艳舞女郎 Showgirls-正片

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• 来自网友【他他】的评论Two 1990s North American pictures ensnare audience into the lurid business of strip clubs. Egoyan’s EXOTICA is a Toronto-bound mystery about a tax auditor’s unusual obsession with a stripper in a local club, whereas Verhoeven’s SHOWGIRLS is a succès de scandale, years later, it gets a revisionist assessment and a cult following after being mercilessly vilified and derided upon its initial release, which is detailed in Jeffrey McHale’s documentary YOU DON’T NOMI. “Exotica” is the name of the club where Christina (Kirshner) works, owned by a broody Zoe (Khanjian), who inherits the club from her mother and has been successfully impregnated by Eric (Koteas), the club’s DJ and Christina’s jealous old flame (though how the arrangement is settled is lost in the shuffle). Among the habitués, tax auditor Francis Brown (Greenwood) habitually and exclusively shells out for private dances from a school-uniform-donning Christina (5$ per dance, what good ole days!), which rather gets Eric’s back up, whereupon he tricks Francis into being thrown out of the premises (a ruse really sounds facile to pull off). After soliciting help from Thomas (McKellar), a pet shop owner who surreptitiously smuggles rare exotic birds from abroad, whose business he audits, Francis is intent on taking a radical measure to settle his grudge, viz. killing Eric with a pistol. But the plan goes astray as the truth behind Francis’s apparent nympholepsy - which is knowingly teased by his regular transaction with Tracey (a precociously luminous Polley), an adolescent girl who, thankfully, turns out to be his niece and only babysits for him (or more precisely, house-sits) - is a gapingly scarred bereavement. Without giving away too many clues with its languidly paced narrative EXOTICA takes its pleasure in doling out key information in its own sweet time and Egoyan’s growing directorial prowess ensures that the film possesses an ensorcelling amenity - through its soothing, almost narcotizing ambience and Michael Danna’s exotic, intoxicating score - to keep audience invested in its mystery, which actually doesn’t weather too well. Francis’s wife and daughter are of a darker pigmentation, which makes their designated off-screen roles as an adulteress and a victim particularly tokenized and disingenuous. Since Christina is a a white gal, Francis’s transference loses its racial sensitivity , which only renders the script’s choices improvident and problematic. The cast is unexceptional, Greenwood owns that quietly urbane charm which would ease him into that stolid WASP daddy type (he was not even 40 when cast in this, but his weary soul bares all his middle-aged sobriety) but cannot ignite the screen with his pathos release. Kirshner has some mystique to spare to paper over her thinly scripted role and Koteas’s rough-housing rakishness is always a gleaming treat to watch, but it is McKellar’s taciturn, hirsute and uranian Thomas, whose subplot seems to be lifted from an entirely different script, leaves audience want more, like how he operates his illicit business and is it just incredible his date-picking haunt is none other than an opera house? Not to mention his distinct racial predilection of guys he feels attracted to. Ultimately, EXOTICA is about looking through a person’s normal surface and teasing out their darkest secrets (repeatedly prompted by the visual motif of two-sided mirrors, one character gazing into the other, oblivious one’s visage). However, in the aspect of the salacious stripteasing hijinks, Egoyan’s film is far too soft-core (even chaste) compared to the high-octane, wiggy abandon in SHOWGIRLS. Verhoeven’s film centers around Nomi Malone (Berkley), a hellbent go-getter from obscure origin striving to be a headliner of Las Vegas’s topless dance revue. After being cozened out of her belongings right upon arrival, Nomi instantly strikes a sororal closeness with Molly (Ravera), a costume designer for the “Goddess” show at the Stardust casino, works as a showgirl and slowly fights her way to be the understudy of the show’s star Cristal Conners (Gershon), in order to achieve that she is not above putting out to Zack (MacLachlan), the casino’s fiendish entertainment director. Aftewards, simply pushing Cristal down the starts, so she can take her place in the show, that’s how it is done in Eszterhas’s million-dollar script. It is par for the course that Nomi’s ascendancy is peppered with humiliations, rejections, propositions, and a plethora of nudity. What underscores the script’s contempt of the city’s vice and corrupt is that, save for Molly, everyone Nomi crosses her path with is shady and amoral on different levels. Her own corruption reaches the pinnacle when she behaves exactly like Cristal has done. Then a rude awakening shudders her into realizing the sordidness resided in this money-grabbing city and skipping town, but not before obtaining some poetic justice for the poor Molly, who is unwarrantedly thrown into a heinous case of sexual violence just to facilitate the contrived plot development. The script’s lack of