So Why Are We Fighting Over It? You Don’t Nomi is a compelling visual essay examining the misunderstood legacy of the 1995 Paul Verhoeven film Showgirls. AdChoices Verhoeven wrote a deadly serious book about the movie but showed up to accept seven trophies for it at the Razzie Awards — the first director ever to do so. Terms of Use | This is the kind of movie where people spit and vomit on each other, if they’re not shaking their tits and ass or reminiscing about eating Doggy Chow. Many of us can still quote examples of its jaw-dropping dialogue, though I was sad to note that my personal favorite — Alan Rachins telling an auditioning Vegas dancer, "Come back when you've fucked some of this baby fat off" — is not included here. She introduces the movie with Nomi's signature scissor-hands dance move, confessing the joy of being able to experience Showgirls for the first time with a crowd that fully embraces it. You Don't Nomi traces the film's redemptive journey from notorious flop to … Ultimately, You Don’t Nomi is a new type of film documentary that mixes traditional nonfiction storytelling with film criticism and analysis, approaching every possible perspective with rigorous curiosity to try to make some sense of one of cinema’s greatest oddities. The trend revved up with 9½ Weeks and Fatal Attraction and climaxed (sorry) with the Verhoeven-Eszterhas lesbian ice-pick killer sleazefest, Basic Instinct. Director: Jeffrey McHale The fascination of “You Don’t Nomi” is that it doesn’t find some fatal contradiction among the three views. Montblanc’s Newest Smartwatch Is a Stylish, Lightweight Take on the Fitness Tracker, Bielema Lawsuit Settlement Goes Half Hog as Patriots Avoid Court, 2020 Was a Mess. Even if you don't believe Stanley Kubrick made The Shining as a way of atoning for faking the moon landings, The Shining is still a complex, layered, ambiguous text in all the ways Showgirls isn't. Thrust it! Oscar Attendees Won’t Wear Face Masks During Telecast (EXCLUSIVE), How Questlove and Jesse Collins Are Changing Music at the 2021 Oscars, Oscar Nominee Glenn Close on How Awards Campaigning Has Changed. | California Privacy Rights And Conway provides a lovely mini-dissertation on the movie's place within the holy trinity of camp, preceded by Valley of the Dolls and Mommie Dearest, all three representing women fiercely climbing their way to the top of their respective showbiz fields only to find sourness and disappointment at the summit. The thread about the beating Berkley took for the film acquires additional resonance via the comparison with other child or teen actors that transitioned into adult work with provocative roles. Food & Drink. There, I said it! Likewise, clips of high-concept pulpmeister Eszterhas talking with solemn self-importance about the movie's examination of "moral values and spiritual choices, innocence and corruption." It’s more of a mediation, a feature-length appreciation of the phenomenon of “Showgirls” and all the ways the movie is now appraised and experienced. THR Staff Via quick shots of theatrical-release print ads, McHale swiftly contextualizes Showgirls — which is basically All About Eve in body glitter and thongs — within the late-'80s and '90s wave of Hollywood movies that sensationalized sex as something both titillating and dangerous, often inextricably linked with female covetousness, ambition and obsession. “You Don’t Nomi” offers an interesting insight into the warped genius that is Paul Verhoeven.” However, none of these films managed to have such a dramatic impact like “Showgirls” did, none of those films managed to divide critics and audiences in such a way. Namely: that “Showgirls,” if you watch it again with open eyes, is actually kind of a good movie. It's easy to look at director Paul Verhoeven and screenwriter Joe Eszterhas' notorious flop Showgirls through a so-bad-it's-good prism, or — in terms of the Susan Sontag definition of camp cited in director Jeffrey McHale's smartly analytical and entertaining reassessment — as failed seriousness. The other, titled Goddess: The Fall and Rise of Showgirls, is due to mark next year's 25th anniversary, from director Jeffrey Schwarz, a pop culture specialist whose films include I Am Divine, Tab Hunter Confidential and The Fabulous Alan Carr. 