Ishtar

The people who rip this movie for being boring and expensive don't understand what its really about. the film has terrible songs featured in it BUT THAT IS THE POINT! the songs are so terrible that they are ridiculously funny. the film's stars, beatty and Hoffman display an incredible talent at being morons, considering at the time they were both sex symbols revered as the coolest of cool. the film is a very funny and witty adaptation of ROAD TO RIO with bing crosby and bob hope. i loved this movie, and you should to if you don't take it seriously.

p.s. And about it being overpriced, it cost $40 million, a large sum for the time yes, but 50 FIRST DATES with Adam Sandler cost more that $40 million. $51 exactly.

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.

For the most part, films that bomb badly usually deserve to, but Ishtar is a curious exception. For the life of me, I cannot understand the critical drubbing it took upon its initial release. Admittedly, it did go way over budget, and none of that opulence is visible on screen (the film has a murky and washed out look to it, and its sets and locales are not particularly impressive) but this is a comedy after all, and so lives or dies based on the quality of its jokes and situations, not its production design. And on that level Ishtar not only gets by but succeeds wonderfully.

Beatty and Hoffman play two dim bulbs who fancy themselves songwriters and pair up in an attempt to become the next Simon and Garfunkel. The tortured lyrics these guys come up with must be heard to be believed, and the scenes showing them working on their songs or presenting their act to audiences are some of the most screamingly funny ever committed to film. If for no other reason than to see these scenes, you should rent the movie.

Perhaps the film might have been funnier (and better accepted by critics) if it had focused exclusively on the show business dreams of its stars. However, early on the two get a booking to play an extended gig in Morocco (that alone should tell you how bad they are); they get waylaid in the fictional Middle Eastern country of Ishtar where they become inadvertently roped into a shady CIA dominated plot having something to do with rebellions, arm shipments and military coups. It's all rather hokey and confusing - but deliberately so, in the best screwball sense. And through it all Hoffman and Beatty truly shine: the bafflement on their faces and in their gestures as they are shepherded from place to place as dupes in a plot they don't understand is just priceless. Who would have thought that two such intelligent actors could play stupid so convincingly (either one of them, for example, would have made a preferable sidekick to Jim Carrey than Jeff Daniels was in Dumb and Dumber - his performance showed all the strain of a bright guy trying to force himself into a pose of ineptitude). Even more, who would have imagined that two such prima donnas could put their egos aside to work off each other so well and become a truly great comedy TEAM? No matter how crazy the plot may get, Hoffman and Beatty are never less than a delight as they hold down the center of the film.

Oh yeah, and if that weren't enough, there's also the treat of the wonderfully droll and deadpan Charles Grodin as the CIA operative in Ishtar. He's the villain of the piece, but his beautifully underplayed exasperation at the exploits of the two stars makes you like him almost as much as you do them.

So what are you waiting for? If you like a good, well done comedy with sharp performances and a kooky atmosphere, check out Ishtar today. Don't allow all those sourpuss, stone-faced critics to ruin your fun.

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.

This is actually a brilliant comedy that utilizes the subtle jab to the funny bone rather than the thundering blow. Unfortunately, this type of humor died out sometime in the middle of the television show NEWHART's run. Why? Read The Wasteland! I don't know! Ishtar works in the same vein as Billy Wilder and Preston Sturges. No, the jokes do not come out and slap you in the face... You have to look for them to find them. Needless to say, do not rent this if you want a cathartic, mindless jolt. However, do not slam this movie just because it isn't slaptick or screwball. (Which are the only kind of comedies made anymore!) Elaine May comes from the comedy team of Nichols and May (Yes, Mike Nichols! [In fact one could argue that the comedy in The Graduate is bad for the same reasons as the comedy in Ishtar is supposedly bad.]). This duo practically perfected the witty, acerbic brand of humor which is now completely missed and misunderstood but was used masterfully in this film. In the age of Saturday Night Live and Ace Ventura, a comedy of this sort most assuredly would bomb and continue bombing. Nevertheless, if you are sick and tired of being force-fed ridiculously bad, hackneyed comedy then I suggest renting Ishtar (then buying some Nichols and May albums and watching the Bob Newhart reruns on Nick at Nite). Oh... Carter was President when I was born by the way... This is not nostalgia!