Two terrible lounge singers get booked to play a gig in a Moroccan hotel but somehow become pawns in an international power play between the CIA, the Emir of Ishtar, and the rebels trying to overthrow his regime.
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Two terrible lounge singers get booked to play a gig in a Moroccan hotel but somehow become pawns in an international power play between the CIA, the Emir of Ishtar, and the rebels trying to overthrow his regime. Written by
Filming lasted from October 1985-April 1986. Columbia Pictures was originally going to release the film during the 1986 Christmas Season, but because of post-production troubles, and other budgetary issues the film was not yet ready for it's original December 1986 scheduled release date. The film's release was postponed until May 1987 in order to give Columbia enough time to get budget and post-production issues sorted out before the film hit theaters. The delay in the film's release also spread a negative vibe, that ultimately helped contribute to it's eventual overwhelming failure. See more »
By the chandelier when Jim talks to the Emir. See more »
Lyle Rogers, Chuck Clarke:
Telling the truth can be dangerous business; / Honest and popular don't go hand in hand. / If you admit that you play the accordion, / No one will hire you in a rock 'n' roll band. / But we can sing out hearts out. / And if we're lucky, then no neighbors complain. / Because life is the way we audition for God; / Let us pray that we all get the job.
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"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.
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