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The Last Days of Disco
May 26. 1998

QUICK TAKE: Drama: A group of upper-middle class graduates and professionals examine their lives and relationships while spending time in an early 80's disco.

PLOT: Alice Kinnon (CHLOE SEVIGNY) and Charlotte Pingress (KATE BECKINSALE) are recent Hampshire college graduates who work as lowly book publisher assistants. Although they never got along in college and aren't really friends, their collective need for a place to live forces them to rent a cramped apartment with another woman, Holly (TARA SUBKOFF). While Alice is the more subdued, "good girl," Charlotte is an aggressively opinionated and smug woman who believes she can help Alice's poor social life.

Thus, they head off to the local hot disco where Alice spots Jimmy Steinway (MACKENZIE ASTIN), a man she finds attractive and whose position at an ad agency depends on him getting clients into the club. Unfortunately for him, the club's shady owner, Bernie Rafferty (DAVID THORNTON), doesn't want ad people in his establishment, and thus tells one of his mangers, Des McGrath (CHRISTOPHER EIGEMAN), to remove Jimmy, his friend. Des already has his own share of problems including his ambiguous sexuality as well as a growing drug problem, not to mention that his college buddy, Josh Neff (MATT KEESLAR), now an assistant district attorney, is investigating the club.

While the Harvard men and the Hampshire women intermingle and discuss their lives and careers, Charlotte hooks up with Jimmy and Alice sleeps with Tom Platt (ROBERT SEAN LEONARD), a lawyer and another of Des' college buddies. As the months pass and the last days of disco approach, the group ponders a wide variety of issues.

WILL KIDS WANT TO SEE IT? Some older teens just might, especially if they're fans of someone in the cast or of the Disco era, but this "talky" film will have no appeal to preteens.

WHY THE MPAA RATED IT: R For some elements involving sexuality and drugs.

CAST AS ROLE MODELS: CHLOE SEVIGNY plays the reserved and socially awkward young woman who hangs out at the disco, drinks most of the time and ends up getting V.D. from a man with whom she had a one night stand. KATE BECKINSALE plays the aggressively opinionated young woman who also frequents the club, drinks a lot and freely speaks her mind without thinking that she might offend someone or hurt their feelings. CHRISTOPHER EIGEMAN plays a manager at the club who can't decide upon his sexual preference and turns out to be a drug addict. MATT KEESLAR plays an assistant district attorney whose uses lithium to regulate his depressive state, and who's torn between his friendship with Des and his duty to his job that involves investigating the club. MACKENZIE ASTIN plays an ad agency man who's preoccupied with losing his job if he can't get clients into the club and later he has a relationship with Charlotte.

OUR TAKE: 6.5 out of 10 Playing more like David Mamet meets Seinfeld than either "Saturday Night Fever" or "Boogie Nights," writer/director Walt Stillman's latest "indie" film has the requisite, thumping disco soundtrack, outrageous attire and colorful light shows, but it's more about a group of upscale twentysomething's discussing their lives and careers then the musical era itself. Featuring a meandering and near pointless plot, but some clever and quite often funny dialogue, the film probably won't appeal to mainstream audiences, but should please fans of art house fare.

Much like playwright turned filmmaker David Mamet ("The Spanish Prisoner"), Stillman has an exceptional ear and brilliant gift for writing dialogue. His previous films, 1990's "Metropolitan" (for which he received an Oscar nomination for best screenplay) and 1994's "Barcelona," are noted for their heavy use of talk and a cast of intelligently crafted characters, and Stillman certainly doesn't stray from that formula here. While the plot is the film's weakest element and often flip flops about without ever getting anywhere, it's the richly drawn and diverse characters that make the film interesting and fun to watch.

Similar to the TV show "Seinfeld" with its cast of likeable, but essentially petty characters, this is a film about a group of people who sit around and talk about "nothing." Of course that nothing refers to unexciting events such as their social lives and commenting on mundane subjects that no one, other than Jerry and company, would even care or bother to examine. The characters intelligently and often humorously discuss socializing as a group versus pairing off as couples, whether they should be classified as yuppies (not that there's anything wrong with that), if women are drawn to men who are bad instead of ones who are weak and indecisive, and a monologue discusses the future of disco music playing off our common hindsight of its recent resurgence.

