She goes through life laughing

On November 26, at the Moscow Cinema Pioneer will show a restored in 4K version Paul Verkhoven Schougerls. Inna Kushnareva - about how the once odious film beyond the grain of good taste turned into the standard of the "big Hollywood style."

If someone, who had never seen Showerles before, will come to the cinema today for the first time to watch it, for example, in a remasted version, he most likely will not be able to subtract from him a reputation and cultural history, which this picture managed to form since 1995, when it first went on rent. Everyone was ashamed of this film: the main role of Elizabeth Berkeley, whom he ruined his career, Kale Maklahlen, who played one of the male roles, screenwriter Joe Estherkhaz, Serkhoven himself, claiming that he would not want to survive this nightmare again. He is ashamed even by academicians who read courses about Bad Taste , bad taste and trache at universities.

"Showerles" was considered so failed that he could not get cultural alibi even on the principle of "it is so bad that even good." For Trash or Camp, the film had too much budget, and it was not the outsiders and marginals that were shot, but people who were well integrated into the film industry. In addition, it is believed that Showerz was removed too seriously, without irony. Camp can even, as the umbrella emphasized, should be naive, but still the intention, the consciousness of parody, which is not felt in it, is not felt in it. And if she still is there? Cinemaists argue about this, nevertheless, willingly showing the film to students. They even offer the game: to determine who from the crew understands the catch and who is sincerely conducted. Verkhoven, of course, understands what he does, but Estherhaz is not. Gina Gershon, the performer of the role of the star of the show Crystal, also understands everything, and the unlucky Elizabeth Berkeley does everything in a blue eye.

Another sign of Camp is emphasized artificial, artifice . But today, all these sparkles, ramp lights, leather seasers and convulsive dance paralle, designed to transmit ecstasy, do not seem so artificial. It was necessary to appear in a kind of “Showerles” remake - “Neo Demon” Refne (in the initial scenes his heroine Jesse with curls gathered on her head and wide -open eyes look just like Nomi Mallowe, the main character “Showers”), so that, against the backdrop of this glamorous baroque, Verkhoven’s film seemed almost socialisticalism. Is, in turn, the “neon demon” by the Kampova alteration of “Showerles”, turning it into an abstract game of visual effects? One thing is clear: against the backdrop of this backstory, Showerles looks surprisingly normal today; the film, "which are not being shot now." After more than twenty -odd years, the film not only gradually paid off and brought profit: perhaps he finally became what he should have been - a strong Hollywood blockbuster.

The main character of Nomi Malone, like most girls of easy behavior, nourishes the illusion that there are subtle differences between prostitution, striptease and erotic dance show. The surrounding such illusions do not feed and do not miss the opportunity to remind her of this, but Nomi is ready to defend their beliefs, including by force of weapons (pennies or sparks-spectacles). It seems to her that she has a certain social elevator (prostitution-chipper show), but in fact she does not move anywhere. And in an amazing way, nothing happens in herself either. And not because it embodies innocence, which is impossible to corrupt, as was customary in the classic Hollywood genre about a girl fighting for stage success. Just nothing sticks to her.

In a sense, "Showerles" is a prelude to the "star landing". And in the other film, the constellation of ideal bodies, effective, trained, in constant tension and not burdened with such consciousness, which at least slightly reduced their tone, is given. In the Star Troops, these, among other things, are perfectly indocated bodies of Gore , meat, blood and giant spiders. In the "Showgerz" the body of Nomi Malone at the same time both stereotypically and deeply individually. On the one hand, it is easy, that is, without any special preparation, it integrates into the ensemble and dissolves among other bodies, of which, in essence, anyone can take the place of the prima donna (moreover, Crystal does not seem the most noticeable and bright body of all, despite silicone pumping). On the other hand, Elizabeth Berkeley - Dylda with sharp, angular movements, dancing or even making striptease with a desperate tear, as if tearing a shirt on his chest. The black dancer James (Glenn Plammer), who is imagining himself to the choreographer, tells her the truth: she only seems to her that she is dancing cool. But the standard line with an independent creator for the story of the star, which without the participation of official institutions of show business grinds the future star, will quickly stall in the film. Nomi at the same time knows everything and does not know how. In the listening scene, applicants are eliminated one after another: a plastic surgeon should work on one more, the second, who attended too many different courses, retrained. But in NOMI everything is at once. It is only incomprehensible what exactly: unique non -norment, perky bore or support of Crystal, who wanted to build complex relations of power and subordination with her, slightly painted in erotic tones? This is the biggest strangeness of the "showierls": the debutant who does not know how to play, which was exploited and thrown away, depicts an inexperienced debutant in sex exploring, thereby, as if destroying the boundaries of the diegage.

Throughout the film, Nomi almost does not change himself. Everything that she does, she does impulsively, under the influence of a momentary mood, even when Crystal pushes the stairs, not bearing far -reaching plans, but reacting to the humiliation just experienced. But NOMI has excellent reflexes, and as a result, she does exactly what needs to be done.

Nomi Malone turns out to be even greater android than the Androids from the HBO channel “The World of the Wild West” (Las Vegas, in which the “Showerles” action takes place, is a place no less virtual and stereotypical than the Wild West). In the robots from the “Wild West” as a result of all injuries, patches, software updates and rewriting plots, consciousness awakens. Nomi remains a triumphal, all -conquering body, in which difficult and humiliating situations leave no traces. Situations and relationships turn over, and it only slides from one ups and downs to another. She seems to have her own personal, not giving misfire gestures : you can always wave your hand, swear, spit and leave. Unlike androids, Nomi restarts itself and resumes the experience experienced-to do the same then, but already in Los Angeles.