souls who have never quite found what they are looking for, but discover a kindred spirit in one another. They are both broken and damaged, and while they try to be what the other wants, sensing the similarities, they aren’t able to live up to those lofty expectations. Both scramble for something to hold onto, but are nearly impossible to satisfy.

Their love story reflects this inability to just be happy in the moment. They both make efforts to do so, but without knowing how to love themselves, they aren’t capable of being fully supportive of one another. Liberace turns to cosmetic surgery and sexual trysts, while Thorson becomes addicted to drugs, but the pathways are more alike than diverging.

Did Thorson love Liberace, or did he just want what Liberace was offering? Did Liberace love Thorson, or was he just drawn to the youth and spirit Thorson represented? These questions aren’t explicitly answered in the two hours, but Damon and Douglas give complex performances that capture the chemistry, warring emotions, and desires within the two men.

The two leads are joined by an absolutely outstanding supporting cast which includes: Dan Aykroyd as Seymour Heller, Liberace’s protective manager; Scott Bakula as Bob Black, the mutual friend that introduces them; Debbie Reynolds as Frances, Liberace’s elderly mother; Cheyenne Jackson as Billy Leatherwood, Liberace’s dissatisfied protégé; and Paul Reiser, Boyd Holbrook, Mike O’Malley, and Tom Papa in small parts that still leave an impression. All of these others may be on the outskirts of the main tale, but deserve credit for making it seem like a whole, complete look at two lives.

Special mention goes to Rob Lowe as Dr. Jack Startz, Liberace’s plastic surgeon and the pusher of Thorson’s drugs. At this point, it should hardly be surprising that Lowe can bring to life yet another eccentric oddball that feels fresh, and yet, he pulls it off again. A lot can be attributed to the facial expressions he exudes, but Lowe definitely plays a memorable role in this film.

Costumes and production design are predictably flawless. At this point, if a studio can’t deliver a convincing period piece, they ought to be ashamed of themselves. What is extra impressive in BEHIND THE CANDELABRA, though, is not just what stands out, but the reality glimpsed behind the facade. Glitter in Liberace’s hair that seems shining on stage comes across as part of a silly costume in the real moments away from the audience. The elaborate home of Liberace tells as much about the character as Douglas’s acting does. Liberace’s hair piece becomes a very essential representation of the man himself. These touches make the piece.

Pacing wise, BEHIND THE CANDELABRA does drag a bit in the middle. I think it kind of needs to to demonstrate where the romance begins to wear thin and when the problems crop up. However, there is a point where I got a little tired and the plot seemed to become a little predictable before ramping up to the antagonizing end.

The characters and their story is as much about our society during a certain decade as it is the people that the movie is about. The gluttony of excess is a familiar tale, one featured on the big screen right now in The Great Gatsby, a quintessential American trait. And with the gay rights movement finally changing minds and laws all over, it’s interesting to look back at a time of ignorance and denial. Including Liberace’s Catholic faith and funeral also points to the discrepancies present in many institutions, then and now.

BEHIND THE CANDELABRA is worth watching for all of the reasons I’ve mentioned and more. It’s not a perfect film, with historical events told from a certain point of view, but it is one that conveys something important and meaningful, balancing the personal story with the larger themes. Check it out, as HBO is currently re-running it frequently.

Justin Timberlake brings back Saturday Night Live

Article first published as  Justin Timberlake brings back Saturday Night Live on TheTVKing.

NBC's Saturday Night Live has good episodes and bad. In recent years, after the 2008 election, the bad weeks have outnumbered the good by quite a few. But all it takes is a fantastic host and a bevy of wonderful guests to turn things around, and last week's episode, which features Justin Timberlake as both the host and musical guest, does just that.

Right from the opening where Timberlake does a wonderful Elton John impersonation with a "Candle in the Wind" parody, the episode takes off. Timberlake is obviously a musician, having contributed to many of the best musical numbers in the series in previous episodes, and he uses that skill again in this gig. A good episode plays to the host's strengths, and this one most definitely does.

Besides the opening, he also sings with recurring characters like the parody-singing advertising mascot (this time a block of tofu, and ending with a Harlem Shake in Veganville) and a return of the "D*** in a Box" guys with Andy Samberg. Sure, it takes time to build up a recurring character's popularity, but the ones that the writers and actors love are usually the ones that the fans love to, so the effort is worth it. Timberlake manages to have a couple of very popular characters with only a limited number of appearances. It's quite impressive.

Besides Samberg, many other Saturday Night Live alumni dropped by. This is done in celebration of Timberlake joining the "5 Timers Club," since this is his fifth time hosting, so other frequent hosts including Steve Martin, Candice Bergen, Tom Hanks, Alec Baldwin, and Chevy Chase appear. The cast of SNL is a very important clique. But so is the job of host. Only a few have reached this pinnacle, invited back over and over again, and they all ooze with talent. Seeing them gather together, along with Martin Short, Paul Simon, and Dan Akroyd, is not only thrilling, but hilarious, as these are some of the funniest people of their generation.