'You Don't Nomi' is an absolute must see, putting 'Showgirls' in its rightful spot amongst high camp, delightfully & unashamedly OTT classics including 'Mommie Dearest', 'Valley of the Dolls', 'Cobra Woman', 'The Room', 'Plan 9 From Outer Space' & 'The Rocky Horror Picture Show'. Yes, it was tacky and pulpy, sleazy and over-the-top. The films ranged from intellectualized Euro-art (Damage) through satire (To Die For) to lurid exploitation (Jade), while Demi Moore had her own mini-monopoly on screen salaciousness with Indecent Proposal, Disclosure, The Scarlet Letter and Striptease. Executive producers: Nate Bolotin, Tamir Ardon, Jason Bailey, Chaya Ransen, Todd Emerson, Perian Salviola, Monte Zajicek, Nicole O’Connell We get Jeroen Krabbe in The 4th Man, for example, retrieving Showgirls reels from a locked cupboard and watching with increasingly unsettled fascination over a bottle of whiskey; Arnold Schwarzenegger looking at zero-star ratings and blistering capsule reviews on his digital homescreen while preparing a morning smoothie in Total Recall; corporate suits looking on gobsmacked in a RoboCop presentation; or an impassive Isabelle Huppert screening clips for her videogame company team in Elle. by As one of the onscreen commentators in Nomi states, “1995 was a pretty fraught time for a movie like this.” Indeed, the era of OJ Simpson and Amy Fisher was not a … Her performance, as one observer notes, is less a conventional character arc than a series of scenes consistent only in their over-caffeinated hysteria. But part of what drove the collective nose-thumbing was a kind of lingering American puritanism that said: A movie that dives into a swamp this sordid, drinking in the voyeuristic shallowness of it all, has to be ridiculed. Jeffrey McHale’s You Don’t Nomi, one of two new documentaries focusing on Showgirls’s phoenix-like rise from the ashes of infamy, is a deep-esque dive into its critical life after death, a story told solely through the critics and fans who’ve watched the film’s reputation morph since its release and have morphed their positions accordingly. Regardless, the imprint of Showgirls is evident in the fact that McHale's is the first of two near-simultaneous documentary re-evaluations. Right at the start of this impassioned reclamation, the point is made that people are still talking about Showgirls more than 20 years after the NC-17 release, because many are still reconciling their love for something so deeply flawed. Paul Verhoeven’s Showgirls is a treasure. McHale has been shrewd in declining to offer a definitive verdict on the movie, instead giving equal time to both negative and positive responses. It's a fair point that while women were struggling to break glass ceilings, the depiction of a character so consumed by her hunger to excel as a high-end stripper was more than faintly off-putting. The key to what looks different about “Showgirls” now is that Elizabeth Berkley’s performance as Nomi Malone, the 19-year-old hellion with a tiger gleam in her eye who claws her way up the stripper ladder of Las Vegas, got no respect at the time because it had an unbridled fury that kept bursting out into tantrums that were seen as overreactions to the situations that caused them. The film airs the often-conflicted feelings of a range of pundits in stimulating audio interviews. Is it a film worthy of rediscovery by the Criterion Collection? “Thrust it! There's also some discussion of whether her performance as Nomi — a one-note assault of high-intensity abrasiveness — was the result of her limited range or Verhoeven's characteristically heavy-handed manipulation of his female actors and characters. THE HOLLYWOOD REPORTER is a registered trademark of The Hollywood Reporter, LLC. Like nothing else.”. As You Don’t Nomi deftly demonstrates via gloriously outraged archival footage, Showgirls was destined for arched eyebrows. In that way, You Don’t Nomi plays like a bonus feature itself, an elaborate essay from multiple perspectives, supporters and detractors alike. “Showgirls,” it says, is a bad movie that also is a tasty slice of kitsch that also is a flawed but honestly bracing drama. This debate is the basis for Jeffrey McHale’s You Don’t Nomi, a documentary about the making of Showgirls and the cultural impact of the film.It samples from a number of sources, like interviews with Verhoven, popular film critics, and people who have built cult