Behind the Candelabra is an Impressive feat of Honesty in Representing Liberace and Scott, and the Development

Behind the Candelabra (4 1/2 out of 5 Stars)

Directed by: Steven Soderbergh (Traffic, Erin Brockovich, Contagion)

Written by: Richard LaGravenese (The Fisher King, The Bridges of Madison County)

Starring: Michael Douglas, Matt Damon, Dan Aykroyd, Rob Lowe, and Scott Bakula

On a yearly basis HBO rolls out a film, which is a landmark event not only for the network, but makes an impact on the landscape of television.  From Angels in America to Band of Brothers, Recount, Mildred Pierce, and last year's film Game Change.  These are only a few television films, which have changed the perception of television film concept.  In the past many television movie/miniseries were a little hooky, and melodramatic.  The films/miniseries listed are some of the best television of all time.  Behind the Candelabra, competed at the Cannes Film Festival.  HBO has once again pushed the boundaries and made a great film.

Candelabra focuses on not just Liberace (Michael Douglas), but two men, the other being his male lover/boyfriend/partner Scott Thorson (Matt Damon).  The film chronicles the six year relationship of these men through the ups and downs of the late 70s early 80s.  Candelabra is more than a biopic of these two men, but rather a tale in love, morality, and a journey as director Steven Soderbergh says "down the rabbit hole" into high priced fame and fortune.

Soderbergh is is the perfect director to take people "down the rabbit hole" he has knack for character driven stories, which do not hold anything back.  Most recently his films Contagion, Side Effects, and even Magic Mike do a great job exploring the nature of characters within their specific situations.  In this case you have two men, Liberace who has been deemed this massively talented entertainer, and has built an empire out of this in Las Vegas.  Then you have Scott who finds himself entranced by the man, and everything he has to offer. 

Part of the credit is due to screen writer LaGravenese.  LaGravenese interestingly enough had a very eclectic screen writing background ranging from The Fisher King to this year's Beautiful Creatures.  LaGravenese uses the book written by Scott Thorson which slants things against the man who tinkled the ivories.  As you see by the end of the film, and Scott is thrown out and given nothing for his time in sun, but this Soderbergh/ LaGravenese version explores the context of both men.  Liberace had a penchant for younger men (the real Scott was 18 when they met), and his fetishizing of youth comes across as manipulative, especially when he forces Scott to get plastic surgery to look more like him.  On the other hand Soderbergh and  LaGravenese explore the other side of the coin with Scotty.  Scotty never says "no" does not walk away even when loses things valuable to him from his past.  Scott is a representation of the materialistic younger boy who is transported to a world he had never experienced.

Part of the strength within the added context is the layered performances from Damon and Douglas.  Damon's Scott goes from the quiet young farm boy, the manipulative disco queen, with a snap.  Watching him lose himself as he is sucked into the world, while also becoming this other person is one of the most interesting character studies on film.  Few films have explored the birth of this gay materialism with such forthright frankness and honesty.  Damon had this characteristic while exploring Tom Ripley back in 1999, but his acting chops have grown, and this role proves he can dance with the big boys.

Douglas's Liberace is also an incredible accomplishment.  Douglas never takes things over the top, never mimics; he owns the role.  While I was more fascinated by Damon's role and his acting, Douglas clearly is a master at portraying the confidence, and vulnerability within Liberace.  Part of the strengths to the way this role is portrayed provide this indelible larger than life image.  Liberace was not only a man of talent, but adored by many; he had an image to live down, or up to, however you want to understand him.  Douglas gets lost in the role, and never lets you forget every moment of the characters joy and misery; he captures each action perfectly.

Recently Steven Soderbergh gave a speech about the downturn of film, and the way the human drama is no longer relevant the way it was in older films.  Soderbergh's speech has elements I agree with, and ones in which I disagree with.  Film/television etc have evolved (just look at the influence of Hulu, and Netflix).  People are consuming media in different formats.  Behind the Candelabra works on HBO, because of the willingness to provide freedom of expression, and not having the make the film more mainstream audience friendly to turn a profit.  Soderbergh's film will be remembered as great mainly because it was an impressive (well shot) feat of honesty that is an impressive character study.  Soderbergh has his own style, and it works so well with this film because its not a "gay film" but an character study, which helps you to have better understanding of people, and their era.

