Name: The Last Showgirl Review: Anderson’s Triumphant Return
Item: The Last Showgirl
Author: Naser Nahandian

Pamela Anderson takes center stage in Gia Coppola’s The Last Showgirl, a moving drama about aging and identity set in the glittering world of Las Vegas showgirls. Coppola directs from a script by Kate Gersten, telling the story of Shelley, a dancer approaching her fourth decade performing in the long-running Le Razzle Dazzle revue.

At the show’s world premiere at the prestigious Toronto International Film Festival, it was clear this role offered Anderson her most powerful onscreen opportunity to date. Playing a woman coming to terms with losing the career defining her entire adult life, Shelley confronts feelings of uselessness and obsolescence with enormous emotional vulnerability.

Supported by a standout cast including Jamie Lee Curtis and Dave Bautista, the film explores profound themes of femininity, passion, and purpose through the lens of these showgirls dedicating their art to Vegas nightlife. With Coppola at the helm and Gersten’s attentive screenplay, The Last Showgirl shines a dedicated spotlight on its performers—none brighter than the captivating Pamela Anderson in the role she was destined to embrace.

Finding Her Way

We learn Shelley has given her all to Le Razzle Dazzle for over three decades, yet finds herself nudged to the background after so many years of service. Then one evening, the news hits hard—the show is closing for good. Without the starring role that defined her adult life, Shelley struggles to find footing in the aftermath.

Her world centered around perfecting routines and bringing dazzle to the stage each night. But with this closure comes uncertainty about what comes next. Shelley rejects jumping to less reputable shows and toys with the idea of settling down with old friend Eddie, the show’s producer.

Shelley’s strained relationship with daughter Hannah adds complexity as unresolved issues emerge from Shelley’s lifetime spent dancing instead of parenting. Hoping to reconnect, Shelley reaches out and invites Hannah to see one of the final performances.

While Hannah attends, her harsh view of the show as “trash” cuts deep. The resulting confrontation leaves Shelley even more adrift, with these two central relationships in disarray. As Shelley spirals, she seeks answers about her past choices and future path.

Just when it seems Shelley has lost her way entirely, a surprise opportunity arises. A talented director offers her an audition, seeing potential where others had discounted her. Shelley pours heart and soul into one last performance.

In a story highlight, Shelley finally allows catharsis through art. This act of vulnerability could help mend wounds, leading Shelley to new understandings about herself and those she cares about. By the film’s end, does she find a redefined purpose or accept where her dazzling career has led her?

Taking in the Atmosphere

Director Gia Coppola brings her signature impressionistic touch to The Last Showgirl, crafting an atmosphere that enhances the emotional depth at the film’s core. Working in a style seen previously in Palo Alto and Mainstream, Coppola favors mood and imagery over exposition.

Cinematographer Autumn Durald Arkapaw lends the proceedings a beautiful, atmospheric sheen. Scenes of Shelley dancing alone, lost in movement and memory, immerse us fully in her perspective without need for dialogue. Arkapaw captures the glittering Vegas Strip alongside more intimate views inside the dressing rooms and theaters that form Shelley’s world.

Coppola establishes a lived-in realism for these showgirls’ lives despite the glamour of their performances. Her visual motifs, like Shelley circling a faded symbol of the city’s past, layer complicated meanings beneath absorbing imagery. At its best, this approach deepens understanding of the inner lives driving the narrative.

However, Coppola’s impressionism risks prioritizing atmosphere over substance or clear characterization at times. Without anchors in plot or dialogue, some visually striking but disconnected scenes drift from the overall story. A tighter edit may have strengthened character development where the director’s style seems to float.

Ultimately, Coppola draws us into Shelley’s fading dream with atmospheric artistry but sacrifices some narrative rigor that could elevate grounded performances like Anderson’s into even richer emotional territory. When hitched to Arkapaw’s enveloping cinematography, though, her directorial eye romances Vegas into the swirling backdrop these women’s lives play out against.

Shelley’s Story

At the heart of The Last Showgirl lies a revelation: Pamela Anderson delivers the performance of a lifetime as Shelley. Stripped of artifice and embracing rare vulnerability, Anderson transforms fully into a woman magnificently complex.

For an actress long reduced to lightweight types, Shelley offered a layered challenge that could define Anderson’s later work. Her empathetic embrace of Shelley’s many facets, from joy to despair, draws us deeply into this fading star’s journey. Though hamstrung by a script short on nuance at times, Anderson commands every scene.

