Rendező:
Jeffrey McHaleZeneszerző:
Mark De Gli AntoniSzereplők:
Gina Gershon (a. f.), Kyle MacLachlan (a. f.), Elizabeth Berkley (a. f.), Paul Verhoeven (a. f.), Joe Eszterhas (a. f.), Joshua GrannellTartalmak(1)
When it was released in 1995, Paul Verhoeven’s Showgirls was reviled. The first NC-17 release to receive a wide theatrical release, the public and critics of the era - with a loud, clear, collective voice - rejected the film. It was nominated for a record 13 Razzie Awards, and won a then-record seven. Roger Ebert, in one of the more generous reviews the film received, summed his opinion up by noting that, “the film is not, in short, quite unredeemably bad.” But Showgirls’ reputation has been resuscitated in the intervening 24 years, and conceding one’s admiration for Nomi Malone’s sordid tale is no longer the admission of questionable taste it once signified. You Don’t Nomi brilliantly draws on archival footage of Showgirls’ production, revealing interviews with the major players, and surprisingly thoughtful conversations with the cinephiles who are leading the charge in the film’s redemptive journey from a notorious flop to cult classic. Is it a masterpiece? Or is it a piece of shit? McHale’s addictive documentary argues for a third designation: the masterpiece of shit. (Tribeca Film Festival)
(több)Videók (1)
Recenziók (1)
This documentary summarising the resurrection and second life of Verhoeven’s flop, Showgirls, is excellent in how it takes into account the broad range of aspects that make a cult move a cult movie (touching on the film’s critical reception, fans and Susan Sontag), as well as its ability to convince you – for example, through careful analysis of the dialogue about dog food – that Showgirls can be seen as, for example, a masterpiece with a feminist message and not just as a misogynistic trash. In the end, you will probably appreciate it more or possibly start to see the rest of Verhoeven’s filmography, in the context of which Showgirls is discussed, in a different light. Furthermore, it’s funny and healthily irreverent toward the mainstream, as befits a film that places so many mirrors in front of the entertainment industry. 85%
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Photo © Sitges Film Festival
