By Marilyn Ferdinand
Like a girl branded with a bad reputation, director Paul Verhoeven’s 1995 film Showgirls has been called every nasty name in the book:
“Perhaps the worst film of the year.” (Kim Williamson, Boxoffice magazine)
“Think Flashdance but with an unappealing leading lady playing a woman whose fierce ambition is to do something not admirable, just ridiculous.” (Mick LaSalle, San Francisco Chronicle)
“A waste of a perfectly good NC-17 rating.” (Roger Ebert, Chicago Sun-Times)
“Just plain awful.” (Bob Thompson, Jam! Movies)
Showgirls drew attention to itself by garnering a rare NC-17 rating and because its screenwriter, Joe Eszterhas, became the highest-paid screenwriter in history for his series of sexploitative films, most notably Basic Instinct. Roger Ebert and many other critics who piled on Showgirls seized upon how poorly the film lived up to its rating. Others latched onto the noble-minded but ill-considered claptrap Eszterhas served up (that making the film was “a religious experience” for him) to make the film a laughingstock and skewer Eszterhas for polluting us with his personal fantasies. Still others called Showgirls a camp classic, with bad dialogue and stick-figure characters that could be imitated readily at the Baton Club for fun and profit.
Now that we’re 10 years beyond the hype, it’s time for a new appraisal of Showgirls, prompted by a recent bashing the film took in The Beachwood Reporter‘s Must-See TV box. I’ll take on the criticisms first, then provide a new take on this unfairly maligned film.
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Posted on May 1, 2006