In essence, the movie titled “The Last Showgirl” might have benefited from being a shorter production. Despite its duration of 89 minutes, the narrative about Shelly (Pamela Anderson), who was once a star in the Las Vegas revue show Le Razzle Dazzle, feels stretched out. Just like the shimmery butterfly wings that are part of her costume, the story seems to have a tendency to expand beyond its natural limits. A single scene of Shelly spinning in the bright lights of Las Vegas is sufficient to convey how those neon beams could potentially overpower her. However, director Gia Coppola repeatedly revisits this image instead of focusing on character development or narrative progression, which suggests that Anderson’s acting performance carries more weight than the film itself.
Spanning a duration of 18 days, the movie titled “The Last Showgirl ” chronicles Shelly’s journey as she discovers that Le Razzle Dazzle, a venue running for 38 years on the Strip, is about to close. For the young performers such as Jodie (Kiernan Shipka) and Mary-Anne (Brenda Song), this signifies leaving behind the warm comfort of the venue, characterized by Eddie’s (Dave Bautista, demonstrating just as much charm in his melancholic role here as he did in Blade Runner 2049) gentle, paternal guidance. Shelly’s anxiety and nervousness before each performance are also part of this familiar environment. With the closure of Le Razzle Dazzle, they must move on to more explicit productions like Hedonist Delight. One of the film’s most amusing visual jokes involves Anderson’s shocked reaction to the younger women auditioning for these sexually charged roles, complete with choreography instructions like “ass, ass, unh, unh, body roll.
The job at Razzle Dazzle was a common yet modestly paid position for many, but for Shelly, its final curtain call symbolizes more like the end of her life as she knew it. Anderson’s soft-spoken delivery is filled with melancholic nostalgia, particularly when she recounts her history with the show – joining in 1987 and performing the solo until 1999. A relocation to New York City didn’t pan out (a poignant moment for Anderson comes when she candidly criticizes the Rockettes: “I found all that kicking very repetitive”). Instead, Shelly chose to leave her husband and daughter, Hannah (Billie Lourd), behind in pursuit of her career in Vegas. Who will she become once the show ends and it seems her time has also come to an end?
The casting of Anderson in the film is its decisive stroke: Her personal history of being objectified and discarded mirrors Shelly’s character, and she infuses sincere dignity into scenes discussing her work, including the nudity aspect, which could challenge stereotypes about women who perform for monetary reasons. Similar to “The Last Showgirl” and “The Substance,” another recent films exploring the overlooked existence of older women, they both express a sense of disillusionment towards our hasty disposal of the elderly. However, unlike these movies, “The Last Showgirl” focuses more on loneliness rather than anger, which aligns with Anderson’s subdued persona at this stage in her career. Kate Gersten’s script leaves many aspects of Shelly’s life unspecified, creating an enigmatic quality to some of her conversations with Hannah. The screenplay’s most insightful approach is keeping the audience within Shelly’s perspective, as it gives her lines about the glamour of the show and the allure of Las Vegas, which seem to contradict her simple life — her small house, basic groceries, outdated fashion sense, lack of savings.
In terms of extravagance, she has just one indulgence: a private movie theater where she enjoys viewing silent films, dance performances, and other artistic pieces through Le Razzle Dazzle. The choice to film by Coppola and cinematographer Autumn Durald Arkapaw adds authenticity to the scene; Shelly’s ornate room adorned with lace and velvet appears antique and breathtaking on film grain.
It is left for us to decide whether Shelly’s self-perception as an artistic icon from that era is driven by optimism or delusion. Is her motivation a hunger for fame, or does she genuinely see herself as an artist? If the latter is true, is her passion any less valuable because she performs in a Vegas revue instead of on Broadway? These questions remain unanswered.
In a different yet understandable expression: Coppola’s recent movie, titled “The Last Showgirl“, contrasts with her previous work like 2021’s Mainstream. While the latter explored societal valuation of creativity, this one delves into whether art must cater to commercial success or mass appeal to be meaningful. Although it exhibits a gentler tone than its predecessor, the underlying theme about the worth and commercial viability of art is strikingly comparable. This could suggest that Coppola, being part of the third generation of an iconic American cinematic family, might be grappling with some personal reflections, perhaps even influenced by her feelings towards her grandfather Francis’s unfinished film, “Megalopolis“.
The movie appears aimless at times, filled with scenes of Shelly strolling the Strip, conversations that circle around and around, and a prolonged sequence where her friend Annette (played by Jamie Lee Curtis) dances on a casino tabletop to “Total Eclipse of the Heart” by Bonnie Tyler. There seems to be a societally approved response to the question of whether someone, particularly a woman and mother, should prioritize their passion above all else. However, neither Coppola nor Gersten seem content with this answer, which is both compassionate towards Shelly’s character and Anderson’s performance, yet potentially harmful to the overall film. Despite its reluctance to resolve the story, “The Last Showgirl” showcases how much more Anderson has to offer as an actress.
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2025-01-10 22:54