As the recent and reborn fascination with the 1970's continues, and contrary to the hatred the music inspired not long after it all but disappeared, we're confronted with yet another disco film this year. Unlike, Whit Stillman's talky "The Last Days of Disco," however, this entry is nowhere near as well-made or enjoyable.
For a film based on the center of the disco universe, it surprisingly lacks the ability to truly capture the essence that made disco so popular -- which Stillman so easily captured and allowed to permeate his film. Likewise, it's missing the brilliant direction and stylistic ambience of "Boogie Nights," and the sheer dramatic depth that made that film, as well as "Saturday Night Fever," such critical hits. As a result, this film has nothing new or particularly compelling to offer beyond a brilliant performance from comedian turned serious actor, Mike Myers.
If not for the historical knowledge of the wild times of the infamous, late 1970's New York discotheque, Studio 54, one would never get that impression from watching this film. Sure there's the open use of drugs and public displays of sexual behavior -- along with the overuse and too obvious voice over narration that describes all of that -- but the film never manages to bring us to the party. We're voyeurs instead of participants, and the film comes off feeling more like an abridged history lesson than a full exploration of what made the club what it was.
Part of that stems from writer/director Mark Christopher's (making his mainstream feature directorial debut) decision to focus his attention on a fictitious young Jersey man and his interaction with the club and its regulars, instead of putting the club, and its sleazy and pleasure delivering owner, Steve Rubell, under the spotlight.
Essentially a retreading of the standard storyline where a naive but willing blue collar young man falls prey to the seduction of the party lifestyle and eventually realizes life isn't greener on the other side of the club's velvet ropes, the film's dramatic elements nearly all but miss the boat completely. Unlike "Boogie Nights" and "Saturday Night Fever" which perfectly captured the wild 70's lifestyle while providing some meaty and well-conceived dramatic moments, "54" -- when not focused on Rubell -- feels boring and trite.
Not only can we guess that the young man will be seduced, become popular, and then realize the errors of his ways, but the film also manages to throw in a subplot where the feds are investigating Rubell's money skimming practices. While that really happened and led to the club's eventual demise from its glory days, the proceedings hold little dramatic weight and consequently never involve the audience.
The only thing the film has going for it is the fine performance from Mike Myers ("Austin Powers: International Man of Mystery," the "Wayne's World" films) as the club's seedy and hedonistic owner. Appropriately bleary eyed from heavy drug use and sporting a near constant sweaty leer, Myers delivers a great dramatic performance that's worlds apart from his previous roles.
Unfortunately, the same can't be said for the remaining cast members and their performances.
Ryan Phillippe ("I Know What You Did Last Summer," "White Squall") gets the lead role, but brings nearly nothing to his pretty boy persona -- a fault of both his acting and a weakly constructed character. Poor in comparison to the performances given in similarly constructed roles by Travolta and Mark Wahlberg (in "Saturday Night Fever" and "Boogie Nights" respectively), Phillippe may look good, but that's about it.
The same holds true for the other better known performers, including Neve Campbell (the "Scream" films, "Wild Things") and Salma Hayeck ("Fools Rush In," "Desperado"). Both are clearly wasted in even more shallowly developed characters, and beyond being easy on the eyes, can't do much with what they've been given to work.
The lackluster and poorly executed disco scenes, however, come as the biggest surprise. Unlike the other previously mentioned films set in that era, this one fails to get the audience to "shake (their) groove thing" as one would expect from a film such as this. Mostly second-rate tunes comprise the soundtrack, and the limited dance scenes fail to capture what made disco (no matter how much people hated it then or even now) -- and Studio 54 -- so popular.
Had the dramatic scenes featuring Shane's character been better constructed or inhabited by a more gifted and charismatic lead (think of a young Travolta), the film may have survived that amazing deficiency. Unfortunately it doesn't, and one is left wanting to know much more about the studio and its hedonistic owner, but instead gets a run-of-the-mill rags to riches to eventual enlightenment tale. Not bad enough to induce the urge to walk out before the finale, the film still has to be considered a major disappointment considering the wasted potential. We give "54" a 2.5 out of 10.