Funkytown - Evenings and festive hangovers

The main stumbling block for the director Daniel Roby, with the universe Funkytown disco, was to tackle a subject many times in film treaty. Its primary advantage was to have a unique perspective on this striking phenomenon here. Upon arrival, he has managed to accurately portray the ephemeral medium and colorful, not forgetting to make a movie. The year 1967 was the year of love and Expo. A decade later, it was the epoch of forbidden love and disco. It is during the emergence of this genre that Roby and screenwriter Steve Galluccio depict leaders Bastien Lavallee (Patrick Huard, solid) and Jonathan (Paul Doucet, perfectly nuanced), whose characters are layers of Alain Montpetit and Douglas Leopold, two emblematic figures of this period in Quebec.
Bastien and Lavallee are at the top of this new wave genre that has made Montreal one of the hubs of the jet-set in North America, in those days. The two men make radio and television animation, animate the evenings at trendy club on the corner where coke flows, supervise dance competition, attract groupies, has-beens (Geneviève Brouillette, a bit grotesque) and untalented wannabe (impeccable Sarah Mutch), and revolve around shady agents and producers (great Raymond Bouchard). Anyone who has lived intensely this past period of places and nightlife, or simply known by standing at a distance, will be surprised by this reconstruction period. Photo courtesy
Throughout this production more than two hours, and Roby Galluccio multiply winks to Saturday Night Fever and Boogie Nights, as well as our past television (And it turns), nightclubs today Disappeared (Lime Light becoming the Starlight, was located where the real club, the Chez Paree above), and pay attention to many details in terms of costumes and sets.
Anyone who has lived intensely this past period of places and nightlife, or simply known by standing at a distance, will be surprised by this reconstruction period. Was correct.
Mosaic of characters
Bias assumed scenario, Funkytown paints a mosaic of characters and side stories rather than focusing exclusively on that of Bastien, already plentiful. The story of Tino (excellent Justin Chatwin), a young gay man who hides in the cupboard orientation to his girlfriend, is as important as the excesses of Bastien.
Funkytown if somewhat scattered and loses its pace on the way, he deserves to portray a host of secondary characters with a minimum of flesh, which is rather rare in this kind of movie.
This feature gives the identity and precise tone. Explosive, festive and spectacular in its first part, Funkytown gradually becomes dark, dark and tormented when his characters begin their own way a kind of descent into hell worthy of the worst hangovers.
The curve looks very much like those narrative dramatic films as Goodfellas and Blow. After years of pomp: hop! this is the plummeting ... At one point we almost seem to hear in voiceover: "Back from the break foo falls into the hell of drug. "
While not flawless, Funkytown will rally the fans of yesteryear relive their youth disco on the screen, but moviegoers will not be left out, since despite the superficial aspect of this musical movement, there was not forget to tell a story.
• Three stars Funkytown, by Daniel Roby, Patrick Huard, Paul Doucet, Justin Chatwin and Raymond Bouchard.