Gia Coppola’s “The Last Showgirl” honors the vintage Las Vegas performers, whose marquee names glowed brightly in neon, representing the headlining acts of their time.
In my time, I was part of the scene in Las Vegas, post-Benjamin Siegal, during the era dominated by Wayne Newton and Tom Jones. Back then, pop stars would don shiny suits and perform classic tunes, with dazzling dancers bedecked in glitter and feathers adding to the spectacle. They were always pushing the boundaries of adult entertainment, offering a unique blend of nostalgia and contemporary flair.
Indeed, a part of it persists, although modern Las Vegas entertainment is more about grand spectacles (like Cirque du Soleil or Celine Dion’s performances, not to mention that colossal globe!), rather than the seedy stage shows frequented by mobsters in the past.
In Coppola’s movie, the contrast between classic and modern Las Vegas is established early on, as an aging performance troupe, known for its suggestive dance numbers and occasional flashes of skin, is preparing to shut down.
The cast members of the aging television show are dismayed, including the production’s behind-the-scenes leader (Dave Bautista), Annette, a seasoned former dance star (Jamie Lee Curtis) who has seen it all, various upcoming talents who understand the show is a dead end, and the dancer who continues to be the face of the show and views it as her prime spotlight.
This character is Shelly, played by Pamela Anderson.
The significant role played by the ex-“Baywatch” actor is a key factor behind the increased attention and consideration for Coppola’s pleasant yet lightweight drama during awards season. Anderson might identify with Shelly’s experience of being exploited for her physical appearance, gaining popularity due to her sexuality, and the general treatment of women in the entertainment industry, which often prioritizes their looks over their talent.
Although Anderson seems passionate about this role, I must say frankly, her emotional investment doesn’t guarantee her ability to pull it off convincingly. To put it directly: Anderson shows potential for vulnerability and growth in this performance, but she hasn’t yet demonstrated the skills required to be an actress.
As a movie enthusiast, I had high hopes for Anderson’s supposed resurgence, but unfortunately, the burden of the film seems too heavy for her to shoulder alone. However, the silver lining lies in the fact that she’s backed by a talented ensemble of co-stars who can pick up where she falls short.
It’s no wonder that Curtis excels; he’s been impressive so far. Billie Lourd delivers a remarkable portrayal of Shelly’s daughter, embodying her lifetime of despair, resentment, and diminishing hope. Their shared scenes are amongst Anderson’s finest and arguably the film’s most powerful.
In “The Last Showgirl,” we witness another heartfelt, unexpected transformation by Bautista. Kiernan Shipka shines in her role within the dance group, delivering some truly memorable scenes. As for Anderson, there are instances where she delivers convincingly, but also moments that fall flat and feel slightly awkward.
It seems this genre of films is emerging in a unique way, beginning with “The Wrestler” (2009) and more recently “The Whale” (2023). These productions feature established actors portraying characters who have fallen from grace, shown often in stark close-ups. The protagonists struggle with disgruntled daughters, endure at least one public embarrassment, strive to regain their former selves and past achievements, and contemplate the self-destructive paths that led them to their current woe.
Compared to its preceding films, ‘The Last Showgirl’ carries a lighter tone, yet despite boasting impressive supporting actors, it fails to gain momentum.
As a devoted cinephile, I find it intriguing to ponder over the idea of Las Vegas modernizing its outdated performances while preserving its unique, eccentric charm. Similarly thought-provoking is the concept of fame that a showgirl might experience, having her face grace the billboards for three decades straight.
Interesting fact: “Dancing at the Blue Iguana” (2000) and “Showgirls” (1995), though different in style, both hold unique merits. While “Dancing at the Blue Iguana” stands out as a superior production, “Showgirls” also excels in its portrayal of a Las Vegas dancer’s life, offering a raw and unforgiving perspective.
The interactions between Anderson and Lourd suggest that she’s open to taking risks. While Anderson’s acting in this isn’t quite up to the level of Mae West’s infamous film “Sextette” (1978), labeling it as her grand debut as an actress seems more like enthusiasm than reality.
I hope Anderson stays in the indie world and seeks out more roles that resonate with her.
In her previous movies, Anderson was often portrayed comically as a joke. Yet, she’s set to star alongside Liam Neeson in the remake of “The Naked Gun” for 2025. It remains to be seen whether this film will undoubtedly become the worst movie of that year or if it and Anderson can pleasantly surprise us instead.
Currently, I find myself partially endorsing “The Last Showgirl.” As for a concluding remark, it’s worth noting that what truly surprised me about the movie isn’t just the fact that the actress known for her role in “Barb Wire” (1996) is venturing into drama, but rather, I spent a significant portion of this critique reflecting on Pamela Anderson’s film performances.
It’s quite possible that’s something worth considering. She might just astound us yet. As for the moment, it’s titled “The Last Showgirl.
Two and a Half Stars
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2025-01-11 23:03