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(lourtny Photo
Warren Beattv (left) and Dustin Hoffman play second-rate songwriters who find themselves
involved with international intrigue in “Ishtar," now playing at Eugene theaters.
'Ishtar' — smooth, well-made, funny
Lyle Rogers (Warren Beatty)
and Chuck Clarke (Dustin Hoff
man) are would-be songwriters 1
and never-be entertainers trying
to eke out a living performing 1
their material. But the material
is so had it drives away Lyle's
wife and Chuck's girlfriend
Misfits without a hope of suc
cess in the world, they deserve
each other. The question is.
t
Review by
Sean Axmaker
does the world deserve them?
The Middle Kastern country
of Ishtar is on the brink of
revolution. The CIA-backed
despot, Kmir Yousef, keeps the
country impoverished as he
stuffs his private coffers Mean
while. an archeological team
uncovers a map and a legend
that could spark a holy war.
These two stories join when
Lyle and Chuck get their first
paying gig in Ishtar To make
matters worse, the newly ac
quirer) legend tells of two
messengers front afar
And if that isn't enough.
Chuck helps a young revolu
tionary. Shirra Asset (Isabelle
Adjani), before leaving the air
port and that night becomes a
CIA operative, as Lyle helps the
(•ery same Shirra.
In the tradition of screwball
Xtmedy the threads become
non; and more complicated.
Ihuck and Lyle suspect each
Jther. while the CIA. the Emir,
ind the revolutionaries suspect
hem both and soon the entin;
world is out to kill them. What's
in American abroad to do?
"Ishtar" is a curious piece of
American comedy. It’s been
mined a modern "Road'* pic
ure with Beatty and Hoffman
~eplacing Hob and Bing, yet it's
is much a product of the HOs as
he earlier series was of its
period.
Yesteryear's crooners, for ex
ample. never suffered from mid
life crisis. Lyle and Chuck are
living a fantasy life, comparing
their hopelessly trite music to
the work of Simon and Car
funkel (their unspoken idols).
They’re even worse per
formers, though, playing to
dumbfounded audiences until
they reach the tourist crowd of
Casablanca that eats up bad ren
ditions of “Strangers In The
Night" and “That's Amore.”
Suddenly the dreams of success
and stardom reappear, and Lyle
and Chuck are back in fantasy
land.
The joke, of course, is that the
fate of a country literally rests
on the shoulders of these two
idiots, and the joke works well.
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i
Certainly one of the most in
teresting aspects of the film is
the deliniation between good
guys and bad guys. From square
one it is assumed that the CIA.
led by the hypocritical Charles
Crodin, are bad guys suppor
ting a corrupt regime, and that
the leftist revolutionaries are
the good guys. Writer/director
F.laine May has to perform
cinematic gymnastics not to ap
pear to be actually supporting a
leftist revolution, however.
Her solution is so farcical it's
funny. But on the other hand, it
is a particularly offensive exam
ple of the American world
philosophy.
May keeps '‘Ishtar" running
at a breakneck pace and mixes
the farcical and cynical
elements well enough that the
implications of the material
aren't very obvious. Strong per
formances and a clever script
keep the film continuously
entertaining.
In many ways “Ishtar" is a
surprise, with its outrageous
$40 million price tag and six
month delay, causing some peo
ple to suspect serious trouble
with the picture. The finished
product is smooth, professional
and very funny. It is sure to be a
popular hit and finally give
Flaine May the success that has
eluded her career all these
years.
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