Then there's the scene that moviegoers and critics alike will probably mention the most after seeing this film and that's where the group clinically dissects and debates the merits of the animated film, "The Lady and the Tramp." The several minute scene is quite funny in the disparate ways in which each character analyzes that picture's characters and plot (ie. Arguing about whether Tramp changed during the film, the moral message of the story, etc...) and it displays a bevy of humorous and sharp writing.

The performances are also quite good with the ladies surprisingly, but pleasantly, inhabiting the more developed of the characters. Chloe Sevigny ("Kids," "Palmetto") is effective as the more reserved of the leads and is easily the most sympathetic of the characters. Kate Beckinsale, on the other hand, who was so charming as the med. student in "Shooting Fish," really puts on the "bitchy" act here, and is what you'd imagine if "indie" film favorite Parker Posey played a grown up "Heather" from the movie, "Heathers" and frequented the disco scene (meaning she's socially smug with a touch of mean and nasty thrown in).

The male performers are also good in their own right, but with similar good looks it takes a while to differentiate them by sight. The stand outs are Christopher Eigeman (who appeared in Whitman's other films) as the club's sexually ambiguous manager and Matt Keeslar ("Sour Grapes," "Mr. Magoo") as the morally torn assistant D.A. with a love for discos and dancing.

Technical credits are good all around with cinematographer John Thomas' lense work and production designer Ginger Tougas' sets perfectly capturing the look of the upscale disco era. Those expecting Travolta style dance numbers, however, will be disappointed. Although the soundtrack is jam packed with tunes from the late 70's and early 80's, the dancing consists only of the crowded dance floor variety, although it retains its toe-tapping, boogie-in-your-seat, infectious nature.

While it would have been nice had Stillman delivered a better constructed plot -- some scenes often come out of nowhere and the film has a definite disjointed feel to it -- the sharply written characters and dialogue mostly make up for that deficiency. Certainly not for everyone's tastes and not as funny as the better episodes of "Seinfeld" that focused on nothing, this film should please those looking for a decidedly cerebral and talky look at the end of a musical era that most claimed to hate, but secretly loved. We give "The Last Days of Disco" a 6.5 out of 10.

OUR WORD TO PARENTS: While it's doubtful any but the oldest of teens will want to see this film (or will have the patience to sit through the dialogue-heavy moments), here's a quick look at the content. Some drug use exists, but beyond a guy smoking a joint, most of it is implied and occurs off camera. Most of the characters, however, do drink throughout the production although no one gets rip roaring drunk. A few moments of nudity occur (one in a brief sexual encounter), and one scene does contain racy sexual dialogue. For a film set in this time and location, the profanity is surprisingly mild (with several "s" words and others) and violence is limited to one brief beating and some milder material. If you or someone in your home wishes to see this film, you may want to take a look through the listings to determine if it's appropriate for you and/or anyone else.

Of SPECIAL NOTE for those affected by flashing lights there are two scenes in this movie that contain such material. The opening credits flash on the screen, while a later scene in the disco has a true strobe effect that covers the entire screen and lasts for several seconds.

ALCOHOL OR DRUG USE Alice, Charlotte and most of the other characters have drinks (vodka tonics, whiskey sours, beer, etc...) in their hands whenever they're at the club -- as do many background characters -- or in other scenes. Des is a drug user (apparently cocaine), but we only see him right after he's taken the drugs. We do see Bernie, however, light up a joint. In a later scene, Des asks if coffee has the same effect as cocaine. After Alice says that's what she's heard, Des tries to snort coffee from a cup. Alice and Tom have liquor at his place. The ladies and their dates drink beer and wine at a dinner party. What appear to be packets of cocaine fall from Bernie's log book.

BLOOD/GORE Josh has a tiny bit of blood in the corner of his mouth and some drops on his shirt after getting hit (we don't see the violence). In an emergency room we see a man whose face and shirt are rather bloody and then see Jimmy who's got a bloody nose and some blood on his shirt.

DISRESPECTFUL/BAD ATTITUDE Charlotte has both as not only does she look down on Alice (thinking she's a social reject), but she also openly speaks her mind without worrying about whether she's being mean (and Alice is occasionally the recipient of her scathing comments). She's also quite conceited and smug and mentions to Alice that she hated her in college and talked guys out of asking Alice out for dates. Des tells several of his girlfriends that he believes he's gay, but since we never see any such behavior (and after he hooks up with Alice) that may partially be just an easy way to break up with them. He also has sex with another woman while supposedly seeing Alice. Bernie has both as he's skimming money from his club and also appears to be running a drug operation there (and doesn't want ad agency people in his club because they're "too nice"). Charlotte publicly announces that she believes that Alice "has the clap" (V.D.). There's a brief comment made about the Bible being the first published book after just mentioning other "mumbo jumbo" books.