2012 Entertainer(s) of the Year

Although we are only in the last week of November, this year's entertainers of the year would be hard to topple.  Here is my list of entertainers of the year (2012): 

1-The Avengers

The biggest box office hit of the year, was the product of numerous contingencies, including Disney, Marvel, the cast, the crew behind the scenes, and of course the ensemble.  Let’s start with the master behind the marketing, Disney.  Disney did an amazing job making sure that everyone of these films connected at the end, and the story tied together to make sure this built up to one large scale event, and the event will continue. 

Enter the comic genius/director Joss Whedon.  Whedon who has written for Marvel before (Astonishing X-Men), was the perfect choice to direct this film; he loves the comic world and transformed the Marvel world’s greatest heroes into tangible well made film.  This man’s vision along with people who worked behind the scenes on the visual effects, sound, and editing constructed one power house action flick!

Once you have a great marketing strategy, an amazing director, and creative team, it’s time for the actual Avengers to Asemble!  Robert Downey Jr. as Iron Man (Tony Stark), Chris Evans as Captain America (Steve Rogers), Chris Hemsworth as Thor,  new addition Mark Ruffalo as the Hulk (Bruce Baner), through is Scar Johannsen as the Black Widow, and Jeremy Renner as Hawkeyes, and you have one solid team.  Then bring back Samuel L. Jackson as Nick Fury, the man behind SHIELD, and Tom Hiddleston as the mischievous villain Loki, and you have one great ensemble.

Bringing all of these elements created one of the most entertaining films of the year, and brought a comic book fan’s dreams come true.

2-HBO

HBO has had some good/great years, and depending on their new programming  slate that can push them over the top.  This year HBO also had some of the best original films along with their original series putting this network miles above the rest (as usual).

Game Change, which won the Best Movie/Mini-Series at the Emmy Awards, and also took home the Lead Actress Award (Julianne Moore) and Writing, and Directing prizes.  The film centered around John McCain, and Sarah Palin’s bid for the White House in 2008, and of the all the of all the television films this one was truly the best of the year.

HBO has been focused on successful Drama’s for most of its time, and they have been the most successful for the network aside from Sex and the City, and Curb Your Enthusiasm.  This year HBO proved they can be the king/queen of comedy.  HBO had two hits with audiences, and critics, the shows Veep and Girls.  One of the best parts about these shows being solid for the network is that they are female driven, which is also rare for HBO.

Along with these two new brilliant shows, HBO still has Game of Thrones, True Blood, Boardwalk Empire, and Enlightened to help make this one of the best networks on the air because of its wide array of programming.  This may be the best line-up the network has ever had!

3-Channing Tatum

 

The man was a beast at the box office this year, and had three films: 21 Jump Street made 138 million, The Vow made 125 million, and Magic Mike made 113 million.  This is a rare feet, there are no longer stars that bring people to the box office the way they did in the past (or well as many).  Having three films make over 100 million, and be based on the popularity of a star does not happen as often either.  Channing Tatum is one popular guy, with whom both the ladies and men swoon over; he is the leading man of the year.  Tatum was also voted the sexiest man alive by People Magazine, and star of the year by GQ, with all these accolades this guy is unstoppable. 

4- The Ensemble from Homeland

Homeland’s season one had strong popularity, and the ensemble worked well together.  In September Homeland won 4 key Emmy awards including Outstanding Drama Series, Outstanding Lead Actor in a Drama (Damien Lewis), Outstanding Lead Actress in a Drama (Claire Danes), and Outstanding Writing.  While Danes and Lewis, and the creative team were singled out for their contributions the who ensemble is what makes this show tick.  Brody and Carrie would be nothing without their counterparts.  Brody’s wife (while grating sometimes) plays Jessica well, and she balances out much of the show.  Carrie finds her stability with Saul Berenson a co-worker played by Mandy Patinkin, Hollah!  These four folks along with David Harewood, keep the energy going within this show.  I have to exclude Brody’s children, as they drive me nuts!

