'The Last Showgirl' Review: Aging Femininity Under the Vegas Lights [TIFF 2024]
Pamela Anderson pours her heart into her role as a showgirl aging out of her own life. Accompanied by hypnotic visuals and a solid cast, this film is a delicate look into a forgotten existence.
Every year, the Toronto International Film Festival debuts films that instantly spark awards buzz, focusing on impressive performances and emotional peaks and ebbs; this excitement only grows when the spotlight is on a well-known actor making an artistic comeback. This year, Pamela Anderson’s starring role in The Last Showgirl has been top of discussions, and this attention is very well-deserved. Anderson absolutely shines in her performance as Shelley, an aging Las Vegas showgirl being forced into retirement, as she copes with her choices that have led to her to the challenges she’s now faced with.
The Last Showgirl is directed by Gia Coppola, a member of Hollywood’s famous family of filmmakers, and despite the large footprints she may feel pressure to fill, she has her own touch and unique style. While this is only her third film, she has been on the scene for over 10 years, beginning with her first feature, Palo Alto. Her newest film may indeed be her strongest, a clear vision connecting Gia to the audience.
This film follows Shelley as she goes through her last days as a showgirl at Le Razzle Dazzle, the last remaining traditional floor show in Las Vegas, featuring sequins and feathers, and, of course, topless women. Shelley is deeply connected to her role, dancing there for over thirty years, and, despite her best efforts, it is clear she is of another generation than her stage counterparts. After the announcement of the show’s closing, Shelley grapples with her life, trying to sort her relationships and figure out her next steps as an unemployed showgirl in her 50s. Her superficial relationships with show producer Eddie (Dave Bautista) fellow showgirls Marianne (Brenda Song) and Jodie (Kiernan Shipka) strain under the weight of Shelley’s anxieties, and with her daughter (Billie Lourd) estranged from her, she leans on Annette (Jamie Lee Curtis), another woman aging out of her career as a Vegas cocktail waitress. Despite this promising plot, the film is not fully fleshed out, but perhaps, that serves to its advantage. It finds a theme and sticks to it, and while there’s only so much time you can fill with montages of Vegas palm trees and sparkling lights, for fans of movies heavy on vibes, this makes the mark. In particular, while Anderson’s part convinces the viewer of the need for the mother-daughter arc, Lourd’s performance (and role) is a little lackluster. In typical Coppola fashion (think of Sofia Coppola’s stylistic choices), the plot may begin to drift, but the visuals and performances stay with the audience long after the credits roll.
Cast Billie Lourd (left), Pamela Anderson, Jamie Lee Curtis, Kiernan Shipka (right), Brenda Song (front). Photo courtesy of Entertainment Weekly.
Anderson completely embodies the role of Shelley; her quirks and emotional responses so naturally unfold. Through her eyes, the emotionality of aging femininity in a world that strictly heralds youth and beauty is quiet and uncomfortable, and on a deeper level, full of pain. The stress and unsteady feeling that comes with holding on to something that is already gone is depicted on screen through Shelley’s erratic reactions, her quiet moments alone, and her scramble to make something of the ruins she’s left herself with. Anderson’s talent is undeniably; through her work, she convinces the viewer that a ripped costume might indeed be the end of the world. Jamie Lee Curtis, while in previous roles can come across as quite one-dimensional, steals attention in her scenes, playing Annette as a larger than life, opinionated, smart-mouthed character, but in rare moments, she holds enough sorrow in her eyes that instantly lifts the curtain on her façade. Again, a really strong performance, solidifying her chops that may have been questioned following Haunted Mansion and this year’s Borderlands. Bautista’s Eddie is especially heartfelt, clearly struggling with the closing of the show he works on, despite it having no real personal consequence. His empathy is genuine, but his social missteps keep him realistic and convincing. All in all, this film provides a backdrop for compelling performances from this ensemble cast, surrounding them in a blanket of colour and light.
Alike to Gia’s debut film, The Last Showgirl is a floating dream of colours and sequences framing interactions between troubled and frustrated characters. The composition lends itself to the storytelling, presenting the story as it is seen through the eyes of these central characters, dizzy with emotions and the Vegas lights. At only 85 minutes, this is a must-see, allowing the viewer a well-paced glimpse into a unique perspective of age and beauty and the sacrifices made to achieve what may not be worth it at all. Pamela Anderson’s performance is one to remember, and despite the script being a little light, the atmosphere and composition serves its purpose, bringing the viewer into the world of the dying Las Vegas strip.