FRIGHTENING SCENES None.

GUNS/WEAPONS We see some TV footage of a box of disco albums being blown up with some sort of explosive. Bat: Used by a man to hit Jimmy outside the club.

IMITATIVE BEHAVIOR Phrases: "Bitch" (said by Charlotte about herself and later about Alice, and by a man toward Alice), "Screw" and "Horny" (sexual), "Jerk," "Idiot," "Meatball," "Sucks," "Dope," "Creep," "Yuppie scum," Slutty," "Nuts" (crazy), "Shut up," "Scumbag," "Loon," "Nutcase," and "Freakazoid." Des asks if coffee has the same effect as cocaine. After Alice says that's what she's heard, Des tries to snort coffee from a cup.

JUMP SCENES None.

MUSIC (SCARY/TENSE) None.

MUSIC (INAPPROPRIATE) None.

PROFANITY At least 4 "s" words, 1 ass (used with "hole"), 1 crap, and 20 uses of "God," 6 uses of "Oh my God," 2 uses of "Jesus Christ," and 1 use each of "Jesus" and "My God" as exclamations.

SEX/NUDITY Several women in the club occasionally show some cleavage in their outfits, as do Alice and Charlotte in other scenes. We briefly see a bare-breasted woman on the dance floor. About his reported homosexuality, one of Des' girlfriends says, "Every time you made love to me you must have wanted to vomit." Later, another confronts him and asks if he's had sex with other men (he never answers either way). Although we don't see anything, Alice has sex with Tom from which she gets V.D. Later they talk about that and whether she was a virgin when they had sex: "So you think I gave it to you." Yeah, I'm pretty sure." "You were more active than I was. You were more experienced." She says no and he then responds, "How did you know all of that?" "I read." "You must have been with some guys...You weren't a virgin." She then says, "Technically, if you're making love and the man spurts outside the woman, does that count as sexual intercourse?" "Spurts?" "If it squirts without getting in, does that count as losing your virginity?" He asks, "No part of the man got in at any time?" "I don't think so." "I think part has to get in to be considered sexual intercourse." He then adds, "I can't believe that the first time you made love I gave you "g" and "h" (gonorrhea and herpes). We see several gay men dancing in the club and in one scene one caresses the other (both are shirtless). Tom tells Alice that he was curious about the sexual revolution and whether it had gone as far as everyone had said. He then says that it had, but that he couldn't handle it. He then questions why people's I.Q.'s drop whenever they think about having sex with strangers. Charlotte mentions that she can tell if a man is gay by looking into his eyes. She then comments that Des doesn't have gay eyes, but that he does have a "gay mouth." Des tells a story about being with a girl in high school where she suddenly whisked off her shirt and he was confronted by her bare breasts. Charlotte tells Alice that she's "late" (with her period), and when Alice asks how long, Charlotte responds "a day." We briefly see a nude woman lying on top of Des on a couch. As Des scrambles to get up, we see her bare breasts as she sits nude on the couch (her legs are crossed).

SMOKING Des smokes a few times and we also see Charlotte, Bernie and Jimmy smoke. Background characters smoke in and outside the club throughout the movie.

TENSE FAMILY SCENES Charlotte briefly mentions her parents getting divorced when she was younger.

TOPICS TO TALK ABOUT Venereal diseases. Alice gets that from a one-night stand, but other than behaving awkwardly (and Charlotte saying it's no big deal and may even prove to be advantageous -- in her own thinking), this doesn't seem to be a big deal. Depression and the use of lithium to treat that condition (there's some brief talk about Josh needing that medication). The disco era.

VIOLENCE Josh has a tiny bit of blood in the corner of his mouth after getting hit (we don't see the violence). We see some TV footage of a box of disco albums being blown up with some sort of explosive at a ballpark. We then see people tearing down a batting cage and setting fires on the field. Several men approach the club and one of them suddenly hits Jimmy in the face with a bat (resulting in a trip to the emergency room and a bloody nose). Josh kicks in a door at the club looking for Des.

