Los últimos días de la música disco

"The Last Days of Disco" follows a group of newly minted adults in the New York of the early 1980s. They're affluent, and recent products of Ivy League educations but they really don't have much of a clue as to what adulthood is all about. They're groping, but they're not sure for what. They all have jobs, but their lives revolve around a posh disco where they mate, mingle, and talk. There's not much of a plot; "The Last Days of Disco" is mostly a series of conversions. But the conversions are wonderful. Whit Stillman's dialogue is a delight; he nails what its like during those first years of adulthood when the life of the group is replaced by a mature individuality. The ensemble cast is wonderful to watch, not overplaying their characters. I recommend this movie very highly

1) There is no action in this movie. If you need *something*, then avoid this movie like the plague. And while one may think to themself, "dayam, those actresses look fine", there are no gratuitous skin shots. Its not a movie like "Honey", where you turn off the volume and just stare at Jessica Alba.

2) Its not really about the End of Disco (despite the title). The soon to be dead Disco era is a BACKDROP for the theme of the movie. Casablanca was not about WW II. It was a romance movie, and the War was a backdrop. No one bitches about the authenticity of the airplanes, uniforms, historical details of the politics or legal procedures, or portrayal of the Moroccan culture. Yes, I wish the filmmaker was a bit more zealous about period dress and music. Oh well. And while there are reminiscent touches, its not a movie who's focus is dedicated to capturing the Disco period. If what you want is an homage to Disco, then you won't like this movie.

3) It IS a "Coming of Age" movie. It is about vapid, just-out-of-college Americans starting out in the real world. The movie mostly skewers them, but I can't help but feel a bit of nostalgia and loss for a period of life that will never come back to me (early twentysomething). I strongly suggest you avoid the movie if you're under 35. You do not need to have lived through the disco period to appreciate the movie, but you do need to be an old fogey. Definitely a movie for adults, in the non-NC17 way.

4) The actors put on superlative performances. They were portraying vapid, witless, bland, soon to be full-blown yuppies. The time period is perfect for reflecting on the contrast of soon-to-be-over perceptions of life and the world from youth to early adulthood. You can almost see their worldview evolve within the one(?) year time period of the movie. There's nothing sucky about the acting. The characters are mostly sucky people; that's why they seem wooden, vapid, and lame. (And Kate Beckinsale does an AWESOME American accent; because she's British, and there isn't a hint of her native tongue.) Yes, their dancing seems lame, because the general public are generally lame dancers. People did not break out like John Travolta on the dance floor every night. Its not a movie about dancing.

5) One should be appreciating the dialogue from a detached distance, and be struck by its wit and humor. Not living through these people in a first person perspective. This is for people who can appreciate reading James Joyce, Harold Pinter, or Evelyn Waugh, or any great novelist/playwright who doesn't beat you over the head (usually with a voice-over) with the meaning of every aspect of a scene. (Apologies if these writers aren't good examples; I'm having a problem recalling an ideal choice.) If the movie seems to drift and be aimless, its because life is not a continuous series of epiphanies, and this is not a typical Hollywood feature. If you need something more obvious, you WON'T like this movie.

Its actually a bit hard to like this movie, but I do. I have met people who have lived through the Disco era and waxed poetic like Josh towards the end of the movie. They're actually yearning for the illusions of their youth; which is kind of what the movie is about.

I was a disco queen and what I loved about this movie is that it captured the innocence and naivete of the time along with everyone trying to be what they thought others thought was "cool". No other movie really captures that aspect of the disco days so perfectly. it was a time where everyone was looking for love, walking into a disco hoping all eyes were on them but being naive in regards to relationships. So banal, ridiculous conversations happened constantly while trying to impress or create desire. Then you went home with either the person you had the most chemistry with or whoever you were left with at the end of the night. Generally the sex sucked and not in a good way(ah that was a touch of Charlotte I think). This movie perfectly hit on all those things and takes me back many years. The only thing it didn't have was the absolute joy and abandon many people felt while dancing. There was such a freedom and love of life. Ah well, nothing's perfect, not even disco.

Well, before you see this, ask yourself if you either: a) want to engorge yourself with lengthy witty banter, or b) see a Wasp-y version of the weaving of people in and out of relationships like Seinfeld or Woody Allen but with a bigger cast? If your answer is yes, this is your movie. If not, not.

This movie is FAR more like Stillman's others (Metropolitan and Barcelona) than like anything you've seen about disco - which is simply the background. I was surprised that these yuppie characters were so freely admitted to Studio 54 (the set of the film), but perhaps it indicates disco's waning popularity by the early 1980s.

I enjoyed it very much - but it's not everyone's cup of tea.

Chloe Sevigny, the independent film princess, lands in the great emerald city by the sea. The final moments of the disco period are about to expire and she must dispose of her wickedly evil roommate, Kate Beckinsale. The disco is the epicenter of the film, the "Oz" if you will, where the wizard appears to control the music and lights of the city. Whit Stillman produces movies as often as the Olympics come around, but I like the tone he achieves here. Check-out the eighties publishing world depicted in the film. What's missing? No computers. The office seems less cluttered and more soothing to the creative spirit. There's an off-the-cuff reference to J.D. Salinger and his different works. There are many such random references scattered through the frames of the film. The director keeps you on your toes. The highlight of the film arrives on an iron horse by means of an impromptu dance sequence. The extemporaneous dance number spills out onto the subway platform and beyond the station. Nice touch.