The movie Studio 54 is greatly similar to the historical Studio 54; the story line is almost exact to the real events that took place in Studio 54. Ryan Phillippe plays Shane, a working-class kid from New Jersey who longs to taste the forbidden high life at Studio 54, the hedonistic palace of New York disco dreams. It's 1979, and as he looks across the river, speaking to us in voice-over, we're meant to be lured by his Manhattan reverie. At Studio 54, foxy Shane gets whisked past the doorman and, before long, lands a job as one of the bare-chested bartenders, an elite crew of studly pinup conquerors who mix the drinks, serve the cocaine, flirt with the patrons, and, on the side, revel in all the free sex and substance abuse they can handle. They're gigolo manservant's elevated to godlike status by the Studio hierarchy, which celebrates beauty and pleasure as the only true values. The truest value there, of course, is mon

Opened April 26, 1977, "Studio" was the epitome of the wildly free, flamboyant, decadent party lifestyle of the '70s and, as many will confirm, "Darling, it was fabulous!" Jimmy Carter's late mother, Lillian, exclaimed after her one and only it to Studio 54, "I don't know if I was in heaven or hell...but it was WONDERFUL!" Steve Rubell sought the perfect mix crowd and/or theme for any given evening, with no one group having precedence. He referred to it as "tossing the perfect salad."

Therefore, over the years, history has served as the model for many works of literature. Since the creation of motion pictures, they too have borrowed stories from real life. The story of the infamous Studio 54 is one such historic incident that has fascinated people from the beginning.

ey, but it's the one that remains invisible, kept (barely) under the table by the club's co-owner, mascot, and reigning velvet-rope fascist, Steve Rubell (Mike Myers), a pudgy, ratlike Brooklyn vulgarian who has created the club as a shrine to everything that he believes, deep down, he lacks. As the movie keeps telling us, Studio 54 was more than a disco. It was a world of fantasy and freedom, where everyone joined in the pulsating ritual of music, dance, and ecstasy. Mark Christopher, who wrote and directed the film (his first feature), re-creates the club's playfully subversive physical details: the glitter confetti and giant silver man-in-the-moon cokehead mobile, the VIP room hidden in the dank basement. Shane becomes

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