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In many of his films (with the huge exception of Wall Street), he is usually the nice guy who is surrounded by extreme characters, mostly women—whether they be psychotic killers or wronged lovers or some combination of both.While he is not a particularly self-reflective person, Douglas is aware that his considerable charm, both on-camera and off, can be a protective device, an area in which to operate safely. “It may be a second-generation-­Hollywood thing—my father [Kirk Douglas] was known for tough-guy parts, and I probably gravitated toward the cerebral rather than the physical to be different from him.” Having worked as a producer—at 31, he won the Academy Award for Best Picture for One Flew Over the Cuckoo’s Nest—Douglas was also more interested in the film as an entity, rather than the stellar nature of his individual part.The movie was going to receive an X for “a penis inserted into a guy’s behind,” said Weintraub.“The studio was afraid to put it out, but it made them a fantastic amount of money.” Neither Weintraub nor Soderbergh gave up: For reasons that he can’t explain, Soderbergh had been interested in Liberace as a topic for years, and while they were on the set of Traffic in 2000, he had asked Michael Douglas about playing him.In what he jokingly refers to as “the sex trilogy”—Fatal ­Attraction, Basic Instinct, and ­Disclosure—he was often naked (from behind) and, especially in Basic Instinct, the sexual couplings were quite graphic.

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“I also had a strong memory of Liberace,” Douglas said.“I thought he was playing a game with me—like it was some mind-fuck trick to get me into the character.But I played along—I imitated Lee’s voice briefly for him, and we went on with making Traffic.” Although he wasn’t sure if Soderbergh was serious, Douglas, too, had an immediate attraction to the bravado and complexity of playing Liberace.I didn’t want it to be unkind, because everyone loved Liberace.He was the nicest man.” For Douglas, the sexuality of Behind the Candelabra was the easiest part to get right.

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