Showgirls

Metro-Goldwyn-Mayer

Company type	Film distributor
Industry	Entertainment
Headquarters	United States
Products	Film distribution

Showgirls is a 1995 erotic drama film directed by Paul Verhoeven, scripted by Joe Eszterhas, and featuring performances by Elizabeth Berkley, Kyle MacLachlan, and Gina Gershon. The narrative centers on a determined young woman striving to establish herself as a professional dancer and showgirl in Las Vegas.

With an estimated production cost near $45 million, the movie sparked controversy due to its overt sexual themes. In the United States, it received an NC-17 rating for "nudity and erotic sexuality throughout, some graphic language, and sexual violence," marking it as the first—and only—NC-17 film to be released widely in mainstream theaters. Distributor Metro-Goldwyn-Mayer (MGM) assigned hundreds of employees to venues to enforce age restrictions and prevent underage admission. Nevertheless, the NC-17 classification restricted its potential audience, and combined with harsh critical reviews, Showgirls failed to recoup its budget at the box office, earning $37.8 million.

Although it did not succeed theatrically, Showgirls found considerable popularity in the home video market, accumulating over $100 million in rental revenue and ultimately turning a profit. It ranks among MGM's top twenty best-selling titles. For home distribution, an R-rated edition was produced by removing roughly three minutes of explicit scenes, allowing for wider rental availability and broadcast on channels such as HBO and In Demand.

Initially denounced as one of the worst films ever created, Showgirls has since cultivated a devoted cult audience and undergone a reevaluation by critics. Some filmmakers and reviewers now interpret it as a deliberate satire possessing artistic value.

Plot

Nomi Malone, a young drifter, hitchhikes to Las Vegas with aspirations of becoming a showgirl. After being robbed shortly after arrival, she encounters Molly Abrams, who works in the entertainment industry and becomes her roommate. To support herself, Nomi begins poledancing and stripping at Cheetah's Gentleman's Club, managed by Al Torres. Meanwhile, Molly is employed backstage at the Stardust Resort and Casino as a seamstress and costume designer for Goddess, a topless dance production. At Stardust, Nomi meets Cristal Connors, the lead female dancer who derides Nomi’s work as tantamount to "prostitution". Offended, Nomi skips work but later gets arrested following an altercation at the Crave Club; James Smith, a bouncer there, posts her bail.

Cristal visits Cheetah's with her boyfriend Zack Carey—Stardust's entertainment director—to watch Nomi perform a lap dance. Though Cristal is bisexual and attracted to Nomi, the dance is intended to demean her by insinuating prostitution. Cristal offers $500 for the performance; despite reluctance, Nomi complies. James observes this event and subsequently visits Nomi’s trailer, suggesting her job is no different from prostitution. He then choreographs a new routine for her but expects sexual favors in exchange; when she refuses, he assigns the role to Penny, a former colleague.

Cristal arranges for Nomi to audition for Goddess. During the audition, the director humiliates her by insisting she rub ice cubes on her nipples for the topless dance tryout. Angry, Nomi storms out but still secures the role and quits Cheetah's. Cristal later attempts to involve Nomi in what she describes as a boat 'trade show' that is actually a front for prostitution. After Cristal injures herself, Nomi tries to replace her by seducing Zack, who assists her in obtaining an understudy position. However, Cristal threatens legal action which leads to rescinding the offer. Following further taunts from Cristal, Nomi pushes her down stairs causing a broken hip; this incident enables Nomi to officially assume the lead role. Despite reaching stardom, Nomi grows disenchanted and distances herself from Molly.

At Nomi’s extravagant opening-night celebration, Molly meets musician Andrew Carver who later violently assaults and gang-rapes her. Zack warns that Stardust intends to pay Molly hush money to protect Carver’s reputation and reveals Nomi’s background: born Polly Ann Costello in San Francisco, she fled home at 15 after her parents’ murder–suicide and turned to prostitution. Zack blackmails Nomi into silence by threatening exposure of her past crimes.

Unable to pursue legal recourse without risking public disgrace, Nomi retaliates by attacking Carver in his hotel room. She visits Molly in hospital assuring her that Carver faced consequences and apologizes to Cristal for injuring her. Cristal accepts an out-of-court settlement and admits similar past behavior; they reconcile with a kiss. Ultimately, Nomi departs Las Vegas hitchhiking toward Los Angeles with the man who had previously robbed her—whom she holds at knifepoint demanding return of her suitcase.

