Posts Tagged ‘liberace’

Quote of the day: LIBERACE

May 30, 2013


There’s been a long, headache-inducing debate about the question of straight male actors “playing gay”—whether it’ll ruin careers, whether audiences will find the actor hot, and on and on. It’s a nonsense issue that social progress has begun to render irrelevant, and Michael Douglas’s spectacular performance as Liberace demonstrates a rarely discussed benefit. Freed from his trademark macho sulk, Douglas gains all sorts of unexpected charisma—he’s genuinely funny and surprisingly sexy, even with his toupee off, looking like an unshelled tortoise. His eyes lit with amused intelligence, Douglas’s Liberace is your classic “bossy bottom,” a gleeful narcissist who treats his hangers-on as a mirror (sometimes literally: he pressures Scott [Thorson, his boyfriend] to get plastic surgery to look like a younger version of him). And yet the man’s a charmer. He’s playful, even when he’s selling the world a line. In bed, the two have loving, affectionate exchanges, candid about their histories. Liberace jokes with Scott about the rumors—ones he encourages, of course—that he’s engaged to the Olympic champion Sonja Henie. “As if I would marry an ice skater,” he scoffs. “Please. I mean, those thighs!”


The movie is frank, and often very funny, about Liberace’s sexual appetites, which he pursued without seeing any contradiction between them and his devout Catholicism. He has a penis implant, likes porn, and late in their relationship he pressures Scott to take risks that seem crazy for a closeted star, like sneaking into a sex store in ankle-length matching furs. When the camera captures Liberace peeking over a booth with a grin, the movie doesn’t pathologize his good time—from one perspective, he’s a sex addict; from another, a madcap adventurer. During an argument about what Scott will and won’t do in bed, Liberace does a hilariously profane imitation of the couple as a gay Ricky and Lucy. “Why am I the Lucy?” Scott complains. “Because I’m the bandleader,” Liberace explains, with impeccable logic. “With the night-club act.

— Emily Nussbaum, reviewing Steven Soderbergh’s Behind the Candelabra for The New Yorker

In this week’s New Yorker

May 30, 2013

Three very interesting complicated narratives dominate the issue:

* Nicholas Schmidle’s “In the Crosshairs” tells the compelling story of  Chris Kyle, the highly decorated military killing machine and co-author of the best-seller American Sniper, whose well-intentioned efforts to help Iraqi veterans suffering from PTSD brought him in contact with Eddie Ray Routh, with disastrous results.

* In “The Manic Mountain,” Nick Paumgarten writes about an intense fight on Mt. Everest between elite white European climbers and the local sherpas who make the slopes safe for commercial tourism.

* Jill Lepore’s sharply negative review of Neil Thompson’s new biography A Curious Man: The Strange and Brilliant Life of Robert “Believe It Or Not!” Ripley manages to achieve a capsule portrait of not only Ripley but also Goeffrey T. Hellman, who wrote many in-depth New Yorker profiles, including one of Ripley that ran in two successive issues in 1940.

I enjoyed reading Alex Halberstadt’s profile of Kim Gordon, even though I have never managed to get anything out of listening to Sonic Youth’s music. And I have to admit that I loved Emily Nussbaum’s review of Steven Soderbergh’s Liberace biopic, Behind the CandelabraI pretty much agree with everything she says about the movie.

Oh, and great timely cover by Marcellus Hall:

bicycle cover

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