“I’m a dancer!”

Such is is the defiant, armored response of Showgirls’s vituperative Nomi Malone, her all-purpose deflection that she’s something – anything – more than a fifty dollar whore, a skid row stripper, a trailer trash refugee, and a girl born into the gutter.
This is a chick whose life fuel is teeth-gnashing, acrylic nail-brandishing desperation channeled to claw herself out of a hell not of her own making, and if anyone deserves to roundhouse her way up from the pavement to the penthouse, it’s her.
Nomi is your Venus.
Common sentiment is that you can’t really succeed in intending to create a cult film. Bad is just bad, but BAD – as in “Ja-mon! You know!” (to quote Michael Jackson by way of Trash Goddess Elvira) is like a solar eclipse: we may technically understand the phenomenon, but there remains something otherworldly and unknowable about it. Cult movies and figures aren’t born so much as they are adopted like the least pet shop window-presentable member of a litter, which makes Showgirls with its amped-on-all-cylinders heroine the unruly, in-heat kitty bent on biting the hand that feeds it and slinking off to the alleys as the hackle-raising Queen of The Night. (read the full article)





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