thoughtfulness is not helped by her Afro-American provenance. Quite a lot of flaks take aims at Berkley’s sassy, harsh and all-out interpretation of Nomi, who acts as if she is a patient of borderline personality disorder, which is, in fact, totally defensible when her concealed backstory is dredged up by Zack in order to blackmail her into compliance. Nomi is a fire-breather who desires a fresh start, wears her heart on her sleeve, and instinctively repels any improper proposition without any consideration of its cost. An admirable quality that sets her apart from other homespun overachievers, no one can take advantage of Nomi unless it is of her own volition. Berkley acts like a blunt instrument but there is more than enough va-va-voom, moxie and élan in her to knock audience dead, and when she dances, she is corybantic! It should’ve been a star-making role for her, yet, the reality is a cruel sexist joke. Gershon also doesn’t wing it, Cristal’s sapphic limerence over Nomi blows an unashamed whiff of a more-than-friend-or-foe complexity and complicity that is exceedingly fascinating to watch. There is even no bad blood after Nomi’s underhanded usurpation, a modern and unexpectedly touching update on the female peer rivalry which is scrutinized most exquisitely in Joseph L. Mankiewicz’s ALL ABOUT EVE (1950). Gerson takes no prisoners in her alluring effusion of lesbian hankering, if that is also too much for audience in 1995 to be communal with. SHOWGIRLS also finds Verhoeven in his most unstrained style in terms of the spectacular scenography and choreography of the showpieces, the sleek, slithering camera mobility and the laughably astonishing sex scene between Nomi and Zack in the pool, whose deliberate, unsexy fakery further goes against what the film is initially hyped about, it doesn’t pander for the lurid fantasy of straight males, albeit it is from the same team who dishes up BASIC INSTINCT (1992). YOU DON’T NOMI charts SHOWGIRLS’s journey from a total commercial and critic flop to a reassessed cult classic with considerable conviction. Without resorting to interviews and talking heads (an approach seems quite puzzling because it is of great interest for audience to know how the original crew feels about the film’s renaissance), McHale’s documentary fills the screen with footage of Verhoeven’s other movies to reconcile with its essayist narration. From SHOWGIRLS’s wayward attention to chips and fingernails, to a pivotal lunch sequence where Nomi and Crystal get chummy through Dog Chow and how the scenes’s composition establishes both as equals, YOU DON’T NOMI, a felicitous accompaniment to Verhoeven’s film, acknowledges its feminist standing and rapport. It also elicits great affirmation to see the film’s legacy continues by inspiring Showgirls musical and how that helps people, especially the queer ones, find resonance, strength and a droll outlet of positive expression. (Nomi’s rite-of-passage isn’t that different from a spurned, disowned queer person trying to start anew in a place no one knows them and leave the tormenting past buried underground.)SHOWGIRLS’s awful luck is largely due to its unthinking temerity to challenge a predominantly puritanical audience, not because it is a Razzie-worthy stinker. It also leaves a bitter taste to see nearly three decades later, it is Berkley who has taken the brunt of its repercussions, whose hindered career never gets a second chance, while Verhoeven can still brandish his auteur flourish in the Continent, keep making provocative films and reinstate his cachet. referential entries: Egoyan’s FAMILY VIEWING (1987, 7.2/10), CHLOE (2009, 6.9/10); Verhoeven’s BENEDETTA (2021, 7.2/10), ELLE (2016, 8.0/10). Title: ExoticaYear: 1994Country: CanadaLanguage: EnglishGenre: DramaDirector/Screenwriter: Atom Egoyan Music: Mychael DannaCinematography: Paul SarossyEditor: Susan ShiptonCast:Bruce GreenwoodMia KirshnerDon McKellarElias KoteasArsinée KhanjianSarah PolleyVictor GarberDamon D’OliveiraBilly MerastyRating: 7.0/10Title: ShowgirlsYear: 1995Country: USA, FranceLanguage: EnglishGenre: DramaDirector: Paul VerhoevenScreenwriter: Joe Eszterhas Music: David A. StewartCinematography: Jost VacanoEditors: Mark Goldblatt, Mark HelfrichCast:Elizabeth BerkleyKyle MacLachlanGina GershonGina RaveraGlenn PlummerRobert DaviAlan RachinsGreg TravisLin TucciAl RuscioWilliam ShockleyMichelle JohnstonDewey WeberRena RiffelPatrick BristowUngela BrockmanMelinda Songer SoderlingMelissa WilliamsJim IshidaJack McGeeRating: 7.1/10Title: You Don’t NomiYear: 2019Country: USALanguage: EnglishGenre: DocumentaryDirector/Editor:Jeffrey McHaleMusic: Mark Degli AntoniRating: 6.6/10
• 来自网友【正东】的评论这部电影是个经典，对男人来说是大福利。女主演的不错，舞蹈也跳的好。除了那个歌星，电影中没有特别恶的人，有的磕磕碰碰是源自人的情绪，这和我们大多数的社会生活是相符的。女主开头被骗，想当然不会有大的损失，她更多愤怒霉运的依旧持续。特殊家庭造就的性格颇有吸引力，她内心的善是容易感触的，塞翁失马焉知祸福，真正的友谊来的很及时。女主和黑人小伙的遭遇太过平常，没有亮点，这种贫乏却是另一种亮点。我们大多数人的偶遇正是如此的贫乏，没有波澜壮阔的烙印。但这并不能掩盖主人公内心的善。善与善的相遇，即使平静也能在人生深处埋下印记。女主与当红女星、经纪人的关系比较复杂，在这里，电影讲述的故事很完美。女主的性格是个亮点，能够嵌入多方面的关系。比较肯定当红女星是个同性恋，她和经纪人都是有慧眼的。她们只是好斗，不全是为了胜利。人性是不可靠的，不过还好他们有可靠的社保制度，虽然他们自己对那制度还不满意，但足以让我们羡慕。脱衣舞店的老板和女主持人对本片是额外增加的温馨。最后女主再次遇到那个偷她箱子的男人，是收拾他呢，还是收纳他？一切皆有可能。本片豆瓣评分过低，也许过于暴露的女色让国人不适应。