Writing

Joe Eszterhas originated the idea for Showgirls while vacationing in Maui. Following discussions with director Paul Verhoeven, who aimed to produce a grand MGM-style musical, Eszterhas proposed setting the story in Las Vegas. This concept led to a $2 million advance for writing the screenplay and an additional $1.7 million once the studio approved the project. These contracts, combined with his involvement in Basic Instinct (1992) and Sliver (1993), established Eszterhas as Hollywood's highest-earning screenwriter at that time. Given previous disputes with the MPAA over Basic Instinct, Verhoeven anticipated an NC-17 rating for Showgirls. He also agreed to defer 70% of his $6 million directing fee, contingent upon the film’s financial success.

Eszterhas characterized the narrative as starting within the realm of erotic dancers and transitioning into the glamorous world of Las Vegas showgirls, blending elements of both decadence and allure while encouraging viewers to form their own ethical judgments. He finalized the script in late 1993 amid personal upheavals, which he later acknowledged influenced the tone of his later projects.

To ensure realism, Eszterhas and Verhoeven conducted interviews with more than 200 Las Vegas strippers, integrating their stories into the screenplay to expose exploitation in the industry. Additionally, musician Prince was rumored to have contributed tracks for the movie’s soundtrack.

Casting

Prior to selecting Elizabeth Berkley for the role of Nomi Malone, several actresses were considered, including Pamela Anderson, Drew Barrymore, Angelina Jolie, Vanessa Marcil, Jenny McCarthy, Denise Richards, Jennifer Lopez, and Charlize Theron. Director Paul Verhoeven stressed that the part demanded not only strong acting skills but also dance proficiency and a willingness to appear fully nude—qualities that Berkley uniquely possessed.

For the character Cristal Connors, both Madonna and Sharon Stone were considered before Gina Gershon was ultimately cast.

Kyle MacLachlan revealed that Dylan McDermott was initially offered Zack Carey’s role but declined, which led to MacLachlan’s involvement. He was attracted by Verhoeven’s reputation for creating dark, provocative films such as RoboCop.

Filming

Verhoeven brought on Dave Stewart to compose both the film’s score and music for the Stardust hotel performances, aiming to capture the loud, gritty sound typical of Vegas shows.

Actress Gina Ravera described shooting the nine-hour rape scene as emotionally taxing, highlighting the physical demands of performing such intense material.

Music

The soundtrack comprised original songs created explicitly for the film, featuring an early rendition of David Bowie's "I'm Afraid of Americans" alongside Siouxsie and the Banshees' "New Skin," recorded near Prague in June 1995. It also included tracks by Killing Joke and Scylla, a band fronted by Curve's vocalist Toni Halliday. The track "Kissing the Sun" by The Young Gods appeared exclusively on the American version of the soundtrack and was omitted from European and Japanese editions. The album was released on September 26, 1995.

Marketing

Due to the NC-17 rating, advertising opportunities for the film were limited on major American broadcast channels: ABC, CBS, and Fox refrained from airing commercials before 10:00 p.m., while numerous NBC affiliates opted not to promote it at all. As a result, MGM/UA capitalized on the controversy generated by the rating to fuel public interest, initiating a campaign that highlighted the film’s daring content. Promotional materials included the slogan "leave your inhibitions at the door," complemented by billboards displayed in prominent locations such as Times Square and Venice Beach, an adults-only interactive website, and distribution of a "sneak preview" videotape containing eight minutes of explicit scenes absent from trailers. Although 300,000 preview tapes were circulated, Blockbuster declined to stock them due to the NC-17 classification.

Aiming primarily at a young male demographic, MGM/UA placed advertisements within newspaper sports sections. However, screenwriter Eszterhas opposed this marketing strategy and purchased a full-page ad in Variety, presenting the film as a cautionary tale exposing the exploitation and mistreatment of dancers in Las Vegas. He controversially encouraged underage viewers to use fake identification to attend screenings, which drew rebuke from MPAA president Jack Valenti.

The film’s minimalist poster design was adapted from a photograph by Tono Stano that originally appeared on the cover of the 1994 publication The Body: Photographs of the Human Form.

Box office

Premiering on September 22, 1995, Showgirls debuted in 1,388 theaters across North America. Two regional theater chains—Cinemark in Texas and Carmike in Georgia—opted not to exhibit the film. It earned $8.1 million during its opening weekend, securing second place behind Seven. In its sophomore week, revenue dropped by 60%, causing it to fall to fifth place. The domestic total gross reached $20.35 million, which was less than half of its $45 million production budget.

Although theatrical performance was underwhelming, Showgirls achieved significant success in home video and rental markets, generating over $100 million and ranking among MGM’s best-selling titles as of 2014. It remains the second highest-grossing NC-17 rated film domestically.

