I had been meaning to find a relaxed two hours to watch Behind the Candelabra for ages. The movie, which focuses on pianist Liberace and his super-tempestuous personal life, hit our cinema screens a couple of months ago.

But the story is more interesting than that, as I discovered once the opening credits rolled up. Because, you see, the film is an HBO production, and that immediately got my antennae up. HBO is responsible for some of my favourite television shows, and two pretty good internet series – but as far as I was aware they aren’t in the market of cinema produc­tion and distribution.

So, of course, I had to investigate. It turns out that, according to the film’s director Steven Soderbergh, Hollywood didn’t want the film on the big screen because it was ‘too gay’. The online reports had me neatly flummoxed, particularly after the successes of the likes of Brokeback Mountain or even something like Priscilla, Queen of the Desert. And what on earth does ‘too gay’ mean, anyway?

With this question going around my mind, I started to watch the movie. I have to admit that Liberace, as a pianist, has particular meaning to me. My late grandfather, always very into the arts, was a great fan, often re­miniscing about the showman’s performances (though I have to confess that in all likelihood, he was blissfully unaware of the pianist’s colourful personal life).

I was hooked from the start, from the first moment we clap eyes on a highly improbable Michael Doug­las, who is, against all odds, perfect in the role. So perfect that by the end of the movie you start thinking no other actor could have pulled this off.

Soderbergh’s claims that Holly­wood found the film too gay were later repudiated and eventually mo­di­fied, with the new reason cited be­ing that of ‘economics and market forces’ (which were proven wrong in less than a month, but that’s by the by).

Of course, the film is indeed as camp as they come. In some cases, this is endearing. The relationship between Liberace and Scott (Matt Damon in an equally improbably role) during its good days, and Liberace’s (Lee, to his friends) almost childlike pleasure at being on stage, to bring two examples.

At other times, the nature of Liberace’s relationships is such that the endearment changes to revulsion. Not because of any ‘gayness’, but because the man was so obviously a disturbed predator – at least, in the way he is depicted in the movie, of course.

One particular scene – spoiler alert – which has Liberace visiting an underground sex shop (this was pre-internet days, when sex on demand actually neces­sitated people to walk out of the house) is especially effective in the revulsion it inspires. It is also a testament to the clever way Soderbergh has tackled the admittedly difficult themes of the movie.

At other times, the nature of Liberace’s relationships is such that the endearment changes to revulsion

Besides the plotline, which takes the expected path and reaches a particularly poignant ending, the movie keeps your attention with impeccable visuals. From the decadent, kitsch and incredible interiors of the house, to the stage props employed by Liberace, down to the very clothes worn by Douglas and Damon in the movie... every single element combines to create one unforgettable whole.

Which is what ultimately, Behind the Candelabra is. A lot of unique, individual elements making up one unforgettable whole.

rdepares@timesofmalta.com