Ishtar

OK, Warren was on Dave Letterman. He says to Dave: "I still think Ishtar was funny. I don't get it. Why is this movie considered a bomb?" We liked it! OK, so the sled was "rosebud", but we still give this movie a Siskel-Ebert like thumbs up. Oops, Siskel passed away. Well, you know? Thumbs up to Warren and Dustin. Ishtar is funny. Warren is right. He is a highly intelligent guy, after all. So, we concur that to view Ishtar as a "bomb" represents a serious perception-gap on the part of critics and the general movie public. We call for the production of "Ishtar II"! YEAH!

I am just old enough to remember the two movies of the same approximate era (1980s, anyway) that became synonymous with big-budget box office bombs: "Ishtar" and "Heaven's Gate."

At the time, "Ishtar" was considered so bad as to be unwatchable. It was skewered and vilified so strongly that the critics rapidly drove it out of the theaters. Few--including me--ever had the nerve to rent the movie.

It wasn't until roughly 10 years after its release that my in-laws introduced me to the comedic greatness that is "Ishtar." To this day when I tell friends and family that I love Ishtar, it is somewhat like saying, enthusiastically, "Hey, I just contracted leprosy!" Such is the stigma that still lingers with this film.

To the credit of critics, this is by no means a work of pure comedic genius.

The movie has essentially one theme that works--the effortless cluelessness of Lyle and Chuck as the world's worst songwriters--and this is exhausted almost completely within the first 30 minutes. Still, it is a totally knee-slapping hilarious 30 minutes. The meandering remaining plot that takes them to Morocco for a singing gig and leads them to become CIA "agents" is what cemented the bad taste in the mouth of critics for time immemorial. This theme by the end of the movie is rather re-treaded and worn-out. We kind of want Warren and Dustin to just shut up by then.

This second act suffers from a kind of Hope-Crosby wannabee syndrome, and the writing isn't up to the slapstick pedigree the movie had begun revealing quite hilariously in the first act. Considering this film came from the pen of Elaine May--of "Nichols and May" comedy duet fame--I would have expected more, but perhaps this movie spiraled out of her hands because of the oft-misunderstood first act. I could easily see studio test audiences handily rejecting it and thus twisting the movie's priorities out of whack.

Still, "Ishtar" shouldn't be brushed aside as a mere footnote in movie history. It is worth watching for its true hilarity and the performances of both Hoffman and Beatty.

There is so much talent involved in this movie, what happened? The cast and crew have a combined lifetime 61 Oscar nominations and 16 wins. How could this not be a better movie? It is well produced, the cinematography and costumes are fine and well done. The main flaws are the poorly written screenplay, the paper thin plot and the lack of spark from the main stars. It's not without some funny moments, but they are too scarce. The humor wears thin in less than an hour and it becomes a challenge to stay interested in the plot. The lovely Isabelle Adjani is wasted. Charles Grodin does score in a supporting role and outshines the rest of the cast.

"Ishtar was great," I think defiantly every time by some off chance someone I come in contact with who has actually seen it cites it was the worst movie ever. I suppose it's part of cinematic pop culture to hold that opinion as a safeguard against being called a fool.

The most charming quality of Ishtar is its consistently dry, tongue-and-cheek disposition. It offers brilliant insight to the types of people in the world that, despite the fact that to everyone else their talent is cheesy at best, continue to try and try. Rogers and Clarke are the "Every Men" for that entire segment of the population with their songwriting musical act.

Their third-rate, leisure-suit-wearing manager does his job by getting them a few gigs; the biggest gig of all is in Ishtar, a politically unstable Middle Eastern country. Which, of course, is unbeknownst to Rogers and Clarke, who are just reveling in their love of playing music. Their naivete (and sometimes outright stupidity) is a character unto itself, and plays brilliantly throughout the ridiculous adventure that they experience.

I've seen Hoffman and Beatty in interviews joking about how they knew the movie was so bad that, instead of quitting, they simply got into the spirit by over-acting at parts. But, whether they know it or not, they were very REAL people, and THAT was the best part of all.

I personally do not understand how anyone cannot like this movie. As a whole I cannot really recall many comedies that I would call great movies, and this is not a "great" movie. It is certainly one of my favorite comedies, though. Come on, you have Warren Beatty and Dustin Hoffman has bad singer/songwriters. What more can you ask for? And they seem so sincere in the process. Maybe I'm just too big of an Adjani fan.