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A fresh take on “The Last Showgirl”: A deep dive into the film’s nuances
Revisiting the legacy of Joanne Woodward
In the 2022 HBO docuseries “The Last Movie Stars,” Ethan Hawke speculates about Joanne Woodward’s career-defining role that could have earned her a second Oscar. The role, originally intended for Marilyn Monroe, was in the film “The Stripper,” adapted from William Inge’s play “A Loss of Roses.” Woodward’s performance, though intense and methodical, was overshadowed by the studio’s lack of faith, leading to a recut and a less impactful release.
Pamela Anderson’s journey in “The Last Showgirl”
In a parallel universe, “The Last Showgirl” could have been a transformative project for Pamela Anderson. The film, directed by Gia Coppola, arrives amidst a renewed interest in Anderson’s career, spurred by a memoir, a Netflix documentary, and numerous think pieces. However, despite the buzz, Anderson’s performance in the film reveals her limited range, especially when juxtaposed with Jamie Lee Curtis’s dynamic supporting role.
The poignant portrayal of a fading star
Anderson plays Shelly, a Las Vegas dancer who joined the “Razzle Dazzle” revue in 1987, sacrificing much to live her dream. Decades later, she struggles to keep up with younger dancers like Jodie (Kiernan Shipka) and Marianne (Brenda Song). The film opens with Shelly’s first audition in years, a scene that painfully highlights her rustiness and the harsh realities of the industry. Her defiant response to criticism, though empowering, comes off as unprofessional and out of touch.
The complexities of Shelly’s character
Shelly’s character is layered with standards and delusions. She prides herself on not escorting or performing vulgar shows, claiming her routine has roots in French performance art. However, this self-perception contrasts sharply with the reality of her situation. Coppola’s decision to withhold footage of the “Razzle Dazzle” show until the end emphasizes the ordinary, sometimes tacky, lives of these performers outside the spotlight.
Jamie Lee Curtis’s standout performance
Curtis’s portrayal of Annette, Shelly’s best friend, is a force of nature. Her vibrant, over-the-top performance contrasts sharply with Anderson’s subdued approach. Curtis’s scenes, especially her energetic dance to “Total Eclipse of the Heart,” steal the spotlight, highlighting the film’s struggle to balance its characters’ dynamics.
The film’s visual and thematic elements
“The Last Showgirl” draws inspiration from films like “The Wrestler,” focusing on the protagonist’s attempts to cope with the end of her career. The film explores the washed-up wreckage of the American dream in Las Vegas, much like “The Misfits” did with Reno. Cinematographer Autumn Durald Arkapaw’s use of a floating wide-angle camera and a distinct color palette accentuates the film’s faded-glory feel.
A missed opportunity for depth
While “The Last Showgirl” aims to reclaim the nobility of its characters, it falls short in providing the necessary depth and dimension. Anderson’s hesitant performance and the film’s lack of detailed character development leave much to be desired. The film’s potential to explore the complexities of its characters and their dreams remains largely untapped.
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