The Hidden Genius of Showgirls

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The phrase “box office bomb” is often used for movies that don’t earn back their production costs, and over time it has been applied to many films. However, only two films – Battlefield Earth and Gigli – have been called this more than Showgirls, a film directed by Paul Verhoeven in Hollywood. Initially ridiculed by many, Showgirls is now being re-examined by some as a shrewd satire rather than a flop.

The film’s depiction has been labeled as everything from over-the-top to flamboyant, and the bold portrayal by its lead actress, Elizabeth Berkley, is anything but understated. This might just be part of the plan. The movie, titled ‘Showgirls’, has often been compared to ‘All About Eve’, and at its heart, tells a story of an individual pursuing stardom, who ultimately gets deceived by the glamour of the city. Those who closely followed Verhoeven’s films during his short-lived Hollywood career would have recognized the director’s talent for amplifying typical American stories to create wildly enjoyable films with underlying social commentary.

A Dreamer in Search of Fame in the Big City

A significant theme in American cinema since its beginning is the story of the aspiring small-town dreamer, drawn towards the glitz of big cities like Hollywood, and striving to become a star. However, many films portray how this dream often remains unattainable for many. In a unique twist on this theme, Verhoeven moves the setting from Hollywood to Las Vegas in his film Showgirls. The character Nomi (played by Elizabeth Berkley) is our protagonist, who dreams of becoming a dancer and makes her way to Sin City with that ambition. Contrary to the idealized image of bright lights, Las Vegas is far from perfect as Nomi navigates through its sleazy, topless dance clubs, hoping to make it big in this city.

The path to fame is strewn with challenges and populated by ruthless individuals willing to do whatever it takes to climb the ladder quickly. This world, marked by treacherous schemes, is often portrayed as a exaggerated or even comical reflection of the entertainment business. In this scenario, Nomi encounters a supportive peer and associate in Molly Abrams (Gina Ravera), who works at a well-known show titled ‘Goddess’, starring showgirl Cristal Connors (Gina Gershon) and managed by shady producer Zack Carey (Kyle MacLachlan).

In this film, the personalities, their actions, and reactions are greatly exaggerated for comedic effect, giving the impression that Verhoeven is intentionally highlighting the ruthless and farcical nature of the entertainment industry. The viewers are essentially drawn into a world where they can’t help but chuckle at the sight of a worn-out narrative formula that seems so implausible it borders on the absurd.

Paul Verhoeven Used ‘Showgirls’ to Mock the Industry That Shunned Him

In its critique of the entertainment industry, explicit themes, and extravagant performances, it’s no surprise that Showgirls has become a favorite topic for critics, viewers, and internet riff shows today. Examining Paul Verhoeven’s body of work during the 1980s and 1990s reveals a common thread – as an outsider in Hollywood, Verhoeven created films that were boldly presented yet also subtly satirized numerous cliches and trends within American entertainment.

In the movie “Robocop,” Verhoeven elevated the police drama genre, infusing it with operatic levels of violence. Amidst the action, there were fake ads that showcased America’s fascination with violence, which was intertwined with consumerism. In “Basic Instinct,” Verhoeven introduced a heavy dose of sexuality into the noir/thriller genre, captivating audiences and fulfilling their desire for both intrigue and titillation. After “Showgirls,” he created “Starship Troopers,” a film that served as an analogy for fascism and America’s urge to control and civilize the unknown frontier.

Showgirls offers an unvarnished perspective on the industry by a provocateur, with Verhoeven’s direction creating a high-camp spectacle that exposes the perils of fame and the world hidden behind the glamour of stardom. Despite any mockery for its presentation and performances, Showgirls is deserving of greater acknowledgement as an essential part of the director’s pioneering body of work.

Panned or Praised or Somewhere In-Between?

Regardless of the controversial image that Showgirls has carried for several decades, it is undeniable that it made a substantial impact on our culture. Critics, enthusiasts of camp aesthetics, and those reevaluating its worth have all played a role in cementing its place in film history. Even those who initially dismissed the movie can’t deny its ability to entertain and hold an audience. Thirty years later, we’re still talking about Showgirls, which demonstrates that Verhoeven successfully etched his signature into a tale of a girl aspiring to be a dancer.

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2025-02-23 21:02