movements off of Showgirls.All of this is juxtaposed on-screen with the greatest video essay on the work of Paul Verhoven you … YOU DON’T NOMI was truly magnificent. “You Don’t Nomi” provides context for the film’s 1995 release, draws connections with Verhoeven’s other movies and obliterates the notion that “Showgirls” lacks formal panache. There's an implicit raised eyebrow about the moral indignation of many critics at the time of its release. The fascination of “You Don’t Nomi” is that it doesn’t find some fatal contradiction among the three views. The Washington Post said, “Elizabeth Berkley plays Nomi Malone, a tarty blonde with the brains of an appliance bulb.” Gene Siskel said, “She’s not sexy!…I don’t think they have an attractive star, they don’t do anything original in the screenplay at all.” Actually, this graphic-novel gloss on Old Hollywood set in the hierarchy of strip clubs is highly original. Robin's Review: C+. It’s not the rudimentary “this famously trashed movie doesn’t suck, and here’s my hour and a half long explanation” type of film doc; rather, McHale wants his audience to see this cult classic from the eyes of someone they maybe don’t … In the first five minutes, Nomi pulls a switchblade on the dude who picks her up hitchhiking when she senses he’s making an unwanted advance, and she lashes out at anyone who tries to use her. “Showgirls” was its own category of disaster, a Hollywood bomb that exposed itself with full-frontal shamelessness. Final Oscars Predictions 2021: Who Will Win and Who Should Win? | Do Not Sell My Personal Information In 1995, Hollywood history was made – good or bad – with the Paul Verhoeven/Joe Eszterhas collaboration, “Showgirls.” Since then, the film has been lambasted as a piece of s**t and lauded as a misunderstood masterpiece. (On the other hand, I’ve seen Criterion films that aren’t nearly as much fun or as memorable.) It’s a let’s-turn-over-the-slimy-rock-of-Vegas-and-watch-the-worms-dance melodrama. When “Showgirls” opened in the fall of 1995, it was mocked and damned with more derision than the usual movie debacle (“John Carter,” “Gigli”). With Toon Agterberg, Nancy Allen, Kevin Bacon, Matthew Baume. THE CAST - Adam Nayman, April Kidwell, Barbara Shulgasser-Parker, David Schmader, Peaches Christ, Haley Mlotek & Jeffery Conway In this tradition struts You Don’t Nomi, a doc that uncovers the critical re-evaluation of the notorious Showgirls. And the complex responses of women who have experienced sexual assault are represented with moving candor by actress April Kidwell, whose fringe-theater successes are directly tied into Berkley's career, first with Bayside! You Don't Nomi traces the film's redemptive journey from notorious flop to cult classic, and maybe even masterpiece. In truth, there are now three competing views of the film. Too many of them were the film’s critics. That is the premise of “You Don’t Nomi,” a new documentary from Jeffrey McHale that attempts to reframe the discussion of the film from its long-standing position as a Hollywood punchline to something akin to a work of art (or as close to a work of art as a movie can get that features wall-to-wall nudity, monkey poop and Robert Davi). “You Don’t Nomi” takes “Showgirls” seriously, obsessively, looking at it from every angle, presenting a chorus of critical voices who analyze the film in ways that are highly enlightening and provocative. But this now plays as a kind of post-#MeToo awareness. Actually, it isn’t. You Don’t Nomi is an exploration of the aftermath of Showgirls, touching on many people’s varying perspectives on the film and the later impact it would come to garner. Sitemap | Community Events. ); and writer David Schmader, whose hosting of annotated Showgirls screenings led MGM to enlist him to record commentary for a 2004 DVD release. With narration from various critics, writers, and artists the film tackles the subject from various viewpoints allowing an interesting cross-section of opinions on the shocking flop. “This is McHale’s first feature film, and frankly it’s brilliant! Maybe not. Sweet redemption, whether you like it or not. The case is made that Verhoeven began pushing the boundaries of tolerance from his early Dutch films and went so far in his scathing depiction of the Netherlands in 1980's Spetters that he was effectively exiled to Hollywood. The