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The plot forks off late in the film to address Molly's fascination with a local singer/songwriter who falls somewhat short of her expectations (to say the least). To elaborate further would be to give away perhaps the film's most unsettling moment. I can see the purpose for what happens, But I believe it was a poor narrative choice that does not fit the rest of the story, and could easily have been replaced with something a bit more...organic. As it is, whatever fun you may have been having up to that point will - I guarantee you - come to an abrupt end.

I can only assume that Joe Eszterhas (Basic Instinct) penned this script in the midst of a peyote fever dream.

I wish I could say all that's required to enjoy Showgirls is (peyote, and) the realization that it's supposed to be funny. But Berkley's unfortunate performance robs the film of its heart, and ended up all but ruining her career. Molly is the only character in the film who is NOT annoying, immature, vengeful and petty - and what happens to her at the end of the film takes the only other sympathetic aspect of the story, kills it, and buries it in a shallow grave. And then there's the final scene, which might have redeemed the whole thing with a clever “fourth wall” aside or something - anything to let you know that what you've just seen is a joke.

And...Verhoeven drops the ball there, too.

In the end, a few minor changes might have made this one of the biggest hits of the 1990s (which is actually is, if you include the $100 million in video sales and rentals Showgirls has since enjoyed). It's worth watching for the satire, as long as you think you can spot it. Cast members like Gershon, MacLachlan, Robert Davi (as Nomi's sleazy strip club boss) and Alan Rachins (as a smarmy producer) certainly seem to be in on the joke (I'm not sure Gershon didn't wink at the camera once or twice). And if you've ever been to a big budget Vegas show, you should (in my opinion) be able to laugh at the absurd level of excess present in the production of “Goddess."

Personally, I think I “get” it. And despite (in fact, because of) the uneven tone, half-baked story and the fact that the protagonist is a (seemingly) mentally disabled stripper, I had an absolute blast with Showgirls. Were it not for a handful of critical miscalculations by the director - such as the last ten minutes feeling like Roger Corman was behind the camera - a lot of others might have “gotten” Showgirls, as well. This is just one man's opinion, but for once I can agree with Hitler on something. Showgirls is one of the most ambitious and audacious films ever made, and though it falls short of actual greatness, this in no way precludes it from being great.

You just have to be looking at it in the right way.

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