 5- Taylor Swift

She may be never getting back together, with whoever she dated :cough Jake Gyllenhaal cough: and he single is one of the catchiest I have ever heard.  Taylor Swift may have to realize that one of these days these break-ups is about her,  but for now as long as she keeps getting dumped, that’s right dumped, she is going to be making lots and lots of money.

Taylor Swift’s album Red sold 1,280,000 copies in its first week, artists do not accomplish these anymore, there are very few who succeed as much as this young lady does on the album sales charts.  Sift has also sold 623,000 digital downloads from itunes of her single “We are Never Getting Back Together.”  These two numbers make her the most entertaining musician of the year!

6- Jennifer Lawrence

From The Hunger Games to Silver Linings Playbook this girl has it all the box office power, and the ability to act circles around everyone.  The Hunger Games was no Twilight, the film was much better, and let Lawrence turn in a great/convincing portrait as one of the most memorable characters in recent films/literature Katniss Everdeen.  After re-watching the Hunger Games again recently I was blown away even in this film that Lawrence gave a solid performance.

Yet she will be recognized for her performance in Silver Linings Playbook come award season, and rightfully.  Lawrence is funny, and heartbreaking within this film, and you feel for her as she finds companionship in a man who is lost within his life, like her.  The award season has not started but Lawrence is an early favorite to win at the Globes, and even to be a favorite in the Lead Actress category at the Oscars.  Lawrence is force to be reckoned with, and there is no stopping this woman!

7- James Bond

This was the 50^th anniversary of this character in film, and there was a special edition box set released, which has been flying off the shelves like gang busters.  Along with this special edition box set, there was of course the main reason this character made the list this year, and that is release of the 23^rd film, entitled Skyfall.  Skyfall, is now the highest grossing bond movie of all time, the film is incredible, and it has taken the character along with his current portrayer Daniel Craig.  During Thanksgiving weekend, Skyfall was going toe to toe with the box office powerhouse Twilight.  The quality of the film along with the strong support has brought this character back on top, metaphorically speaking.

8- Ben Affleck

This was a tough call between Steven Spielberg, and Ben Affleck.  Spielberg’s Lincoln is taking off bigger than anyone would have expected, but it’s this younger director/actor/writer who has captured audiences across the globe with his film Argo.  Affleck is one of the most talented men working today, and Argo is one the best/most entertaining films of the year.  In front of the camera Affleck gave one of the best performances of his career (too bad in this crowded category he will get lost) he was subtle, and yet unnerving with his actions as the CIA agent turned fake producer.  Behind the lens Affleck’s direction was brilliant; he was able to make a film that was thrilling, captivating, and hilarious, three hard elements to achieve within one film, bravo!

9-Jessica Lange, Zachary Quinto, Sarah Paulson, Lily Rabe, and Even Peters

While the first edition of American Horror Story aired in 2011, and the cast was brilliant then, but Ryan Murphy brought back a few of the best from season one, proving five folks to be some of the most entertaining folks of 2012.

Together Lange, Quinto , Paulson, Rabe, and Peters and fiercely wonderful as the have taken on new personas in this second mini-series from Murphy.  These are the folks who will most likely return for part III next year, and entertain television audiences once again.  Ryan Murphy has a knack for finding good talent, and using them well amongst his ensemble, and these five actors are some of television’s hardest working folks, proving scary works even on the small screen.

10-Seth MacFarlene and Ted

Raunchy comedies do well these days, and MacFarlene who brings the raunch to television on a weekly basis with Family Guy, American Dad, and The Cleveland Show is the man to fill these shoes.  MacFarlene has humor, which many would call crude, but he is one of the funniest, and most talented men working today.

MacFarlene toppled the myths that R rated films can’t do well (once again, although people keep forgetting).  Ted the talking bear himself may get more credit than MacFarlene, but the two are one in the same (obviously) and they bring the laughs all the time. 