comparison to Room 237, though, flags up one way in which You Don't Nomi has a tougher job on its hands. Being Distanced and Maskless Outside Is Safe. THE STORY - Paul Verhoeven's Showgirls (1995) was met by critics and audiences with near universal derision.You Don't Nomi traces the film's redemptive journey from notorious flop to cult classic, and maybe even masterpiece. This debate is the basis for Jeffrey McHale’s You Don’t Nomi, a documentary about the making of Showgirls and the cultural impact of the film.It samples from a number of sources, like interviews with Verhoven, popular film critics, and people who have built cult movements off of Showgirls.All of this is juxtaposed on-screen with the greatest video essay on the work of Paul Verhoven you … Nomi draws a hard line between showing her body and engaging in sex work, even though the Vegas world keeps saying, “Come on, it’s the same thing!” That’s what a lot of critics in 1995 seemed to say, too, damning the character with a kind of hip puritanical misogyny. It was later screened at the Frameline Film Festival on 27 June 2019, and at the Outfest on 27 July 2019. The conclusion is that both points of view, and many in between, are equally valid in weighing up the tale of Nomi Malone, a starry-eyed striver who puts her soul in hock in order to erupt topless from a volcano in a tacky Las Vegas revue. But even if Verhoeven has stood by the film by repositioning it as deliberate satire, McHale skillfully dismantles that attempted spin with excerpts from the Dutch director's companion book to the release, discussing its themes with risible pretentiousness. Jeffrey McHale’s “You Don’t Nomi” is an avid and entertaining critical documentary about “Showgirls.” It’s not about the making of the film. | EU Privacy Preferences. Variety and the Flying V logos are trademarks of Variety Media, LLC. 8:45 PM PDT 4/27/2019 Glenn Close's bunny boiler with a triple-processed perm and Sharon Stone's fancy legwork have ensured that Fatal Attraction and Basic Instinct left a lasting mark, but the others are mostly forgotten, with good reason. And then there’s the third view — one that may, as of now, be a minority view, but it’s one that I’m not ashamed to say I subscribe to. Directed by Jeffrey McHale. © Copyright 2021 Variety Media, LLC, a subsidiary of Penske Business Media, LLC. It finds room for all three views: “Showgirls” as disaster, “Showgirls” as kitsch landmark, “Showgirls” as weirdly intense and watchable effusion of ’90s commercial Hollywood. Thrust it!” hollers one of the crass choreographers at a topless revue. This is sometimes as simple as reaction shots depicting laughter, derision, shock or revulsion. How depressing that bad movies are now just bad. Sales: XYZ Films. Make Sure Last Year’s Taxes Aren’t Also a Disaster With the Best Tax Filing Software. The wittiest device is the insertion of Showgirls moments into clips from Verhoeven's oeuvre, both films from his native Netherlands and his Hollywood heyday, as well as his return to European productions after 2000's The Hollow Man put the nail in his studio coffin. A documentary about 'Showgirls' gives the legendary Hollywood bomb its due: as a camp classic, and maybe even as a good movie whose heroine's short-fused electricity was ahead of its time. She got it, in a sense. Showtimes by Theatre Showtimes by Movie Special Screenings Movie Review Archive. It may not be as bizarrely entertaining as the film it obsesses over, but You Don’t Nomi is a captivating document of how a piece of art—especially one this deeply, powerfully weird—can take on a life wholly beyond its original intentions. It’s not a whatever-happens-in-Vegas-stays-in-Vegas movie. RuPaul's Drag Race Finale Recap: Did the Right Queen Win Season 13. You Don’t Nomi has some flaws – McHale’s consistent use of Showgirls clips appearing on computer, movie and TV screens in scenes from other Verhoeven films is a bit cutesy and distracting – but this is an accomplished, hugely entertaining and informative doc that should even appeal to film buffs who found the original film beneath contempt. David Schmader, who hosted the first camp revivals of “Showgirls” and was ultimately invited to be its Special Edition DVD commentator, calls the film “a poignant comedy” and “a documentary about its making.” Adam Nayman, author of the book “It Doesn’t Suck: Showgirls,” calls it “a masterpiece of shit,” saying “the ways they didn’t get it are what combines, or bounces off the stuff that’s good on purpose, and makes the film completely singular. Schmader points out the film’s wacked motifs (the dialogue about fingernails, and about brown rice and greens vs. chips and burgers), though in the scene he hails as the film’s “crown jewel” of camp, when Nomi faces off against Gina Gershon’s snarling Cristal during a lunch at Spago, he calls it “brain-dead Harold Pinter,” but their conversation about eating Dog Chow actually has a startling subtext — about the lives of women who exist without safety nets. On 27 April 2019, You Don't Nomi made its world premiere at the Tribeca Film Festival. Production companies: Different Places, in association with XYZ Films, Grade Five Films It’s not about the making of the film. Venue: Tribeca Film Festival (Midnight) The 1995 MGM release was an obvious target for critics to savage, with review headlines like "Valley of the Dulls" and "Trashdance" competing for snarkiest wordplay. Whether or not you buy that, it's affecting to watch Berkley on the set in full makeup and costume, or in TV interviews around the release, talking with conviction about the role as the culmination of all her preparation as an actor and dancer. The Musical!, riffing on high school sitcom Saved by the Bell; and later with Showgirls! Music: Mark degli Antoni She’s been born into a world of predators, and she’s not going to take it anymore. Jeffrey McHale’s “You Don’t Nomi” is an avid and entertaining critical documentary about “Showgirls.”. That’s the premise of Jeffrey McHale’s You Don’t Nomi, which looks at this phenomenon through the lens of one particular so-bad-it’s-good film, Showgirls.. The fascination of “You Don’t Nomi” is that it doesn’t find some fatal contradiction among the three views. You Don’t Nomi is named after Nomi Malone, the perpetually pissed-off dancer/stripper played by Elizabeth Berkley, who’s been trying to live down the role for 25 years. We see Berkley near the end of the documentary, as she introduces the 20th-anniversary presentation of “Showgirls” at the Hollywood Forever Cemetery, and doing the iconic “Showgirls” hand flutter she’s as vibrant as she was then — an actress of awesome immediacy who should have had her shot. Berkley does get some sweet gratification when she's greeted with a standing ovation at a 2015 Hollywood Forever Cemetery screening for 4,000 people. The original filmmakers found room, too. Bad films are a dime a dozen, but it takes a really special kind of bad film to become a cult classic. On a purely technical level, You Don’t Nomi does let me down in a few areas. Paul Verhoeven's Showgirls (1995) was met by critics and audiences with near universal derision. Review: You Don’t Nomi. FACEBOOK “Showgirls,” it says, is a bad movie that also is a tasty slice of kitsch that also is a flawed but honestly bracing drama. By contrast, Gershon survived the movie relatively unscathed by playing her character, Cristal Connors, far more knowingly, as a drag queen Aphrodite who knows she's in a piece of stylish garbage. With: Adam Nayman, April Kidwell, Barbara Shulgasser-Parker, David Schmader, Haley Mlotek, Jeffery Conway, Jeffrey Sconce, Matt Baume, Peaches Christ, Susan Wloszczyna The film was released in the United States on digital download and DVD on 21 July 2020 by RLJ Entertainment. There's also a melancholy suggestion that in the age of wink-wink irony — where phenomena like the Sharknado franchise, for example, aggressively aim for camp — the kind of comedy those movies represent, which can't be made intentionally, no longer exists. Privacy Policy | More amusingly, McHale references underground cinema pioneer Jack Smith's celebration of stock player Maria Montez's dual role in the 1944 B-movie Cobra Woman as a comparable example of an actress so unrestrained in her commitment to an insane performance that it achieves a whole other level of greatness. That being said, I love it. Via clever, connect-the-dots montage of superbly chosen clips, and a full spectrum of opinions from both admirers and detractors, You Don't Nomi makes a compelling case that the much-maligned pop-culture landmark can be judged as either tawdry rubbish or subversive comic triumph. But often it's much