San Francisco Chronicle
The Last Days of Disco
'Disco' Goes Through the Motions
Whit Stillman's young people talk, dance, and talk some more
By Mick La Salle
May 29, 1998

"The Last Days of Disco" isn't really about the phenomenon of disco or even about the importance of disco in the lives of a handful of characters. People go dancing, and they talk about disco -- but not in ways they would have really talked about it in late 1980 and early 1981, when the film takes place.

Written and directed by Whit Stillman ("Metropolitan," "Barcelona"), it's another of this filmmaker's ensemble comedies about highly educated people in their 20s who worry about love and money, and talk and talk. Only here, when they're not talking, they sometimes dance or snort cocaine.

Posterity reduces all eras to cliche. The '20s are the Charleston and bathtub gin; the '70s will be disco and cocaine forever, end of story.

"The Last Days of Disco" is not intended as an accurate or realistic document. One could quibble that, by 1981, disco was not dying but dead, that it was strictly a Ford- Carter era phenomenon. One might just as easily observe that human beings don't talk like the people in Stillman movies -- in long, loping sentences, forming perfect paragraphs. But Stillman has to know that himself. Obviously, that's the way (uh-huh, uh-huh) he likes it (uh-huh, uh-huh.)

"Last Days" is the most Stillmanesque Stillman movie yet. It's about a mood, part wistful, part sardonic. It's about a time of life, about repartee, about the vivid character saying the unexpected thing. Like "Metropolitan," it's about the coziness -- and loneliness -- of being in a group. And it's about the longing for love and glamour.

Chloe Sevigny and Kate Beckinsale play assistants at a publishing house who go to a Studio 54-type discotheque on the weekends. Charlotte (Beckinsale) is overbearing, chic and loose, with lots of advice for Alice (Sevigny), who's attractive but shy and slightly awkward. "I'm only slightly more pretty than you," Charlotte tells her. "But people don't like you."

Stillman is in his element in the scene in which Alice tries to seduce a man (Robert Sean Leonard) by casually throwing the word "sexy" into the conversation. "I think Scrooge McDuck is sexy," she says, when he shows her his comics collection.

Stillman also has fun with Des (Chris Eigeman), an assistant manager at the exclusive nightclub whose way of breaking up with women is to tell them that he's just realized he's gay.

The director has no trouble introducing characters -- a manic-depressive FBI agent (Matthew Keeslar), a desperate young advertising man (Mackenzie Astin). Stillman puts them together and gives them amusing things to say. But his talents desert him when he has to come up with a narrative or get to the point.

Ultimately, Stillman's effort to cobble together a story for "The Last Days of Disco" is both halfhearted and ham-fisted. Borrowing a page from the real history of Studio 54, Stillman puts the nightclub under investigation by the IRS.

In its last hour, the picture becomes more clumsy and tiresome, but the stray laugh and the disco sound keep it pulsing.

Student.com
Talk Disco to Me
Whit Stillman's "Last Days of Disco" recasts the early '80s club era as an acerbic speakeasy.
By Wesley Morris

No one really went to discos to dance. People went to show themselves off in the glorious but simply vain way heroines did at balls, teas and recitals in Jane Austen novels. Whit Stillman recalls the Manhattan discotheque, circa 1981, in "The Last Days of Disco." It's the last public haven for social gathering yuppies had before they graduated to posh watering holes or started throwing dinner parties in their lavish apartments.

In this charming and brutally funny film, Stillman sets the strobe lights spinning around his sharpest, most personable comedy of manners to date. Alice the wallflower and Charlotte the social dominatrix (Chloe Sevigny and Kate Beckinsale, both of whom are sensational) wander through the film's unnamed club as though it were one of the a debutante balls Stillman didn't have the budget to show us through in "Metropolitan." They avoid the wrong male suitors as if they were landmines, only to realize the same men might be ideal chaperones for an evening of sipping liquor and posing to the beat on the dance floor.

A sadness hovers over "The Last Days of Disco," a longing for a bygone era that was the pinnacle of generation's sense of self and liberation. More importantly, the film is an acutely funny laceration of yuppie preoccupation with possessions and status � one in which Stillman holds contempt at arms' length while embracing urban, upwardly mobile youth. It's a social caste he can't bring himself to despise.

