The Last Days of Disco Review
by James Berardinelli (berardin AT cybernex DOT net)May 22nd, 1998
THE LAST DAYS OF DISCO
A Film Review by James Berardinelli
RATING: *** OUT OF ****
United States, 1998
U.S. Release Date: 5/22/98 (limited)
Running Length: 1:55
MPAA Classification: R (Sexual themes and discussion, brief nudity, drug use)
Theatrical Aspect Ratio: 1.85:1
Cast: Chloe Sevigny, Kate Beckinsale, Christopher Eigeman,
MacKenzie Astin, Matthew Keeslar, Robert Sean Leonard,
Tara Subkoff, David Thornton, Jennifer Beals
Director: Whit Stillman
Producers: Edmon Roch, Cecilia Kate Roque
Screenplay: Whit Stillman
Cinematography: John Thomas
Music: various disco artists
U.S. Distributor: Gramercy Pictures
As the date on the calendar prepares to switch from the 1990s to the 2000s, society's imponderable fascination with things 20 years past begins to shift its focus from the 1970s to the 1980s. Thus far, most of the movies to transport audiences to the Reagan era have been characterized by nostalgia, Generation X angst, or sophomoric humor. With THE LAST DAYS OF DISCO, independent writer/director Whit Stillman chooses to view the early '80s through a lens coated by satire. There's also a social message here about how many of the shallow life-views adopted during the period continue to plague our culture today. While disco music has gone and returned, many of the ideals that were around at the time of its demise have persisted ever since.
THE LAST DAYS OF DISCO is very different from any of the other late-'70s/early-'80s movies. Sure, there's the requisite disco soundtrack loaded with tunes from Sister Sledge, Donna Summer, and others, and there are plenty of scenes featuring oddly-attired young people dancing under the flashing light of a strobe, but this film is packed with Stillman characters, and, more importantly, Stillman dialogue. Only a handful of working film makers are capable of presenting the English language with the artistry and rhythm employed here (Tarantino and Mamet come to mind), and the director's approach makes apparently-banal conversations come alive. There's not as much dialogue in THE LAST DAYS OF DISCO as there is in either of Stillman's previous features, METROPOLITAN and BARCELONA, but what there is, is done in his inimitable style. For example, there are discourses about whether yuppies really exist, why VDs aren't all bad, how virginity is defined, and whether it's a good idea to follow Shakespeare's maxim, "To thine own self be true." Plus, there's a hilarious deconstruction of Disney's LADY AND THE TRAMP, where one character claims the movie's function is to "program women to adore jerks."
THE LAST DAYS OF DISCO opens during "the very early 1980s" in Manhattan at a packed disco that is obviously inspired by Studio 54. There we meet the two main characters, a pair of recent college graduates named Alice (Chloe Sevigny) and Charlotte (Kate Beckinsale), who are out for a night of dancing. Since they're young and attractive, they're able to get into the club without having to stand in the ever- growing line. Inside, they meet some of the other regulars, including Jimmy (MacKenzie Astin), an advertising executive; Josh (Matthew Keeslar), an assistant D.A.; and Tom (Robert Sean Leonard), an environmental activist. The club's womanizing manager, Des (Christopher Eigeman), is also on hand. Having just dumped his latest girlfriend by telling her he's gay, he is on the prowl for a new catch.
THE LAST DAYS OF DISCO follows this group as they live pointless lives, work at unfulfilling jobs, and spend their nights under the club's strobe lights. There are various romantic pairings, few of which amount to anything. In fact, with the exception of Alice, who has principles and ambition, no one in this film is especially likable or intelligent. This is obviously intentional, since it allows Stillman to make a cynical, satirical point about what's wrong with society, and how certain problems have their roots in the disco culture. The movie's only obvious misstep is a subplot that involves money-laundering and seems designed to impel the narrative forward toward a resolution it might not otherwise achieve.
Kate Beckinsale (COLD COMFORT FARM, SHOOTING FISH) is impeccable as the bitchy Charlotte. With a perfect American accent and a demeanor that recalls Parker Posey, Beckinsale fashions her character as the picture of the shallow, vain party girl. Chloe Sevigny (PALMETTO) makes Alice a warm, sympathetic character in the midst of a soulless world. By forging an emotional connection with the audience; Sevigny becomes our way into the story. Stillman regular Christopher Eigeman is delightfully self-centered as the callous Des, and Robert Sean Leonard plays a seemingly-charming guy who turns out to be a cad. There are also welcome cameos from several cast members of METROPOLITAN and BARCELONA. Their presence helps to fold THE LAST DAYS OF DISCO nicely into the director's peculiar universe.
Stillman may have a message to present, but he does it without preaching, and in such a way that the audience has a lot of fun along the way. There's nothing inherently brilliant about the movie or its theme, but the combination of sharply-realized dialogue and infectiously energetic dance sequences keeps THE LAST DAYS OF DISCO from losing steam. And when the "Love Train" rolls through the New York subway at the end of the movie, it's almost impossible to keep from smiling.
Copyright 1998 James Berardinelli
- James Berardinelli
e-mail: [email protected]
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