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.
Nick is desperate, holed up in a cheap hotel, suffering from an ulcer and convinced that a local mobster wants him killed. He calls Mikey, his friend since childhood, but when Mikey arrives... See full summary »
Three days into his Miami honeymoon, New York Jewish Lenny meets tall, blonde Kelly. This confirms him in his opinion that he has made a serious mistake and he decides he wants Kelly ... See full summary »
Henry Graham lives the life of a playboy. When his lawyer tells him one day that his lifestyle has consumed all his funds, he needs an idea to avoid climbing down the social ladder. So he intends to marry a rich woman and - murder her.
A suicidally disillusioned liberal politician puts a contract out on himself and takes the opportunity to be bluntly honest with his voters by affecting the rhythms and speech of hip-hop music and culture.
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Alan J. Pakula
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
When Marty Freed is sitting with Chuck and Lyle, after he first hears their act, he puts his hand up to his mouth ("Let me tell you what I told Tony Bennett..."). In the next shot, the hand is on the table. See more »
[singing/composing new song]
She said come look there's a... she said come look there's a wardrobe of love in my eyes...
Take your time, look around and see if there's something your size...
See more »
"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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