Sometimes, though, guests can be wasted. That is not the case in Timberlake's episode. It isn't practical to include all of those named in other sketches, of course, because too many showed up. But Martin and Akroyd dust off their Wild and Crazy Guys for a bit, and Martin, Chase, and Short don their Three Amigos costumes, thankfully altered to accommodate their current bodies. It's these kind of touches that make the episode memorable, and worth the time of these non-hosts who show up.

There are plenty of sketches in this episode that will provide laughs for years to come, unlike the "5 Timers Club," which is fantastic, but not inherently funny. These all have one thing in common: a current cast member holds their own against the host and/or veterans. The dating game show, where poor Bobby Moynihan competes against two pairs of recurring characters is amusing, especially because of Moynihan's role in it, not in spite of it. He knows he can't compete against the others and embracing it, making him a valuable part of the sketch, rather than a throw-away. And the commercial where Timberlake dates a girl with a penis (played beautifully by Nasim Pedrad) will elicit a giggle or two.

I'm not a fan of the musical performances, and often skip them. I will say, though, that I stuck with "Suit and Tie," despite being lukewarm on the song itself, and it was a terrific performance. The stage looked great, the dancing was incredibly impressive, and tone was perfect.

Overall, Justin Timberlake once more delivers for Saturday Night Live. Let's hope they invite him back soon.

Saturday Night Live airs Saturdays at 11 p.m. ET on NBC.

Blu-ray Review: Driving Miss Daisy and more from Warner Brothers

Recently, Warner Brothers reached back into its extensive vault and released three classic films on Blu-ray. The jewel of this trio is Driving Miss Daisy, the memorable tale of a feisty southern woman (Jessica Tandy) and her loyal chauffeur (Morgan Freeman). The movie won four Academy Awards, including Best Picture, in 1989.

Driving Miss Daisy is a personal story, told over 25 years, about the relationship between two very different individuals, one a Jewish woman, and the other, an African-American man. They each have their own prejudices, backgrounds, and interests, but over time, become best friends. The movie is also a commentary on race relations at large, and a history lesson on the changing attitudes of the American people, especially in the South.

Tandy won a Best Actress Oscar for the role, an honor she greatly deserved. Freeman, nominated for Best Actor, is equally good, and the chemistry between the two actors feels as real as anything I've ever seen. Even decades after this movie came out, the experience of watching it remains as engrossing and special as ever.

Driving Miss Daisy is buoyed by a terrific supporting cast, including Supporting Actor nominee Dan Akryod as Miss Daisy's son, Boolie, who tries to get her to overcome her pride and accept help as she ages, Patti LuPone as Boolie's wife, and Esther Rolle (Good Times) as Miss Daisy's beloved housekeeper, Idella, who is the catalyst for a very emotional development in the movie.

The release of the movie includes a 32-page book built into the disc case. It has some interesting information on the making of the movie, as well as the actors in it, with lots of beautiful photos. There is also a new featurette talking about discrimination in Atlanta, as well as previously released extras like an audio commentary, featurettes, and the theatrical trailer.

The movie itself has been remastered to great effect. I noticed that there is great detail in low-lit scenes, and while things may look a little grainy, that feels appropriate for the time period. There aren't a lot of bright colors in the flick, but the ones that are present are done well. I didn't detect major artificial contrast, and the visuals looking authentic. The sound is clear, and well mixed. There is a loud factory scene, but dialogue still comes through it. Driving Miss Daisy isn't really designed for surround sound, but as a stereo track, the feed is detailed and rich.

At the same time as Driving Miss Daisy is released, two other pictures came out, albeit with simpler editions. The first is Mrs. Miniver, the Academy Award Best Picture winner of 1942. The title role is played by Greer Garson, who also won an Oscar for it. The second is Grand Hotel, which was named Best Picture for 1931/32, and boasts a stellar ensemble cast including Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, and Lionel Barrymore.

The plot of Mrs. Miniver takes place in England during World War II. Maybe Mrs. Miniver can't personally fight in the war, but she can rally the spirits of those back at home, providing support to children and her neighbors alike, even sticking it to a face of the enemy. It's an inspiring movie about the resolve of a nation, personalized by one brave heroine, and released at a time where it could do the most good as propaganda.

Grand Hotel, by contrast, is less heavy material. A gaggle of stars cross paths at the building mentioned in the title. Friends are made, deals are closed, and crimes are forgiven. It's a place where lives can be changed, and they are. "Nothing ever happens" my foot, the famous line of dialogue dripping with contrary meaning.

These two older films remain in black and white, but look and sound pretty good in their new transfers, though occasionally appearing soft and lacking detail at times. Mrs. Miniver, made a decade later, is a step above Grand Hotel in picture, if not in audio.

For movies these old, one doesn't expect total magic, but they are serviceable releases, and surely an improvement over previous versions. They also lack new extras or colorful, photo-filled books, but will still provide an entertaining way to pass an evening. The stories themselves hold up, and really, what more can you ask for in films this old? As long as the remain entertaining, they deserve to be watched again, and both of these movies fall into that category.

Driving Miss Daisy, Mrs. Miniver, and Grand Hotel are available now on Blu-ray from Warner Brothers.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first published as Blu-ray Review: Driving Miss Daisy and more from Warner Brothers on Blogcritics.