The Cultural Legacy of Las Vegas in 1995 Cinema

The Lasting Impact of Las Vegas in Film: A Look Back at 1995

In 1995, Las Vegas emerged as a vibrant backdrop for cinematic storytelling, featuring notable films that captured the city’s unique allure. Nicolas Cage delivered a powerful performance in “Leaving Las Vegas,” portraying a man grappling with profound personal demons, while Elisabeth Shue played a role that intertwined with his tumultuous journey. In Martin Scorsese’s gripping drama “Casino,” Sharon Stone captivated audiences as a cunning hustler who transforms into a mob wife, showcasing the darker side of the Vegas lifestyle. All three actors received Academy Award nominations for their performances, with Cage taking home the Oscar for his role. Even critics who were less enthusiastic about these films acknowledged their artistic merit.

However, the third major film set in Las Vegas that year, Paul Verhoeven’s audacious NC-17-rated “Showgirls,” took a radically different approach. This film, characterized by its flashy visuals and over-the-top narrative, follows the ambitious dancer Nomi Malone, played by Elizabeth Berkley, as she ascends the ranks of the semi-nude entertainment industry. While “Showgirls” was met with criticism upon its release, it has since cultivated a devoted following, inspiring a wealth of cultural phenomena including documentaries, drag performances, musical parodies, viral memes, and scholarly essays. Some of these essays have been compiled in the recent anthology “The Year’s Work in ‘Showgirls’ Studies,” published by Indiana University Press. The latest addition to this expanding universe is “Showgirl,” a French theatrical production by Marlène Saldana and Jonathan Drillet, featuring an original techno score. This innovative play is set to be performed at N.Y.U. Skirball on Friday and Saturday.

‘It Doesn’t Suck’

Marlène Saldana first encountered “Showgirls” in her youth, watching it on VHS shortly after its initial release. Like many viewers of that era, she initially approached the film with a sense of humor, expecting to find entertainment in its campy elements. However, as Saldana delved deeper into the world of dance, she discovered that “Showgirls” held a significant place within the dance community, akin to classics like “Flashdance” and “The Red Shoes.”

“I genuinely love this film,” Saldana expressed in a video interview from France. “Every time I watch it, I uncover something new.” This sentiment reflects the diverse perspectives that have emerged around “Showgirls,” ranging from serious academic analyses to the raucous laughter of midnight screenings and the sharp wit of drag interpretations. As Adam Nayman articulates in his insightful book “It Doesn’t Suck: ‘Showgirls,’” the film occupies a unique cultural space, revered both as a staple of ‘low’ pop culture and as a critical object of study in academic circles.

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