This review was first published on September 6, 2024, as part of our extensive coverage of the Toronto International Film Festival.
In the vibrant landscape of Las Vegas, true entertainers—those who possess the magnetic ability to captivate audiences—seem to be fading into obscurity. As Sin City increasingly evolves into a spectacle of excess, merchandise, and superficial celebrity, the essence of genuine show business appears to diminish. Pamela Anderson’s character, Shelley, confronts this unsettling reality head-on in The Last Showgirl, as she faces the impending closure of her long-running Vegas revue, Le Razzle Dazzle, plunging her into an existential crisis.
Le Razzle Dazzle is the quintessential show of its time, featuring performers adorned in dazzlingly elaborate sequined costumes. Shelley, the show’s veteran star, has taken on a mentorship role for the younger dancers, portrayed by Kiernan Shipka and Brenda Song. Jamie Lee Curtis delivers a compelling performance as Annette, a former showgirl who now works as a cocktail waitress, serving as a poignant reminder of what Shelley is on the verge of losing as the curtain falls on their classic cabaret.
Pamela Anderson Delivers a Career-Defining Performance in The Last Showgirl
Anderson’s performance is raw and unapologetically personal, infusing the film with authenticity that compensates for its weaker moments. The chemistry among the cast also adds a rich texture to the narrative. As the last remaining showgirl of Le Razzle Dazzle, Shelley’s connection to the show runs deep, reflective of her turbulent relationship with her estranged daughter, Hannah. The past haunts Shelley, illuminating her struggles as she grapples with her identity and the reality of a fading Vegas legacy.
The Last Showgirl Offers Diverse Perspectives on Vegas
The narrative also explores contemporary Vegas through the experiences of Shipka and Song’s characters. In a particularly revealing audition scene, Shipka’s character introduces Shelley to a new show that celebrates hedonism. Shelley is outraged by the show’s suggestive dance routines, insisting that they lack the class and sophistication that she believes define Le Razzle Dazzle. However, when Hannah witnesses the show for the first time, she challenges her mother’s nostalgia, noting that her beloved production is just as provocative as the newer performances.
Despite Shelley’s insistence that Le Razzle Dazzle represents a refined form of artistry, the film subtly reveals her internal denial. She struggles to recognize that the world around her—and her role in it—has transformed dramatically, a transformation she has partly contributed to, willingly or otherwise. As the truth sinks in, Anderson portrays a heartbreaking journey of self-discovery, where Shelley attempts to reconcile her passion for performing with her complicated identity as a mother.
Thematically, a significant aspect of Shelley’s story revolves around her relationship with Hannah, who aspires to be a photographer. When Hannah expresses dissatisfaction with the direction suggested by her adoptive mother, Shelley encourages her to pursue her dreams, poignantly asserting that it’s better to chase what you love than to settle for something mundane.
Director Gia Coppola enhances the narrative by depicting Shelley in the quieter, melancholic corners of Vegas—smoking and reflecting in the muted neon landscape. The contrast between the vibrant city she once ruled and the deserted streets she now traverses underscores the film’s emotional weight.
Each cast member contributes uniquely to this emotional tapestry. Dave Bautista subtly captures the essence of Shelley’s ex, while Curtis shines as the gritty Annette. However, the dynamic among Shelley, Shipka, and Song leaves a lasting impact. Their shifting relationships illustrate both the complexity of maternal bonds and Shelley’s struggle to prioritize her own needs amidst caring for others.
Though The Last Showgirl embraces melodrama, it remains a heartfelt tribute to the oft-forgotten workforce of Las Vegas, encapsulating their vitality and resilience. It is undoubtedly a standout moment for Anderson, offering a reflective portrait of a bygone era in entertainment.
The Last Showgirl premiered at the 2024 Toronto International Film Festival and is currently showing in theaters. The film runs for 89 minutes and is rated R for language and nudity.
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