A seasoned showgirl must plan for her future when her show abruptly closes after a 30-year run.
Chuck says:
It’s obvious Shelly is not one to think about tomorrow. Having been a showgirl – not a stripper – on the Las Vegas strip for over 30 years, nary a thought has been given to her future. Convinced the show would always go on, she’s lived in the moment, occasionally reveling in her past. She never lets her much younger colleagues forget that she was once an ambassador for her club and the city, appearing on numerous posters promoting them both. Mentioning that showgirls were once revered in France is a further justification of her status, however there’s no denying the air of desperation that’s lately crept into her voice. She finds herself espousing these virtues to an ever-shrinking audience.
Gia Coppola’s “The Last Showgirl” has been touted as a revelation where actress Pamela Anderson is concerned, critics praising the depth of her performance in the titular role. To be sure, the praise has been warranted, the “Baywatch” babe finally given the opportunity to prove she’s more than just a pretty face. Her performance is revelatory and engaging, far better than the lackluster film it is in service to.
Missed opportunities haunt Shelly, all of them coming to the fore when she’s informed the nightclub, she’s danced at for years is going to close. Eddie (Dave Bautista), who she once fathered a child with, gives her the news, he too equally delusional about his situation, unsure just what he’ll do.
Of course, there are options for the younger dancers, Mary-Anne and Jodie (Brenda Song and Kiernan Shipka) considering going to one of the various strip clubs that would have them. Shelly feels those venues are beneath her, not that any would have her at this late stage in her career. She could follow in the steps of Annette (Jamie Lee Curtis), a former showgirl who now works as a casino waitress. Though this would fill her days, it would hardly be lucrative as her friend makes no bones about the fact that her younger co-workers get better shifts and bigger tips.
Kate Gerstan’s script lacks the sharp edge of Rod Serling’s “Requiem for a Heavyweight” or Robert Siegel’s “The Wrestler,” each of which contain a degree of anger and urgency that’s sorely lacking here. Then again, the directors of those similarly themed films, Ralph Nelson and Darren Aronofsky, took an unflinching approach to their characters’ plights, underscoring the inescapable, tragic end that awaited them, both men painted into corners of their own making. Coppola fails to create a similar feel, Shelly’s situation coming off as one that, while sad, is common and inconvenient but hardly heartbreaking.
That being said, Anderson provides a sense of humanity that elevates the script and nearly salvages the entire film. Much as Demi Moore did in the “The Substance,” you can tell she’s channeling her own experiences into the role. Having been objectified her entire career, it’s obvious the actress is reveling in the chance to not only upend our perception of her but to also confront the culture that prevented her from displaying her versatility. Her sadness and anger are palpable throughout, a personal and professional triumph that’s a wonder to witness.
In the end, “The Last Showgirl” will be remembered for Anderson’s work and little else. A sequence in which she confronts a director who callously dismisses her is haunting. This cautionary tale is fine, as far as that goes, which isn’t far enough, as it lacks the sort of gut-punch moment people in Shelly’s position deserve.
2 1/2 Stars