Home media

The film excelled commercially through home media sales, surpassing $100 million in revenue within the United States alone and securing a spot among MGM’s top 20 best-selling releases. Initially reluctant to create an edited version for video release, director Verhoeven eventually consented to produce an R-rated cut, allowing MGM to recuperate expenses via rentals and retail sales.

On January 2, 1996, two VHS editions were launched: an R-rated director’s cut intended for rental outlets and an uncut NC-17 version. The NC-17 edition was also issued on LaserDisc that same year. The first DVD release followed on April 25, 2000. In 2004, MGM introduced a "V.I.P. Edition" DVD boxed set including promotional collectibles; this edition was reissued in 2007 as the "Fully Exposed Edition," which omitted bonus materials.

A dual-format Blu-ray/DVD set commemorating the 15th anniversary was released in 2010. Subsequently, in 2016, Showgirls underwent a 4K restoration overseen by Verhoeven and Pathé, with image and audio enhancements carried out by Technicolor and L.E. Diapason laboratories; this restoration preceded both a theatrical re-release and a Blu-ray launch.

The restored edition was made available on Ultra HD Blu-ray in Germany via Capelight Pictures in 2020 and later in the United States through Vinegar Syndrome in 2023. The latter release received acclaim for its visual fidelity but initiated a disc replacement program after detecting synchronization problems with the 5.1 surround sound track.

Critical reception

Upon its initial release, the film faced widespread condemnation, largely due to its perceived deficiency in genuine eroticism and overt nudity, which many critics deemed exploitative and disrespectful toward women. Kenneth Turan of the Los Angeles Times labeled it as "painfully dull" and "narratively disjointed," remarking that despite the filmmakers' assertions of artistic vision, the final product came across as "bleak and degrading." Richard Corliss from Time pointed out flaws in the screenplay and described the lead character, Nomi, as particularly grating. Meanwhile, Owen Gleiberman of Entertainment Weekly criticized the film's misogynistic depiction of female characters, reflecting the mistreatment they endure from male figures.

Nomi's portrayal was broadly regarded as unsympathetic and irritating. Rita Kempley of The Washington Post likened the filmmakers to exploiters, dubbing the movie a "cloak for men reluctant to be seen entering an adult theater."

Roger Ebert assigned the film a 2 out of 4-star rating, censuring its excessive nudity and immature script but acknowledging its impressive production quality and Elizabeth Berkley’s vigorous lead performance. He found certain plot points entertaining despite the overall shortcomings. In 1998, Ebert noted that while it garnered "some harsh reviews," it was not entirely without merit.

Janet Maslin of The New York Times recognized it as an immediate camp favorite, and Edward Guthmann from the San Francisco Chronicle situated it within a lineage of "lowbrow backstage showbiz dramas," notwithstanding its unfavorable reception.

Stanley Kauffmann of The New Republic offered one of the few positive perspectives, applauding both the choreography and Berkley's acting despite her character’s mechanical nature. He also praised supporting performances by Ravera and Gershon, concluding that beneath its glitzy surface, the film reveals Las Vegas as emblematic of America's most tawdry values. Anthony Lane of The New Yorker described Berkley's debut as enjoyable in itself and encouraged audiences to appreciate the film's soap-opera qualities with a sense of humor.

On aggregate review platforms, Showgirls holds a 24% approval rating on Rotten Tomatoes, with critics branding it as "vile, contemptible, garish, and misogynistic"—potentially by design. Metacritic assigns it a score of 20 out of 100, indicating generally unfavorable reviews. Audience feedback via CinemaScore yielded a "C" grade.

Cast and crew

Reflecting on the film’s premiere, MacLachlan recalled:

I was utterly stunned. I thought, "This is dreadful. Absolutely dreadful!" The movie deteriorated scene after scene. I distanced myself from it. Nowadays, it has found a new life as unintentional satire—entertaining but far from what was originally intended. Perhaps it was simply ill-suited material for that director and cast.

Following Showgirls' poor critical reception, marketing for Striptease, a 1996 nude dancer-themed movie starring Demi Moore, deliberately avoided association with it. After the film’s release, agent Mike Menchel dropped Elizabeth Berkley, and other representatives declined to return her calls. In 2013, Berkley revealed that the critical failure prompted her to cease dancing professionally.

Joe Eszterhas admitted in 1997:

We erred significantly. It stands as one of our era’s biggest flops—commercially, critically, on home video, and internationally. Coming off Basic, there was perhaps arrogance: "We can do whatever we want." The rape scene was an awful mistake. The soundtrack is forgettable. Casting decisions were flawed.