MacFarlene also took to the stage at Studio 6H with SNL, and was season’s best host thus far; he can sing, dance, and do great impersonations.  With all of these things going for him MacFarlene was asked to be the host of the Academy Awards next year, and incredible honor.  This made me a thunder buddy for life!

Emmy Week 2012: Direction takes DramaticTelevision to a New Level

Last year when talking about the Emmy Awards and their actual nominees I cited the fact this branch of the Academy tends to reward the best, for example this year Parks and Recreation, Community received nominations.  Before I go off on a tangent on why the writers know good writing, let me stick the task at hand.

Television direction, either with or without an Emmy nomination, has gone to a new level.  Throughout the years television series have rarely attracted major motion picture directors, used styles and techniques from major films, which could cost a show lots of extra money, or used beautiful exotic foreign shooting locations, and so much more. That's not to say that there weren't landmark television directors throughout the years who directed both comedies and drama series that broke barriers, or helped with the evolution of television.  (Shows that pushed the boundaries)

Yet when I think about the larger span of television, the most famous television director that always comes to my mind first, resides within the world of directing comedic television, and that person is James Burrows.  Burrows represents the old school style of comedic direction, the typical sitcom with the laugh track, camera styling, and so on.  Throughout most of television history dramatic television had a different persona then it does today, the style and format were more formulaic.  Shows like Hill Street Blues, started to break the barriers.  Yet to my knowledge there were not major directors who were power players the way Burrows was in the comedic world.  This started to change when dramatic series like ER, NYPD Blue, The X-Files, hit the television landscape.  These television shows emphasized a more realistic, grittier side of the television drama that had never been seen before.

Smaller names (but big within the industry) started to pop up in these grittier shows,  like Paris Barclay, Thomas Sclhamme, Vince Gilligan, Alan Taylor, and Laura Innes, to name only a few.  Once shows like ER, NYPD Blue, and many of the other 90s dramas started to fade into the background these directors and many more continued to push the envelope, while the major networks became stagnant.  Many major directors became producers and brought their material to basic and pay cable networks like HBO, Showtime, AMC, and F/X.   These networks were ready to step out on a limb, and to push the envelope even further.

HBO started to pave the way, and their first dramatic series within this realm was Oz.  Oz was a dramatic series about the reality of a maximum security prison.  The show was harsh/realistic, and did things that network television series could do.  HBO started a smart trend with their shows including Oz, which was to release a smaller number of episodes stretching the possibility for more quality programming along with making it possible to do more with their budget.  The show also breaks the fourth wall using Augustus Hill, an inmate as the narrator who addresses the audience, and narrates the underlying tone of the episode.  This show's success proved American audiences had a desire to see more realistic television programming.

HBO took things a step further in 1999.  David Chase created a show about a mobster name Tony Soprano who not only bumps people off, but has panic attacks.  The show and its direction provided episodes that felt like nothing that had ever been on television before.  Men like Tim Van Patten, Allen Coulter, and the above mentioned Alan Taylor made episodes like "Pine Barrens" some of the most memorable for avid fans of the show.  These three men continue to be some of the greatest working television directors today, they have set the tone with their work on The Sopranos, and not only forced other cable/pay cable networks to get on board, but they have also created their own worlds.

In the years after Oz and The Sopranos other networks have caught up to the legacy HBO started.   Using a more realistic undertone to guide a dramatic series.  Showtime started with Queer as Folk (2000) and Soul Food (2000), two dramatic series focusing on minority characters, providing something networks did not offer.  Moving forward the create The L Word (2004), Dexter (2006), The Tudors (2007), and Homeland (2011).

Queer as Folk and The L Word, may have been hyper sexualized, but Showtime was one of the few networks willing to create two different dramas about LGBT folks.  Dexter's dark undertone was too dark for parent company CBS, but the series direction highlights some of the most tense moments as the main character takes the the lives of criminals who should be punished.  As Showtime moved forward with their true dramatic series, having a series like The Tudors proved the period drama could be handled well by a television series, and that the key to this series, and series like this were skillful directors who created the right look and tone.  The same can be said for Homeland, one of the most gripping dramas on television to date.  Homeland pushes further than the network drama 24 did, making the concept of counter terrorism more powerfully formulated than most films have done in recent years.  Homeland is the perfect example of how strong direction has changed the landscape of television today.

