The 1995 film Showgirls, directed by Paul Verhoeven and written by Joe Eszterhas – the duo behind the controversial hit Basic Instinct – remains a touchstone in discussions of cinematic excess and its impact on careers. The film follows Nomi Malone, played by Elizabeth Berkley, as she navigates the cutthroat world of Las Vegas showgirls, a journey that quickly descends into the city’s more exploitative underbelly. While intended as a provocative drama, Showgirls became infamous for its explicit content and critical drubbing, ultimately impacting the trajectory of Berkley’s career.
Produced on a budget of approximately $45 million, Showgirls received an NC-17 rating in the United States due to its “nudity and erotic sexuality throughout, some graphic language, and sexual violence.” This rating, coupled with overwhelmingly negative reviews, contributed to its box office failure, grossing just $37.8 million worldwide, according to Wikipedia. The film’s notoriety, yet, didn’t stem solely from its content; it became a cultural lightning rod, sparking debate about artistic boundaries and the treatment of female performers.
The critical response was particularly harsh. Richard Corliss of Time magazine famously described Showgirls as “one of those hilariously awful movies that could be taught in film schools as an example of How Not to Make a Movie.” The film went on to receive 13 nominations at the 1995 Razzie Awards, which satirically honor the worst in film, ultimately winning seven, including Worst Picture, Worst Director, and Worst Actress. It later earned another Razzie for Worst Picture of the 90s in 1999.
While Verhoeven and Eszterhas faced criticism for the film’s direction and script, much of the backlash centered on Berkley, who had previously gained fame as Jesse Spano on the television series Saved by the Bell (1989-1993). Critics were particularly scathing in their assessment of her performance. The New York Times described her as having “the open mouth and vacant eyes of an inflatable doll,” while others likened her to “a piece of meat on a stick.”
Berkley, then just 21 years old, was accused of delivering a hysterical, excessive, and inauthentic performance, effectively ostracizing her from Hollywood. “I took a huge hit personally and professionally. It was painful. I was isolated and felt abandoned by people I had worked with,” Berkley recounted. “For two years, I wasn’t allowed to audition.” She added, “There were so many things that would be unthinkable now; no one could withstand that kind of attack. I didn’t understand how people could be so cruel, but I am strong. I had to separate what they were saying from what I believed to be true. I believed in my work and in myself, but I hoped someone would stand up for me, but that didn’t happen.”
Ironically, despite its initial failure, Showgirls found a second life on home video, reportedly earning $100 million in sales. This commercial success fueled a reevaluation of the film, leading to its cult status and a growing appreciation for its provocative and ahead-of-its-time qualities. Even during its initial release, some critics defended Berkley’s performance, including Quentin Tarantino and Roger Ebert, who wrote that the debutante Elizabeth Berkley’s performance had a “fierce energy that makes it always interesting.”
In 2015, Verhoeven acknowledged the damage Showgirls inflicted on Berkley’s career. “Showgirls drastically ruined Elizabeth Berkley’s career. It complicated my life, but not as much as hers. Hollywood turned its back on her. She could only have turned things around if she had been offered a very different role, but that never happened. Otherwise, I know she would have done it. I asked Elizabeth to do all of that, to be brash and act that way, but people have been attacking her ever since. If anyone is to blame, it’s me, because I thought it would be interesting to play the character that way.”
Today, Berkley views that challenging chapter of her life with a different perspective. She now attends special screenings of Showgirls, speaks proudly of her character, and has transformed the experience into a story of resilience and reclamation. The film itself is now considered a cult classic, as critic Janet Maslin predicted: “The effort to make America’s dirtiest studio movie has led Verhoeven and Ezsterhas to create an instant ‘camp’ classic.”
The story of Showgirls is a complex one, a cautionary tale about the perils of pushing boundaries and the lasting impact of critical failure. It’s also a story of rediscovery, as the film has found a new audience willing to appreciate its subversive qualities and, increasingly, to recognize the strength of Berkley’s performance. The film continues to spark conversation about the representation of women in Hollywood and the often-brutal realities of the entertainment industry.
As interest in Showgirls continues to grow, fueled by social media and retrospective analysis, the film’s legacy remains firmly cemented in cinematic history. Further scholarly analysis of the film’s themes and impact is expected, and Berkley continues to engage with the film’s fanbase, offering her perspective on this pivotal moment in her career. The next scheduled event related to the film is a retrospective screening and Q&A with Berkley at the American Film Institute in Los Angeles on March 15, 2026.
What are your thoughts on the enduring legacy of Showgirls? Share your opinions and memories in the comments below.