craftier. The critic Haley Mlotek speaks eloquently of Verhoeven’s films and their acerbic critique of American culture, and how “Showgirls” fits into that. Not a single area could’ve been improved upon, as each element was perfect – The natural flow, the juxtaposing viewpoints, the stylish transitions, the fascinating archival footage… As the documentary shows us, a lot of the early brickbats for “Showgirls” were puffery. The Musical! McHale touches on the queer narrative that speaks to gay men of a protagonist escaping her past and reinventing herself with her chosen family while deriving power from her sexuality. Considerations of specific shots and scenes back that up to some degree, alongside other breakdowns, both serious and sardonic, of classic moments like the Doggie Chow bonding scene between Nomi and Cristal, the switchblade-flashing “Chill!” warning; or Nomi’s thrashing pool sex with Kyle MacLachlan’s Zack, beneath a hideous dolphin fountain. However, Showgirls endures, possibly because it was the most critically reviled of them all. By contrast, Berkley, many years after the release, tells Chelsea Handler in a TV interview that Showgirls was always intended to be "fun and over the top.". © 2021 The Hollywood Reporter, LLC. He then began to hold up a highly critical mirror to his adoptive home, targeting law enforcement, toxic masculinity and war in films from RoboCop to Starship Troopers, making the director's contribution to the Hollywood blockbuster output of the 1980s and '90s a unique chapter. Or even worthless, to take the hardline stance. 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Among the most interesting commentators are Canadian critic Adam Nayman, author of the book It Doesn't Suck: Showgirls; poet Jeffery Conway, who published Showgirls: The Movie in Sestinas; drag performer Peaches Christ, whose Showgirls events regularly sold out San Francisco's Castro Theatre (every large popcorn purchase came with a free lap dance! TWITTER But there's even-handedness, for instance, in Barbara Shulgasser-Parker's acknowledgment that while Showgirls is cliché-ridden, formulaic and insipid, Verhoeven remains a highly skilled filmmaker. Yet there are ways that “Showgirls” was damned for being ahead of its time, and much of the smug judgment about how “sexist” the movie was had an element of sexism itself. The more wistful "Must be weird not having anybody cum on you" makes the cut. Directed by the talented Euro sensationalist Paul Verhoeven, from a script by the top-dollar pasha of tabloid high concept Joe Eszterhas, it was “All About Eve” remade as a glitzy Vegas trash opera of live flesh, and it was perceived as having committed a kind of double sin. ... You Don't Nomi is available in DVD and VOD now. Twenty-five years later, to say that there’s been a critical reassessment of “Showgirls” would be an understatement. In 1995, I panned the film myself (I didn’t come around until I saw it a second time, a decade later), but I did praise Elizabeth Berkley, whose performance as the ravenous, short-fused Nomi bowled me over. But more likely, as McHale and his commentators illustrate, because it was just so extreme there's nothing else like it. All rights reserved. Editor: Jeffrey McHale Verhoeven, Eszterhas and Showgirls stars Elizabeth Berkley and Gina Gershon are heard from exclusively in interviews from release junkets or during the intervening years. Comparisons of both the rape and the rape-revenge scenes in Showgirls and Elle are particularly telling. The second view is based on the resurgence that the film enjoyed, starting in the late ’90s, as a new classic of high camp, a latter-day companion piece to “Mommie Dearest” and “Valley of the Dolls.” In this view, the qualities that the movie had first been damned for — the exhibitionism, the catfight luridness, the wild mood swings of its heroine — now became virtues. “You Don’t Nomi” takes “Showgirls” seriously, obsessively, looking … But it was her fate to play a character who was stranded between “Flashdance” and #MeToo, between dancing for her life and raging at the men who thought that made her an object. Digital download and DVD on 21 July 2020 by RLJ Entertainment work in smart, observant.... Audio interviews t Nomi, a subsidiary of Penske Business Media, LLC, case all. 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