AMC has done something similar to both HBO and Showtime, but is not a pay cable network.  While many networks jumped on the reality series band wagon AMC (which does have some reality television) challenged HBOs authority in the world of creating realistic dramas, with strong direction.  The fact that people have to pay for Showtime and HBO provides them with opportunity to show people swearing, show nudity, and show more graphic scenes of any nature.  AMC challenged this notion.

In 2007 AMC launched the series Mad Men about 1960s advertising executives.  The show was an instant hit with critics, and became a series that was can't miss television.  What makes Mad Men different is the fact that it feels like a great film, but is a great emotionally packed television series. Mad Men used the foundation laid by The Sopranos, and took television direction to a whole new level.  After Mad Men came Breaking Bad (2008), which has also challenged the norm, and the most recent season ender is one of the best directed hours of television I have ever seen.  Breaking Bad's Vince Gilligan, a director from the 90s uses his dark vision to create a tone when he directs his show he created.  Realism is a trend that breaks in AMCs The Walking Dead about zombies.  Zombie movies have either seemed hokey, or not well written, while this graphic novel turned television series is the exact opposite.  Writing is an important reason for this, but film director Frank Darabont's creation/direction helped make this small screen drama have a big screen feel.

More and more today big screen director's are going to the small screen, and creating or directing for television series, and providing television viewers with more quality programming than ever before.  Frank Darabont (Shawshank Redemption) created and Directed for The Walking Dead (2010), Martin Scorsese (Taxi Driver) is an executive producer, and directed the pilot for Boardwalk Empire (2010), Patty Jenkins (Monster)  has directed two episodes of the AMC drama The Killing (2011),  Gus Van Sant (Good Will Hunting) directed the Starz pilot for the Kelsey Grammer drama Boss (2011), Michael Mann (Heat) directed for was an executive producer for television series Luck (2012) on HBO, and these are the ones that I can think of off the top of my head.  Film directors are taking to the small screen.  Neil Jordan who directed Interview with the Vampire has gone on to work on The Borgias for Showtime stated the following "Hollywood isn't doing anything like this material anymore, with cable, there's this wonderful domain that's emerged for film directors like me who enjoy the kind of material that Hollywood finds too boring for words."

Jordan raises an interesting point about the problem with films, and their lack of variety.  Television, especially cable networks provide a venue for incredible amounts of artistic expression that has lured directors from the bring screen.  Television direction has come a long way from shows like Qunicy, or Marcus Welby M.D.  Looking at those shows then the episode of Game of Thrones from this season entitled "Blackwater" which was directed by Neil Marshall.  "Blackwater" is one of the best directed episodes of television ever, the scale is incredibly large, yet Marshall does not minimize the importance of character development, and the performances from actors like Peter Dinklage.  

There is an artistic inversion going on here.  In the past films provided more opportunities for directors to show their heft because of budget, and more range for freedom of expression.  Television is now the space for this to happen.  There are opportunities within a shortened amount of episodes to tell great stories, and create well directed episodes that allow auteurs to make it work.  

Looking at this year's nominees in Outstanding Directing category is proof that even within ten years television direction has evolved into something special that provides viewers with world, and opportunities they never had before.  Whether we find ourselves lost a post World War I Downton Abbey, or trying to become a kingpin in the drug world on Breaking Bad, these shows prove television direction is a whole new ball game.

