Josh (Matt Keeslar), and unlikely love interest Dan (Matt Ross) - grapple with romance, flat-sharing, pregnancy, venereal disease and frugging to a selection of toe-tapping beats over the course of two hugely entertaining hours.ĭespite its occasionally complicated plot and over-intrusive support cast (with this many characters vying for attention, proceedings become a bit cluttered at times), Disco works best as a compendium of delightful, beautifully acted set pieces - Alice's attempt to come to terms with her virginity loss is touchingly comic, while a brilliantly funny group dissection of the canine values displayed by Lady And The Tramp ranks among this film-year's most inspired moments.īy choosing well-rounded, likeable characters (even the mean-spirited Charlotte, played by Beckinsale with an impeccable transatlantic twang), an excellent script and lesser known sounds of disco, (not an Abba tune in sight), Stillman has created an affectionate, original and highly memorable tribute to a bygone age. In fact, there's a pervading sense of dèja vu here, as Beckinsale, Sevigny and their eclectic, intellectual dancefloor companions - bisexual bouncer Des (Eigemann), "dancing ad man" Jimmy (Mackenzie Astin) cartoon-fixated lawyer Tom (Robert Sean Leonard), upstanding D.A. Those familiar with Stillman will recognise his leisurely, cerebral brand of filmmaking, his strong characterisation and sparky screen chatter coming across as effectively as in his previous two outings. Underpaid juniors in a New York publishing office by day, at night they are transformed into sequined disco dollies, hanging out under the glitterball with the assortment of old college chums, upwardly mobile types and scuzzballs who populate their favourite club. It's the very early 80s, and the disco era is struggling to survive, but that doesn't deter the world-beatingly bitchy Charlotte (Beckinsale) and her put-upon, socially inept best pal Alice (Sevigny) from their nocturnal activities. Writer-director Whit Stillman captures the end of an era, chronicling love and heartbreak in a mirror-balled world of exclusive. Bernie also suspects that Des’ pal Josh (Matthew Keeslar), who works for the DA, is interested in more than disco.Cinema's current nostalgia fixation may have reached saturation point of late, but just as the novelty threatens to wear thin, cult American director Whit Stillman (Metropolitan, Barcelona) injects new life into the flagging trend with his best, most commercial offering to date. Despite his friendship with Des (Chris Eigeman), the club’s underboss, Jimmy represents the boring element that Bernie (David Thornton), the club’s huckster owner, wants to keep out. Finessing themselves into a hot disco, the women connect with two Harvard grads - Tom (Robert Sean Leonard), a lawyer, and Jimmy (Mackenzie Astin), an ad man whose job depends on getting fat-cat clients into the club. Their low-entry jobs in book publishing provide the rent for a small apartment while they try to climb higher. The Last Days of Disco is a feast for clever, loaded dialogue, delivered with zip by its fantastic cast, chief among them Chloe Sevigny and the divine Kate. Shy Alice (Chloë Sevigny) and assertive Charlotte (Kate Beckinsale) are just out of Hampshire College. Disco completes what Stillman calls his “Doomed Bourgeois in Love” trilogy. Those who didnt understand will never understand: Whit Stillmans The Last Days of Disco Watch truly great cinema. Alicia Bridges: writer,performer Got to Be Real. While Whit Stillmans The Last Days of Disco, and his other 90s films, Metropolitan (1990) and Barcelona (1994), would seem on the surface to be yet. Writer and director Whit Stillman, a Harvard man himself, has previously investigated this preppy class in Metropolitan(1990) and Barcelona (1994). Listen The Last Days of Disco (1998) Soundtrack I Love the Nightlife (Disco Round). The Last Days of Disco shows a very strange set of relationships that unfortunately are true to life since a lot of times we tend to make friends with. These educated snobs can barely hide their insecurities. Set in the early 1980s, this literate, lacerating social comedy focuses on the kind of yuppie Manhattan careerists the better clubs would block at the door. I just hope it will be in our own lifetimes. I tried to use the original versions of the songs where possible or the closest. Don’t look here for the drug and sex-crazed boogie nights of the disco era. Disco was too great, and too much fun, to be gone forever Its got to come back someday. Listen on Spotify: All song from the 1998 movie in chronological order.
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