In a 2025 article for Far Out, Verhoeven expressed regret over how Showgirls affected Berkley’s career: "It complicated my life somewhat but devastated hers. Hollywood turned away from her." He accepted responsibility for directing her to perform in an abrupt manner: "I asked Elizabeth for that style... but she has been criticized for it ever since. I hoped the ending would clarify her behavior linked to substance abuse, but that too was misguided." Writer Jacob Simmons added that while Berkley's performance had imperfections, criticisms targeting her appearance were entirely unjustified.

Awards

The film set a then-record by winning seven awards at the 1995 Golden Raspberry Awards out of thirteen nominations. These included Worst Picture, Worst Actress (Elizabeth Berkley), Worst Director (Paul Verhoeven), Worst Screenplay (Joe Eszterhas), Worst New Star (Elizabeth Berkley), Worst Screen Couple ("any combination of two people or body parts"), and Worst Original Song ("Walk Into the Wind," originally by David A. Stewart and Terry Hall, performed by antagonist Andrew Carver). Verhoeven personally accepted his Worst Director award.

In 2000, Showgirls received an eighth Razzie for Worst Picture of the Last Decade, tying with Battlefield Earth for most Razzies won in a single year—a record later surpassed by I Know Who Killed Me in 2008 with eight awards and again by Jack and Jill in 2012 with ten.

At the 1995 Stinkers Bad Movie Awards, it garnered three nominations—Worst Picture, Worst Actor (MacLachlan), and Worst Actress (Berkley)—winning only Worst Picture.

Award	Category	Recipient	Result
Dallas–Fort Worth Film Critics Association Awards	Worst Film		Template:Won
Golden Raspberry Awards (1995)	Worst Picture	Alan Marshall and Charles Evans	Template:Won
	Worst Director	Paul Verhoeven	Template:Won
	Worst Actor	Kyle MacLachlan	Template:Nom
	Worst Actress	Elizabeth Berkley	Template:Won
	Worst Supporting Actor	Robert Davi	Template:Nom
		Alan Rachins	Template:Nom
	Worst Supporting Actress	Gina Gershon	Template:Nom
		Lin Tucci	Template:Nom
	Worst Screenplay	Joe Eszterhas	Template:Won
	Worst Screen Combo	Any combination of two people or body parts	Template:Won
	Worst New Star	Elizabeth Berkley	Template:Won
	Worst Original Song	"Walk Into the Wind" – David A. Stewart and Terry Hall (covered by antagonist Andrew Carver)	Template:Won
	Worst Remake or Sequel	Remake of All About Eve and The Lonely Lady	Template:Nom
Golden Raspberry Awards (1999)	Worst Picture of the Decade		Template:Won
	Worst Actress of the Century	Elizabeth Berkley	Template:Nom
	Worst New Star of the Decade	Elizabeth Berkley	Template:Nom

Cult status

Over time, Showgirls has garnered cult acclaim. Naomi Klein observed that ironic appreciation first emerged among early home video audiences before MGM capitalized on this trend. The studio noticed robust video sales fueled by "fashionable twenty-somethings" hosting ironic viewing parties mocking its flawed script and explicit content. The film found particular favor within the LGBT community, spawning enduring midnight screenings reminiscent of The Rocky Horror Picture Show, complete with audience participation. Figures such as Betty Buckley, Peaches Christ, and David Schmader served as hosts for these events. MGM later arranged drag-hosted midnight showings in New York City and Los Angeles during 1996. Home video rentals surpassed $100 million, placing Showgirls among MGM's top twenty best-selling titles.

Director Paul Verhoeven acknowledged this unexpected cult resurgence as a "rebirth following crucifixion." Writer Joe Eszterhas maintained that much of the dark humor was intentional, citing deliberately humorous dialogue.

The phrase "Showgirls-bad" has entered vernacular to describe films that are guilty pleasures or enjoy “so-bad-they’re-good” status; the movie itself is now regarded as a camp classic comparable to films like Beyond the Valley of the Dolls.

In Ireland, authorities banned Showgirls in 1995 not due to sexual content but because of offensive language—specifically the phrase "fuckin' Virgin Mary." This ban was lifted when an uncut version was released on video in 2017.

VH1 acquired television rights but broadcast a heavily edited version featuring digitally added bras and panties to cover nudity while cutting approximately forty-five minutes. Elizabeth Berkley refused to re-record her dialogue over compensation disagreements; consequently, another voice actor replaced her on this soundtrack.

In 2003, Entertainment Weekly ranked Showgirls at number 36 on its list of 'Top 50 Cult Movies'.

During late-1990s television programming, references to Showgirls appeared with mixed tones. NBC's NewsRadio joked about a character involved in an adult film dubbed “dirty movie,” while an episode of The Simpsons portrayed a fictionalized scene from Showgirls, underscoring its cultural reach.