"It's like a dream come true," exclaims Josh (Matt Keeslar), a lawyer, of the scene he's so honored to be part of, "cocktails, dancing, exchange of points of view." Like everyone else who wanders in and out of the club, Josh is in heaven � and so are we. "The Last Days of Disco" is not merely a throwback. Stillman creates a suddenly familiar world refracted by the director's memory of the era. The nightclub is serene and oddly sanitary, as if from some disco dream.

The disco is juxtaposed with the decadent publishing house where Alice and Charlotte with their day jobs. The repartee between the two women and their unionist Harvard-educated co-worker (Matthew Ross) is hilarious. His socialist efforts and total disdain for the club earn him the nickname Departmental Dan. In time, he succumbs to the highbrow ecstasy of domestic beers and Blondie.

The film channels its comic seediness in Des the bouncer, played with usual chatty unctuousness by Chris Eigeman, a Stillman regular. He's a rather lucid cokehead who says he's gay so he can dump women without the hassle of an explanation. "You're not fit to lick the boots of my real gay friends," Charlotte chides. Des also stumbles onto the club's tax scam similar to the one that brought Studio 54 to its knees. Stillman's angle on this portion of the film is harder to accept, particularly because his script so effortlessly offers countless beautiful and sharp human trivialities, endearing as they are slightly profound.

Stillman's ideal milieu is one in which people treat an evening at a nightclub as though it were an ice cream social. It's a brilliant and original proposition: yuppies infiltrate the disco and prattle away. Alice, Charlotte and their gang of pro preps move from the bar to the dance floor to the bathroom, swilling drinks and discussing "Bambi" in a pro-environmentalism diatribe as India and the NuYorican Soul's "I Love the Night Life" flutters behind (and beneath) them.

The songs serve as the soundtrack for their pop cultural criticism and romantic dealings, but as Josh so passionately points out, disco will live on. Stillman wants you to believe that even as these former preppies become chairmen and CEOs, the groove is still in their hearts.

Wesley Morris will never disco due to his distaste for Erasure's version of an Abba classic.

Chicago Sun Times
The Last Days of Disco
By Roger Ebert
*** 1/2

"The Last Days of Disco" is about people who would like to belong to the kinds of clubs that would accept them as members. It takes place in "the very early 1980s" in Manhattan, where a group of young, good-looking Ivy League graduates dance the night away in discos. Unlike the characters in "Saturday Night Fever," who were basically just looking for a good time, these upwardly mobile characters are alert to the markers of social status. New York magazine is their textbook, and being admitted to the right clubs is the passing grade.

The movie is the latest sociological romance by Whit Stillman ("Metropolitan," "Barcelona"), who nails his characters with perfectly heard dialogue and laconic satire. His characters went to good schools, have good jobs and think they're smarter than they are. "Alice, one of the things I've noticed is that people hate being criticized," says Charlotte, who seems quietly proud of this wisdom. They are capable of keeping a straight face while describing themselves as "adherents to the disco movement."

Alice (Chloe Sevigny, from "Kids") is the smartest member of the crowd, and definitely the nicest. She has values. Her best friend Charlotte (Kate Beckinsale) only has goals: to meet the right guys, to be popular, to do exactly what she imagines someone in her position should be doing. Both girls are regulars at a fashionable disco. Charlotte is forever giving poor Alice advice about what to say and how to behave; she says guys like it when a girl uses the word "sexy," and a few nights later, when a guy tells Alice he collects first editions of Scrooge McDuck comic books, she faithfully observes that she has always found Uncle Scrooge sexy.

As the movie opens, a junior ad executive named Jimmy Steinway (Mackenzie Astin) has just failed to get his boss into the club (he was wearing a brown suit). Jimmy goes in anyway. Alice and Charlotte, working as a team (Charlotte is the coach), forcibly introduce themselves. During the opening scenes we meet other regulars, including Des (Christopher Eigeman), the floor manager, who gets rid of girls by claiming to be gay, and who has his doubts about the club's management ("To me, shipping cash to Switzerland in canvas bags doesn't sound legal"). Other regulars include Josh (Matthew Keeslar), who casually mentions that he's an assistant district attorney, and Tom (Robert Sean Leonard), who has a theory that "the environmental movement was spawned by the re-release of `Bambi' in the late 1950s."