The nominees for this year's Outstanding Directing in a Drama Series are:

Boardwalk Empire-To the Lost-Tim Van Patten (HBO)
Breaking Bad-Face Off-Vince Gilligan (AMC)
Downton Abbey-Episode 7-Brian Percival (BBC) 
Homeland-Pilot-Michael Cuesta (Showtime) 
Mad Men-The Other Woman-Phil Abraham (AMC)

Of these the winner should be Homeland, and I have a feeling it will win this award, along with Danes for Lead Actress in a Drama series.  There is of course one interesting statistic about this list and the Outstanding Drama series nominations, not one of them is from a basic cable network.  Throughout the years basic cable shows have ended up on this list, but within the last two years they have been persona non grata.  The problem is that basic network television series are not challenging the norm like they did with Lost, or 24, they are playing it safe and letting other networks (they may own) step up to the plate and put forth creative programming.  As a fan of the direction of television I am not going to complain, I am going to sit back and watch as television gets more and more film directors to direct, create and executive produce shows that are surpassing films today.

GLAAD Fails CBS and TBS, while Showtime, ABC, and the CW Pass with Flying Colors

This year's annual GLAAD report card was released for the the major television networks, and while not much has changed the statistics are a reminder of network priorities.  Here is a quick rundown from their report for basic cable networks:


The report shows that while the CW has dropped ever so slightly they still remain at the top.  The CW is network with much younger demographics, and as youth become more progressive they have used more LGBT representation on shows like 90210, and LA Complex.  ABC got a slight bump from Chaz Bono's appearance on Dancing with the Stars, a casting that also stirred up a lot of controversy, but the network stood by their decision. FOX dropped to third and while NBC moved up in percentages the Peacock network remained in fourth place.  CBS continues to fall farther and farther, but their network and the CW have completely opposing demographics, and while I am sure Les Moonves (a good network head) wants to have a better grade he is doing things to slowly change the perception of this network.  Both the last place networks have two shows focused on LGBT characters, CBS has Partners with Michael Urie and Brandon Routh as a gay couple (from the creators of Will & Grace), and NBC has The New Normal (from Ryan Murphy).  These two shows could help these networks in a major way.  

One thing that's clear is that the same creators create the shows centered around or that contain LGBT characters, and most of those people are gay men.  Ryan Murphy, Marc Cherry, Michael Patrick King, Alan Balll Max Mutchnick all as gay men, and seem to be some of the names that pop up with gay characters at the center.  I am proud that these men have achieved the success that they have, but it would be nice to see other creators incorporate LGBT folks into their framework.  Show runners like David Caspe (whom I believe identifies as heterosexual) has done a great job with Max on Happy Endings, another reason for ABCs bump. Steve Levitan and Christopher Lloyd who created Modern Family should also be applauded for adding a gay male couple to their line up.  The landscape is changing, but if you look at the gender of all the characters I have mentioned and the creators/producers most of them are men and the networks need to step it up on providing LB and T more.

The cable networks statistics look like this:

• Showtime (46%), ABC Family (34%), TNT (34%), and HBO (33%) all received “Good” ratings for the quantity and quality of their LGBT-inclusive original programming.
• MTV (23%) which received an “Excellent” score two years ago received an “Adequate” score this year along with FX (34%), TLC (20%) and USA (17%).
• For the fourth year in a row TBS (5%) received a “Failing” rating, as did the History network (3%).

Interestingly enough I did not see AMC within this study, although I feel as though they were lumped into the "other cable network status" which is interesting because they have far more original programming than the History Channel.  I would not assign AMC a good grade either, even though most of their programming is some of the best on television, there are no LGBT character, which I can think of.  Everyone states that the cable networks are more progressive, and they take more risks, but in reality their scores are not much better than the three top scoring networks on the basic cable side.There are obviously other factors to look at, like the CBS parent company Viacom oversees Showtime so this could be seen as a win just as much as a loss.  

Statistics matter, but networks should not put something on the air, just to do it. NBCs new fall comedy The New Normal appears to be a forced example getting LGBT folks on television.  As networks attempt to be progressive they forget they need to shop around, and not put something on the air that lacks quality.  I would rather have these numbers with quality representation than force things on viewers.  

Does this report matter, yes and no.  I like that there are statistics to point out the networks which show me on television, but this is also a business, and money talks.  Losing affiliates is costly.  Utah affiliates will not even be showing The New Normal this fall.  My hope is that data like this becomes more useful, and people do not have to something like this in the future because it just becomes a natural occurence to see LGBT folks in television