Australian rapper Iggy Azalea paid tribute to Showgirls through her 2013 music video "Change Your Life," recreating visuals and costumes inspired by iconic club scenes from the film.

In 2019, the documentary You Don't Nomi revisited the film’s legacy.

On March 20, 2024, Los Angeles’ Academy Museum hosted a sold-out screening of Showgirls, introduced by Elizabeth Berkley herself who received three standing ovations.

Critical re-evaluation

Prominent critics such as Jonathan Rosenbaum, J. Hoberman, alongside filmmakers including Jim Jarmusch, Adam McKay, and Jacques Rivette, have defended Showgirls as an earnest satire. Rivette hailed it as "one of America’s finest recent films," portraying a harsh depiction of survival within a ruthless environment aligned with Verhoeven's worldview. Quentin Tarantino praised it as a rare example of big-budget exploitation cinema comparable to films like Mandingo.

Some have compared it to the classic 1950 drama All About Eve, considering it either an update or outright imitation. Rosenbaum characterized it as "one of Hollywood’s most scathing allegories about selling out." Michael Atkinson highlighted Verhoeven’s talent for crafting genre films that blur satire with sincerity.

Eric Henderson from Slant Magazine, awarding four stars, rejected categorizing it as “so-bad-it’s-good,” instead calling it “one of recent years’ most candid satires,” targeting Hollywood’s morally bankrupt star-making mythos. A round-table discussion in 2003 within Film Quarterly emphasized its use of melodrama to deliver social critique; Noël Burch underscored its serious engagement with mass culture themes. Chon Noriega argued that its satirical nature is often missed due to absence of typical cues like sarcasm or irony.

Elizabeth Berkley’s initially criticized performance has undergone reassessment. Verhoeven accepted responsibility for directing her exaggerated style as integral to the film’s tone. In 2020 BBC critic Hugh Montgomery described her portrayal as “exhilaratingly surreal and abrasive,” effectively conveying a young performer’s ambition for stardom. Critic Catherine Bray likened her role more to pop-art caricature than straightforward realism.

The gang rape sequence remains controversial due to its graphic nature and narrative role—especially regarding representation issues and Nomi’s character development. Jeffrey McHale, director of You Don't Nomi, called this scene “entirely offensive” and unnecessary for advancing character arcs.

Discussion continues around themes such as patriarchal structures, critiques of the American dream, and sex work, with many contending that its exaggerated elements—flashy dance routines, abundant nudity, dialogue styles, and overacted performances—are deliberate artistic choices rather than flaws. In 2020, The Guardian asserted that Showgirls critiques deceptive “star is born” narratives underpinning American dreams.

Legacy

Sequel

Before its release, Verhoeven disclosed plans for a sequel hinted at by Nomi’s takeover scene at Hollywood’s end; however, these were abandoned due to poor box office results.

A follow-up focusing on minor character Penny titled Showgirls 2: Penny's from Heaven (2011) was independently written, produced, edited, directed by—and starring—Rena Riffel. She remains one of only two returning principal cast members alongside cameo appearances from Glenn Plummer and Greg Travis.

Musical adaptation

In 2013 Bob and Tobly McSmith from Medium Face Productions created an off-off-Broadway parody titled Showgirls! The Musical, staged at New York City's Kraine Theater. Positive reviews led to relocation off-Broadway at XL Nightclub where its run extended through July 15th. Actress Rena Riffel reprised her role as Penny for one month.

This adaptation closely follows original plotlines and dialogue while emphasizing camp elements. April Kidwell's portrayal of Nomi received critical praise for infusing humor and vitality into her character. Andy Webster from The New York Times lauded Kidwell as providing dynamic counterbalance to original film tone.

Several characters were merged or consolidated: Marty and Gaye combined into 'Gay'; Molly and James portrayed by Marcus Deison; Zack Carey renamed Kyle MacLachlan. The production featured explicit language alongside nudity under marketing slogan: "Singing. Dancing. Tits."

Principal cast included Kidwell (Nomi), Rori Nogee (Cristal), John E. Elliott (Kyle MacLachlan), Marcus Deison (Molly/James), Philip McLeod (Gay), supported by Amanda Nicholas, Natalie Wagner, Israel Vinas among ensemble.

Original cast recording

Released June 11th, 2013 featuring eight tracks composed by Bob and Tobly McSmith:

See also

• List of cult films
• List of films set in Las Vegas
• List of films considered the worst
• Nudity in film
• Striptease (film)
• You Don't Nomi

External links

• Showgirls on the MGM website