
Because Paul Verhoeven’s 1997 masterpiece wasn’t marketed as satire in the U.S., it stands to reason that the vast majority of young people who saw the faux-fascist film in theaters were unaware of its satirical elements, or its commitment to camp.

Because Paul Verhoeven’s 1997 masterpiece wasn’t marketed as satire in the U.S., it stands to reason that the vast majority of young people who saw the faux-fascist film in theaters were unaware of its satirical elements, or its commitment to camp.