The Last Days of Disco


Action / Comedy / Drama / Music / Romance


Uploaded By: OTTO
Downloaded 14,692 times
November 05, 2014 at 02:33 PM



Kate Beckinsale as Charlotte
Chloë Sevigny as Alice
1.65 GB
23.976 fps
1hr 53 min
P/S 3 / 21

Movie Reviews

Reviewed by Jason Forestein ([email protected]) 9 / 10

I think Scrooge McDuck is really sexy!

Like his first film, Metropolitan, Whit Stillman's The Last Days of Disco is about young, white kids from an upper middle-class background with a talent for witty repartee and intelligent conversation. More importantly, like Metropolitan, Last Days is also about group dynamic in the late 20th century. In other words, this engaging, and entertaining, film is an anthropological study of a certain subtype of human-being: WASPy disco dancers from the early 1980s.

As such, it should be reprehensible, right? I mean, didn't American Psycho set us straight on yuppie-dom? Well, evidently not, because Last Days of Disco is a wonderful achievement for a number of reasons.

First, there is the satire. Yes, the film likes its characters, but it is not above acknowledging their inadequacies. No one is entirely likable nor is anyone a clear cut bad guy. They're all vaguely reminiscent of college-educated adults in their early 20s: smart and funny but still occasionally mean and prone to bouts of foolish behavior. They're not great people but you can't hate them.

Second, there's the narrative style itself. It focuses, more or less, on Charlotte and Alice but involves their friends, acquaintances, and lovers as well. In doing this, characters will show up unexpectedly (like Charlotte and Alice's roommate) and disappear just as quickly. I like movies that acknowledge that they're concerned with a certain number of characters and regard everyone else as incidental. Minor characters in a film need not remain static. They can and should change from time to time, for such is life.

Third, Last Days of Disco is a paean to that danceable sound. For all the truck disco has been given over the years, it really was a remarkable period of music. Yes, there was a lot of garbage--as there is with any musical movement--but the amount of innovation that took place during the years of 1976-1980 is impressive. We continue to feel the effects of disco and are beginning to accept it as a viable musical outlet. One of the nice points made subtly by Last Days is that, in a sense, discotheques were Utopian communities at night where the Upper East Side WASPS danced next to (gasp!) blacks and gay men! The climate of the discos was accepting of people of all colors and sexual orientations. It's nice to have a film display this belief and show the disco movement its due credit.

As much as I love Last Days of Disco, I think it is nevertheless an acquired taste. The dialogue, which I find scintillating, grates on the ears of others. Like the films of Wes Anderson, Whit Stillman's movies are a little precious. I like them; not everyone does. If you like interesting, though arch, dialogue and well-constructed characters, I suggest this fantastic film to you.

Reviewed by kergillian ([email protected]) 8 / 10

Wonderful and sardonic view of yuppie/disco life

Another winner from Whit Stillman! This is a very clever, well-written film in the Eric Bogosian or Hal Hartley style of a play for the screen. This film really does feel like theater in many ways, especially the funny and clever, tightly written dialogue.

Superb performance by almost the entire cast (the one exception being McKenzie Astin, who was fairly awful, but was barely onscreen so it was shrugable), raised the film to a level above its potential. Kate Beckinsale was the perfect bitch, so annoying that I wanted to pull her out of the screen and shake her repeatedly;) Christopher Eigeman nearly stole the show as Des, he played the character perfectly, his voice and tone always on edge, the defensiveness and womanizing, the stories he told, all a brilliant package. But Chloë Sevigny more than held her own, with her best performance that I've ever seen...everything from her line release to her body language stuck out; she became Alice.

This film is a definite must see...a great soundtrack, great sets, brilliant writing and better acting. It's a bit long, some scenes feel unnecessary, and at times he seems to be over-hammering his point, but Stillman has still provided us with a near-masterpiece, 8/1.

Reviewed by Ben Walsh 5 / 10

the dialogue is fresh and chances are you'll be grinning from here to Bolivia when the "Love Train" rolls through the subway at the end.

`You have no idea what men think about women's breasts,' womaniser Des McGrath (Christopher Eigeman) pleads. No, not a rehash of Boogie Nights, but the third instalment, following Metropolitan and Barcelona, of Whitman's `yuppie' odyssey.

This New York yarn centres on publishing assistants Charlotte (flawless snotty American accent by Kate Beckinsale) and her best friend/biggest rival Alice (Chloe Sevigny). Bitchy Charlotte - `In physical terms, I'm cuter than you, but you're much nicer than I am,' - and Alice fall in with a parade of self-absorbed fellows in pullovers and drab ties. The `verbal' action between this set of intellectual folk takes place at a ludicrous dance palace in the very early 80s, with the `disco movement' decaying and Reagan's soul-devouring materialism taking hold.

In the main these are disagreeable people, but as much as you urge yourself to loathe them, you can't quite do it. Whitman's wildly self-indulgent and witty script (`Do you think the neurological effects of caffeine are similar to that of cocaine?') makes them impossible to ignore and eventually their awfulness becomes disturbingly compelling. A bit like Friends, only without dumb Joey and flaky Phoebe.

Although, aesthetically and visually Whitman's film doesn't quite ring true – clothing looks too 90s and they'd never be able to talk so much in a club – the dialogue is fresh and chances are you'll be grinning from here to Bolivia when the "Love Train" rolls through the subway at the end.

- Ben Walsh

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