During the movie these people will date each other with various degrees of intensity. Charlotte's approach is to take no hostages; she invites the D.A. to dinner at a time when she doesn't even have an apartment, and then rents one. A real estate agent explains the concept of a "railroad flat" to her (you have to walk through both bedrooms and the kitchen to get to the bathroom, but the flat has two hall doors, so the best way to get from the front to the back is to walk down the hall).

If Scott Fitzgerald were to return to life, he would feel at home in a Whit Stillman movie. Stillman listens to how people talk, and knows what it reveals about them. His characters have been supplied by their Ivy League schools with the techniques but not the subjects of intelligent conversation, and so they discuss "The Lady and the Tramp" with the kind of self-congratulatory earnestness that French students would reserve for Marx and Freud. (Their analysis of the movie is at least as funny as the Quentin Tarantino character's famous deconstruction of "Top Gun" in the movie "Sleep With Me.")

Stillman has the patience to circle a punch line instead of leaping straight for it. He'll establish something in an early scene and then keep nibbling away until it delivers. The guy who dumps girls by claiming to be gay, for example, eventually explains that he always thought he was straight until, one day, he felt "something different" while watching Jim Fowler on "Wild Kingdom."

The movie has barely enough plot to hold it together; it involves drugs and money laundering, but it's typical of Stillman that most of the suspense involves the young D.A. fretting about a romantic conflict of interest. The underlying tone of the film is sweet, fond and a little sad: These characters believe the disco period was the most wonderful period of their lives, and we realize that it wasn't disco that was so special, but youth. They were young, they danced, they drank, they fell in love, they learned a few lessons, and the music of that time will always reawaken those emotions.

It's human nature to believe that if a club admits people like you, you will find the person you are looking for inside. The problem with that theory is that wherever you go, there you are. At the end of "The Last Days of Disco," as the club scene fades, people are hired to stand outside and pretend they have been turned away. When they get off work, what clubs do they go to? So it goes.

Cinema 1 (en espa�ol) Alice (Chlo� Sevigny) y Charlotte (Kate Beckinsale) se acaban de graduar de la Universidad de Hampshire. Ellas apenas si pueden sobrevivir con un pobre salario y se ven forzadas a compartir su vivienda con una tercera inquilina llamada Holly (Tara Subkoff) en un min�sculo apartamento en la secci�n de Yorkville en Manhattan.

Charlotte consuela a Alice por nunca haber tenido novio o una vida social mientras estudiaba en la Universidad -- pero las cosas comienzan a mejorar cuando ella conoce a dos interesantes graduados de Harvard en una fiesta en Sag Harbor.

La primera noche, intimidadas por la multitud a las puertas del club, Alice y Charlotte toman un taxi.

M�s tarde, una vez adentro del club, ellas se encuentran con los dos chicos de Harvard: Jimmy Steinway (Mackenzie Astin), el "publicista bailar�n" quien introduce a sus clientes al club para poder conservar su trabajo en la agencia de publicidad, y Tom (Robert Sean Leonard), un apuesto abogado al que le interesan el medio ambiente y el T�o Rico (el del Pato Donald).

Ambos fueron amigos del due�o del Club, Des (Chris Eigeman), durante sus a�os Universitarios , un aparentemente bisexual conquistador que admite a sus amigos por la puerta trasera del Club si ellos tienen problemas con el Portero Nazi llamado Van (Burr Steers). Adem�s tenemos a Josh (Matt Keeslar), un novato fiscal en el distrito de Manhattan con un exagerado entusiasmo por la m�sica disco y lugares de baile.

Todos ellos est�n en esa edad en la que uno usualmente ha trabajado por unos cuantos a�os despu�s de graduarse de una Universidad.

Se vuelve evidente que el club no est� siendo manejado de acuerdo a principios de contabilidad convencionalmente aceptados. Bernie Rafferty (David Thornton), el extra�o due�o del club, se embolsa dinero y tiene una extra�a vendetta en contra de personas que trabajan en medios publicitarios: ellos son "demasiado amables," �l dice -- �l no quiere "a ese tipo de elemento" en el club.

Entretanto, en su trabajo en la oficina de publicidad Charlotte y Alice estudian f�rmulas para encontrar libros de gran �xito mientras tratan de ignorar el inter�s cr�tico del anti-disco Dan (Matt Ross) quien m�s tarde se aparece en sus vidas nocturnas.

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