Despite being hailed as a cult classic, Paul Verhoeven’s Showgirls (1995) continually proves all that glitters is not gold. Grossing just $37 million against a then-sizeable $45 million budget, the movie was a certified box office bomb. Today, while its quotable lines, baffling direction and terrible acting have repainted Showgirls as a work of comedic genius, a few unsavory elements leave even the most devout fans with a poor taste in their mouths. Criticized for its poor portrayal of sex workers, rampant misogyny and constant queer baiting, the botched erotic drama seems worthy of a modern remake.
Straight off the success of the erotic thriller Basic Instinct (1992), the prospect of another sultry script penned by Joe Eszterhas generated a lot of buzz. In hindsight, perhaps for the wrong reasons. Like Showgirls, Verhoeven and Eszterhas’ last dark sex romp featured a confident, wicked and ambiguously queer femme fatale. And it’s become obvious with age that their portrayal of women is, at best, odd.
From her very first scene, it becomes clear that Nomi Malone (played by Elizabeth Berkley) is intended to be the duo’s idea of a “strong independent woman.” Mysterious, clad in leather and radiating aggression, Nomi journey’s to Vegas leaves her without luggage thanks to her shady ride and — in her constant frustration — thankfully pounds on the right vehicle. The car’s owner, Molly (played by Gina Ravera), instantly befriends Nomi, taking her in without question and bonding over subjects like nails, attractive men and junk food.
While these topics can make for interesting discussion, the pair’s fast friendship consists of little else. Coupled with over-the-top acting and strange line delivery, these conversations feel like awkward parodies of a male-perceived “female bond.” Molly introduces Nomi to Cristal Connors (played by Gina Gershon), the headliner for a topless review at the now-defunct Stardust Resort and Casino.
Joe Eszterhas strongly believed in the importance of Showgirls. The writer claimed his film contained a deep moral message, intending to peel back the shiny façade of Las Vegas to reveal something dark and meaningful. Prior to its release, Eszterhas dared to call the film “a deeply religious experience.”
While, to an extent, Showgirls‘ cult status makes this true, this was clearly not Eszterhas’ intention. The trials, tribulations and various temptations of a Las Vegas showgirl are fine ingredients for the thought-provoking drama both men intended; filtered through the eyes of a woman who has actually lived these experiences, the story could be told properly.
Much like Nomi and Molly’s instantaneous friendship, Nomi and Cristal’s first meeting showcases an immediate sexually-charged animosity. When the two aren’t covertly competing for the affections of Cristal’s boyfriend, Zack (played by Kyle Maclachlan), they’re eyeing each other hungrily, trading bizarre dialog and fooling audiences into believing something will come of it. Though had a relationship actually developed on-screen, it would hardly be for the benefit of queer representation — something a modern re-telling would also undoubtedly change.
As overt LGBTQ+ representation finds a more prominent place in TV and film, an increasing demand is made for more of these kinds of stories. Given the recent re-examination of the once-panned film Jennifer’s Body (2009), a fully fleshed-out romance between an up-and-coming star and her dark and alluring rival would have definite potential.
While the film fails to craft three-dimensional characters, illustrate any understanding of the issues it presents or tell a coherent story, some critics argue that Verhoeven’s talent for cinematography is on full display. In the 2021 documentary, You Don’t Nomi, critic Adam Nayman calls the film gorgeous. Author of It Doesn’t Suck: Showgirls, he praises the film’s numerous on-stage productions, comparing the varied directorial choices to the likes of Cecil B. Demille and Busby Berkeley.
Nayman also points to various examples of symbolism throughout Showgirls, commenting on the intent of a large prop “death’s head” looming behind Cristal Conners’ shoulder. He’s also fond of the fire-and-brimstone, volcanic background when Zack reveals his true nature. According to Nayman, the film’s abundant use of mirrors is both intentional and symbolic.
Arguable directorial prowess aside, for a film so laughably bad in other respects, Showgirls contains a haunting portrayal of assault. When Molly is victimized by a famous former crush, audiences are exposed to every horrific detail. Rather than explore the trauma of its only likable character, Showgirls chooses to end with Nomi violently beating the perpetrator and promptly leaving Las Vegas.
Whether they love it or hate it, audiences seem to agree on one thing: the women portrayed in Showgirls in no way resemble real women. In fact, all of the film’s characters are caricatures of real people. In order for Showgirls‘ biggest problems to be overcome, a remake would have to include female voices. A strangely funny story about trauma, triumph and identity should be the story these voices tell.