Billie Lourd complements as Hannah, Shelley’s neglected daughter, fraying to repair their bond despite resentment from the past. Lourd taps emotion in their tender yet turbulent moments together.

Kiernan Shipka and Brenda Song bring charm as younger showgirls, though their arcs feel less fully explored. Shipka especially shines humorously, suggesting risqué moves for Shelley’s auditions.

In a career-best turn, Dave Bautista offers warmth and care as producer Eddie, longing for Shelby beyond work. His grounded performance anchors others.

Jamie Lee Curtis sparkles with exuberant comedic timing as Annette, weathered but unbowed. Delivering wisdom through jokes, she remains tethered to this world by friendship despite loss.

While narrative missteps inhibit some from receiving equal attention, this ensemble lifting each other achieves perfectly Coppola’s atmospheric vision. Most of all, it is Anderson’s diligence and heart that commands our own, ensuring Shelley’s story will resonate long after the final, triumphant curtain falls.

Finding Her Place

At its core, The Last Showgirl contemplates what happens when your sole identity departs. For decades, Shelley knew herself only through Le Razzle Dazzle—now with its closing, who remains? Without the stage, how does she define purpose and value in this new chapter?

A familiar dilemma confronts these women as their sex-driven careers wind down. In an industry rewarding only youth and beauty, how do they adapt once those attributes fade? The film shows empathy for their plight, facing an industry discarding them as surely as time marches on.

Shelley’s story resonates through a mother’s challenges balancing career and child. Though she is dedicated to her dance, resentment lingers from neglecting family duties. Her efforts at reconnecting speak to seeking understanding from lost time.

Vegas too has changed, favoring racier acts over the elegant cabaret culture Shelley’s life celebrated. In this evolved landscape, her beloved world of showgirls becomes another relic of days gone by.

Parallels arise from Anderson endeavoring past roles, reducing her to eyecandy. Seeking more, she finds her voice through Shelley—a figure clinging to relevance against dismissal by younger images.

By the film’s end, does Shelley accept where her dazzling journey led? Or might new understandings of herself and relationships point another path, showing there’s life after being a showgirl—and room in a woman’s world for more than one identity?

Capturing the Era

Key technical aspects enhance The Last Showgirl, helping transport us inside its atmospheric world. Andrew Wyatt’s gauzy score accompanies scenes with ethereal beauty, accentuating emotions beneath visuals.

Cinematographer Autumn Durald Arkapaw envelops the viewer in her environment, crafting moody yet sumptuous frames. Her camera caresses sequins and feathers as gloriously as the neon lights of The Strip. Thanks to Arkapaw, Coppola’s vision shimmers on screen.

Costume designer Jacqui Getty, Coppola’s mother, dresses characters in designs evoking their era. Her glamorous yet grounded plumage for the showgirls feels plucked from nostalgia. GETTY’S threadbare cocktail uniform for Annette reflects a former livelihood now faded.

Coppola tightens pacing well, keeping an 85-minute runtime nimble. Minor scenes advance plot without wasting momentum to visual flourishes.

However, Kate Gersten’s screenplay lacks specificity at times. While atmospherics thrill, clearer character definitions could bolster emotional depth. And when narrative ties feel loose, performances are left carrying a heavier burden.

In refining technical prowess, Coppola transports us within her characters’ evaporating world. But a greater focus on their interior lives might have amplified this poignant story’s impact.

Taking Flight

And with that, Shelley’s journey in The Last Showgirl comes to an end. Through her final performance, Anderson redeems potentially thin material, leaving us on a hopeful note. Her raw emotional prowess commands attention, displaying star power that should lead to richer opportunities going forward.

While Coppola’s aesthetic vision romances Vegas into a swirling backdrop, diving deeper into character nuances could have enhanced already poignant themes. Still, the director honors showgirls with empathy and respect through atmospheric storytelling.

Attention from Anderson’s mesmerizing lead role should assist the film in finding distribution. There, wider audiences can appreciate her revelation in a part perfectly crafted to showcase true abilities beyond notoriety from earlier exploitation.

After persevering against unfair mistreatment across industries, Anderson now takes flight, freed from superficial reduction through the depth granted by Gersten’s script. In Shelley, she grasps an opportunity to introduce a multidimensional artist deserving lengthy applause as the spotlight’s glow refuses to dim.

The Review