By: Lana K. Wilson-Combs
In the harsh world of show business, the challenges of aging are especially pronounced for women. Director
Gia Coppola's "The Last Showgirl" highlights this reality, focusing on the struggles of a veteran performer navigating the shifting tides of fame.
Pamela Anderson ("Alone at Night") delivers a memorable performance as Shelly, a seasoned Las Vegas showgirl who has been the star of the iconic "Razzle Dazzle" show in Las Vegas since 1987.
Shelly has long embodied the glitz and glamour of Vegas, but the shine on her career is beginning to dim. "Razzle Dazzle" is losing its appeal--and lots of money--and the show's producer, Eddie (another star turn for Dave Bautista, "Dune: Part Two," "The Killers"), recognizes the need to update the production with something more dazzling to attract modern audiences.
For Shelly and her co-stars, Mary-Anne (Carmichael, California's own Brenda Song, "Shifting Gears") and Jodie (Kiernan Shipka, "Red One"), the news of their impending unemployment is a bitter pill to swallow.
Eddie, who once had a romantic relationship with Shelly, takes it upon himself to break the news to her first. He joins Shelly for dinner at her home along with Shelly's estranged daughter, Hannah (Billie Lourd, "American Horror Story"), and Shelly's best friend, Annette (a funny and scene-stealing Jamie Lee Curtis, "Borderlands," "Everything Everywhere All at Once"). Of course, the announcement shatters the evening and leaves Shelly heartbroken.
What is she going to do now?
The idea of Shelly performing in a racy show, as suggested by her younger co-stars, feels uncomfortable to her. She has always believed her work was both artistic and entertaining, and the alternative shows simply aren't aligned with her experience.
Her worst fears are confirmed in a humiliating moment when she auditions for another production, only to be told bluntly by the director (Jason Schwartzman, "Between the Temples") that she's too old and should consider retiring.
"The Last Showgirl" delves into Shelly's struggle and meltdown as she grapples with the erosion of her once-thriving career. Anderson's portrayal of Shelly is both vulnerable and captivating, her journey is one of self-reflection and reinvention, where she must confront the inevitable passage of time while clinging to the legacy she has built.
Bautista's Eddie provides an interesting contrast to Shelly’s vulnerability, as he too faces the pressure of maintaining success in a competitive industry. His pragmatic, somewhat ruthless approach to revamping the show highlights the tension between the old Vegas and the new, emphasizing the challenges Shelly faces in a world that is no longer as accommodating to aging performers.
"The Last Showgirl" doesn't just explore the changing tides of the entertainment industry but also speaks to broader themes of identity, legacy, and the sacrifices made in pursuit of fame. As Shelly faces the complexities of being both a symbol of nostalgia and a fading star, the film critiques the industry's obsession with youth and beauty.
Coppola's direction allows Anderson to showcase a raw emotional depth. It is a stark and thought-provoking look at the realities of life in the limelight, offering both a cautionary tale and an homage to the women who have shaped the world of entertainment.
"The Last Showgirl" leaves viewers reflecting on the price of fame, the resilience required to endure it, and the determination to find a new way forward when the spotlight begins to fade.
Editor's Note: Be sure to catch my N2Entertainment.net movie talk segment on the Kitty O'Neal Show Fridays now at 5:17 p.m. and 6:47 p.m. on radio station KFBK 93.1 FM and 1530 AM.
Look At This Trailer For
"THE LAST SHOWGIRL"
Lana K. Wilson-Combs is a member of the Broadcast Film Critics Association (BFCA), The American Film Institute (AFI), and a Nominating Committee Voting Member for the NAACP Image Awards.
