# 54 (1998)

### reviewed by
David E. Smith

54 (1998) - Mike Myers, Ryan Phillippe, Neve Campbell, Salma Hayek

Based on the true story of a New York nightclub, "54" strives for the essence of all things cool - sex, drugs and disco. It's got plenty of all three and a number of rich stories trying desperately to get out and be seen amidst all the '70s ambience.

On the surface, it's the story of Steve Rubell (Mike Myers), the owner of Studio 54 - the place to be seen in the Big Apple. Steve is cast as a visionary, a man who wants to host a never-ending party. But Steve's success is based as much on his crooked b ookkeeping as it is on his club's wild, lurid atmosphere.

Into the mix comes Shane (Ryan Phillippe), a gas-station attendant from New Jersey who sees the exclusive club as his way out of a quiet life of seeming mediocrity. After getting hired on as a busboy, he is quickly immersed in the dangerous lifestyle of S tudio 54 and its celebrity clientele.

"54" has a number of equally deep stories hiding behind the disco beat: Steve's business practices; Shane's search for his own identity and a touch of romance with soap-opera star Julie Black (Neve Campbell); and the shaky marriage of another busboy and an aspiring singer (Breckin Meyer and Salma Hayek).

It's a shame that some of those great stories are barely touched upon, but the elaborate sets that upstage them are so eye-catching that you may not notice. Whether for good or ill, the real star of "54" is the club itself, with true-to-life recreations of famed set pieces like the cocaine-snorting crescent moon. Its twisted, dark atmosphere fits the dark deeds associated with the club, like drugs served along with the champagne.

In contrast to the shadowy sets, the late '70s soundtrack is bright and uplifting but rarely distracting. In fact, it complements the film perfectly, providing that essential reminder that "54" is loosely based on real life.

Myers, best known for his roles is odd comedies like "Austin Powers" and "Wayne's World," isn't likely to win any Oscars for this film, but at least he has the chance to demonstrate that his acting talents range beyond pure comedy. Most of the other actors are under-utilized and rarely given a chance to shine - even Phillippe, whose Shane is ostensibly the main character of the film.

"54" is a classic example of style over substance. Visually and aurally, it's a sharp movie, but it's not so sharp that you completely forget about the stories. Director Mark Christopher tries to take us to the best of all possible worlds, but j ust leaves people wondering what happened to the characters. Rather like the dying drugs-and-disco scene of the time, "54" is shallow, decadent and ultimately not fulfilling.

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