#ROBERT LIBERACE REAL FACE PLUS#
Two-thirds of the way into the painting I started disliking the composition, which involved the single wedge the way you see it posted here plus the half-orange next to and slightly behind it. Off I went to our hosts' open-air art studio. However, it was so gorgeous that I took another wedge plus a half-orange to paint. I took a bite of the gloriously orange-colored fruit, and found it too sour to enjoy. I took a wedge, figuring we'd just have to eat the oranges instead of drinking them. However, The Husband was giving up on the juicer. Fortunately, however, it was just a cheap thing and a little knob had come out which fit right back in.
The Husband tried it, and appeared to break the thing on the very first attempt. I'm guessing it was really for lemons, since your hand would get pretty tired making glasses of juice that way. One was electric and looked frighteningly complicated, and the other was a little white plastic thing that you suppposedly put a little fruit wedge into and then folded it in half with some pressure. After a spousal argument over whether the oranges looked moldy or not, we were instructed by the email response as to where to find said juicer(s). First we had to email our housesit hosts about whether they had a juicer, because there were two oranges in the kitchen (one not so e my painting a few days back) that felt heavy, a.k.a. It's ironic to me how the finished painting (seen here) looks like it was done in a carefree, easy, quick manner, rather than via sweat and cursing.īut the problems started even before the paints came out. Maybe there is hope that quality films can still be made, despite cowardly industry insiders.Some paintings are (relatively) easy and some are definitely not. The real hero in this film is not a character so much as it is HBO. That the Hollywood studios turned this script down tells us a great deal about Hollywood. But he was a much-beloved entertainer and talented pianist, who had a long show business career. Music is, not unexpectedly, what Liberace liked, to some extent stuffy and old-fashioned. Interior lighting makes Liberace's on-stage performances come alive. Lavish custom costumes, detailed and elaborate production design, tons of subtle and not-so-subtle makeup all combine to add enormously to the story's credibility, as does the cinematography. Michael Douglas especially deserves credit given that Liberace's mannerisms and image are so well known. Nearly all of the actors give fine performances. Debbie Reynolds, as Lee's elderly mother, is so good that she is unrecognizable. Rob Lowe is terrific as a humorously bizarre plastic surgeon. This film has a big cast, and some well-known names. That kind of material relationship speaks poorly of both men.
One gets the feeling that though there may have been love between the two, Scott is just one more object for Liberace to collect, which was easy for him given his wealth. The plot's first half presents us with a love story. Scott Thorson (Matt Damon) comes across as passive, a tad lazy, and lacking in foresight and intellect. Aside from his public persona, Liberace (Michael Douglas) comes across as egotistical, daring, self-absorbed, and to some extent old-fashioned in his values and beliefs.
The plot spans some ten years, from 1977 to Liberace's death in 1987. "Behind The Candelabra" gives us a story about Liberace's personal life, from the POV of his one time lover, "blond Adonis" Scott Thorson. Congrats to HBO for having the guts to produce a script which mainstream studios refused to consider.