Bitter and angry, tender and humane, Showgirls celebrates our childlike yearning to be fabulous and be loved while railing against the power structures and individuals that exploit that desire. Berkley is perfectly cast as Nomi, full of wide-eyed earnestness and palpable ambition, but believably defensive, a survivor of the pop culture gristmill. A campy, non-condescending view of America in all of its flawed glory.
A determidly vulgar and brash surface belies the satiric undercurrent of this monstrous child of a film. It's almost Verhoeven's Sirkian moment, albeit lit in tawdry neon. The feeling of a juggernaut with it's brakes cut, careering towards its deserved targets permeates through the shallow trash aesthetic with thrilling knowingness. Nevertheless it's an unedifying, albeit kinetic, spectacle (but so is the bullseye).
(Vu kekpar sur le web) Un film avec une réputation ambiguë qui a signé le divorce entre la (pseudo-)puritaine Amérique et Verhoeven. Plus largemt, ce film crépusculaire marque aussi la fin d'une époque "libérée" du cinéma grand public US. Plus cynique que jamais, le réalisateur livre ici un portrait au vitriol du capitalisme amoral et violent de Las Vegas, le corps de la femme devenant pure-marchandise. Une pépite!
Would be infinitely better without Berkley. Whoever thought she could handle the role must have been insane. I wish I could have appreciated the satire, but I mainly just lapped up the colours and the grotesque representation of the Golden Age movie musical. I mean, a few boringly ridiculous lines doesn't yet make a good satire. This is more like a train made to seem like it was purposefully derailed.
Overrated B movie with cheesy lines. Nomi is painful to watch, but I guess that is considered satirical. I truly believe this film puts the audience into a Stockholm Syndrome, because the stupid lines, terrible make-up & nails and aggressive gestures of Nomi gets stuck in your brain. I want to forget...PS. What the hell is Dale Cooper doing in there?