The film unfolds as a pseudo-autobiography of The Village People, exploring their origins and the vibrant disco scene. Jack Morell (played by Steve Guttenberg) dreams of becoming a composer but finds himself DJing at Saddle Tramps, a disco. When his roommate, Samantha Simpson (Valerie Perrine), a retired supermodel, helps him secure a record deal, they recruit an eclectic group of characters, including the iconic Cowboy, Indian, and Policeman.
A Cultural Odyssey through the Glittery Yet Problematic Legacy of the 1980 Musical Comedy
“Can’t Stop the Music” is a 1980 musical comedy that serves as a highly fictionalized account of the creation of the iconic disco group, The Village People. Released in the summer of 1980, the film faced numerous challenges, including an unfavorable cultural shift away from disco, the emergence of a conservative era, and an unfortunate timing amid the early days of the AIDS epidemic.
The film, directed by Nancy Walker and written by Bronte Woodard and Allan Carr, underwent significant changes during its production. Originally titled “Discoland: Where the Music Never Ends,” it eventually adopted the more familiar name. The movie opens as a period piece, embodying the disco era with its glitzy visuals and energetic music, creating a sense of anachronism by the time of its release.
“Can’t Stop the Music” faced a cultural landscape marked by an emerging conservatism, with the Reagan Era beginning to take hold. The film, which presented itself as a family musical with a gay sensibility, coincided with a time when anti-gay sentiments were on the rise, and the AIDS epidemic fueled anxiety, associating the movie with the ’70s sexual revolution and disco culture’s glamorization of a lifestyle viewed as taboo.
In addition to the broader cultural shifts, the film also came out around the same time as other controversial movies with gay themes, such as “Windows” and “Cruising.” The association of gay characters with negative stereotypes in these films prompted protests from activist groups, contributing to an atmosphere of homophobia.
Despite being a film centered around the gay-themed group The Village People, “Can’t Stop the Music” struggled with a lack of assertiveness in its representation of LGBTQ+ themes. The film’s attempt to appeal to a mainstream audience led to what is perceived as a schizophrenic approach, with overt gay references countered by an overlay of bland heterosexuality. This approach, coupled with product placements and corporate sponsorships, gives the film a sense of self-negation and ideological selling-out.
The performances in the film vary, with Valerie Perrine’s role criticized for being more of a personality than an actress, and Steve Guttenberg’s hyperactive portrayal drawing strong negative reactions. The supporting cast, including The Village People, is said to have little time to establish individuality, leaving their costumes to do the acting.
Despite its issues, “Can’t Stop the Music” is celebrated for the choreography by Arlene Phillips, known for her work with Hot Gossip and TV commercials for Dr. Pepper. The film’s musical numbers, such as “YMCA” and “I Love You to Death,” are described as cheesy, over-the-top, and cinematically clever, providing moments of enjoyment.
The reviewer acknowledges the film’s problematic nature, citing its sense of homophobia, cultural misfire, and reluctance to fully embrace its LGBTQ+ elements. Despite these criticisms, there’s a nostalgic appreciation for the film’s campy sense of fun and the choreography of Arlene Phillips.
The film’s attempt to cater to a broad audience while navigating LGBTQ+ themes and disco culture resulted in a production that remains both celebrated and critiqued within the context of its time.
