What is it: First off, before we get into Ishtar, let’s talk about how awesome Elaine May is. With the late Mike Nichols, she was half of Nichols and May, a hilarious and subversive comic duo who took America by storm in the late ‘50s and early ‘60s, with their dry, improvisational wit inspiring folks like Steve Martin and David Letterman. A lot of their stuff is still pretty darned funny today. After Nichols and May ran their course, Elaine May became a screenwriter, director and wry actress in her own right – her fingerprints are all over movies as a writer and “script polisher” including Tootsie, The Birdcage, Labyrinth, Reds and Heaven Can Wait.
May’s work as a film director never got quite as famous as her former partner Nichols (The Graduate, Working Girl) but her small filmography – just four movies as director – is a treasure trove of askew, insightful comedy that’s well worth hunting out. You’ve got Walter Matthau in the 1971 black romantic comedy A New Leaf, a perfect little offbeat love story between spoiled rich jerk Matthau and May herself as a ditzy botanist; the twisted hit man buddy comedy/drama Mikey and Nicky with a fantastic John Cassavetes as a man having a nervous breakdown and Peter Falk as his best friend; and her masterpiece, 1972’s The Heartbreak Kid, starring the late great Charles Grodin and an absolutely luminous Cybill Shepherd in one of the meanest, most biting romantic satires I’ve ever seen. May was a pioneer for women in filmmaking – when she signed a deal with Paramount to make A New Leaf in the late 1960s, she was the first female director in decades to break that glass ceiling, in a world where female directors were as rare as snow leopards in a desert. But she also fought with the studio bosses from her first film to her last, culminating in her being fired from Mikey and Nicky and actually stealing some of the film canisters and hiding them in a garage in a bit that sounds like it was ripped straight from an Elaine May movie.
And then there’s 1987’s Ishtar, her fourth and final film as a director, a word that became shorthand for “box office disaster.” Dustin Hoffman and Warren Beatty were massive stars at the time, and an epic road trip buddy comedy starring them as hack musicians caught up in a Cold War-era spy plot seemed like it’d be a box office bonanza in the heady 1980s. Spoiler alert: It wasn’t. May, still around at 89, never directed another major Hollywood movie again, although she did continue working as a screenwriter and occasional actress and these days she’s widely remembered for her career highs rather than the occasional lows.
Why I never saw it: While I’m a connoisseur of fascinatingly bad movies – I proudly own Plan Nine From Outer Space, The Room and Toxic Avenger – Ishtar was seen as more of a bloated classic Hollywood misfire than a movie that’s so bad it’s good. I only finally got to it recently because I’ve been watching May’s utterly charming earlier films, and it felt like it was time to finally come to terms with the one that basically ended her directing career. The reason Ishtar flopped are many, but it basically boils down to money and hubris. May had a reputation as an indecisive and somewhat spendthrift director, which worked for smaller character-focused work like The Heartbreak Kid, but Ishtar was one of those big booming ‘80s comedies where excess was part of the furniture. Throw in the big egos of Beatty and Hoffman and the studio heads, and autopsies of Ishtar show it’s clearly a case of far too many cooks labouring over a rather mediocre, overstuffed dish.
Does it measure up to its rep? So how bad is this film, anyway? At the time of its release in 1987, you’d have thought Ishtar was a child-eating serial killer, so bad was its press. Roger Ebert called it “truly dreadful” and endless reams of newspaper and magazine copy focused on the wasteful big budget and production dramas. But while there have been efforts to reclaim Ishtar in the years since as some kind of underrated gem, in reality it’s somewhere in between. Distanced from all the drama about budget and production, it’s not the worst movie ever made, but it’s also a clunky patched-together beast that lacks the tight focus of a twisted buddy comedy like May’s Mikey and Nicky.
Here’s the main problem – you’re asked to buy Dustin Hoffman and Warren Beatty, two of the world’s biggest movie stars, as sad-sack loser songwriters convinced of their own genius. Their star power overwhelms the premise. Hoffman comes off marginally better – “overconfident loser” is part of his whole vibe – but Beatty, much as I like him, is simply not plausible as a fumbling dimwit. Beatty can play losers – the iconic Clyde Barrow in Bonnie and Clyde, Robert Altman’s doomed gambler in McCabe and Mrs Miller, the corrupt politician having a nervous breakdown in the terrific Bulworth – but he’s not right for this role at all. When the movie focuses on Hoffman and Beatty as failed musicians performing their terrible songs, it’s fitfully amusing, but when the action shifts to Morocco, where they’ve somehow managed to land a few gigs, it turns into one of those very ‘80s spy action comedies with a convoluted, confusing plot about lost magical maps and duelling factions in the Middle East. A little bit racist now in its ogling of the culture and traditions of a “foreign land” (a scene where Hoffman starts screaming in pidgin Arabic does not age well), Ishtar loses what little grounding it had when it goes to Morocco. I will admit the recurring gags with a blind camel are pretty good, though.
Ishtar has the bones of a decent movie in it – recast Beatty with someone like an ‘80s Michael Keaton, trim the Morocco adventures and focus more on two loveable loser songwriters, and it might work, but then it’d probably be a different movie entirely. Elaine May’s comedy is at its best when it picks at the recognisable foibles and flaws in everyday life and exaggerates them. When you start having Dustin Hoffman and Warren Beatty in a pitched gun battle with helicopters in the Moroccan desert, you lose that. Regrettably, May’s career took the brunt of the Ishtar fallout and the resulting backlash hurt women directors in general, which seems more than a little unfair as it sounds like Warren Beatty and others own a fair bit of the blame as well.
Worth seeing? More of an interesting failure rather than a world-shattering bomb for the ages, it’s a compromised, uncertain comic romp lacking the focus of May’s other films. If you’re making a pilgrimage through history’s “biggest bombs” it’s worth seeing, but on its own merits the pleasures are sporadic at best. I’d definitely start with The Heartbreak Kid if you want to get a better feel for May’s witty charms. Ishtar may have bombed, but Elaine May’s career was more like that of a shooting star.