Cinematography by Jost Vacano. A film that begins as a B movie, fast and in action, and that is the most amazing féerie of colors and camera movements since Coppola's "One From the Heart", without forgetting that the heart is a lonely hunter and the social is its sewer. In the desert, with the avidity of amorality, is staged a consummate representation of vulnerability
and Greed, as in Stroheim's homonymous film.
"When I think of the movie, I see all these brilliant colors and of these beautiful movements—of the body and of the camera—and what stands out for me is the elegance. That sounds strange to people when I say this is a very elegant movie, but I think it is. It's probably the most elegant movie I've ever done." – Paul Verhoeven for Rolling Stone
I’m a big Verhoeven fan, but I still don’t see Showgirls as scathing satire so much as over-the-top camp, which would be fine if it weren’t tedious and overlong, as well as flippant and mean-spirited. Depicting despicable behavior isn’t the same as condoning it, sure, but it doesn’t automatically equate to commentary either.
Not only is it a masterpiece, but it's a rather obvious one, holding you up by the collar the whole way through, gyrations, hard nipples, and all. Hate to say but, it's rather annoying when it's trashed, like someone misinterpreting Camus or a food critic disregarding just how good ribs or a burger can be.
The most misunderstood director in Hollywood makes the most misunderstood and personal attack on Hollywood. Perfectly demonstrates how north america has accepted violence (Robocop, Total Recall, Starship Troopers) but fears and misunderstands sex.
I'm continually astounded as to how most audiences so totally miss the satiric heart of Verhoeven's American period. If this isn't a cruelly opulent repackaging of the American dream, I don't know what is.
"So bad that it's good" has never been more true about a film. The many qualities in this film seem to grow effortlessly out director Verhoeven's subverise mind, and with time in the public opinion. Every time I've revisited this film, it gets better. This strange piece of cinema exists, and there's something beautiful about that.