The Last Showgirl (2024) Review!!

Synopsis – A seasoned showgirl must plan for her future when her show abruptly closes after a 30-year run.

My Take – Though she hasn’t been seen much in the last decade (or two) and never quite been taken seriously as a performer, Pamela Anderson will be forever edified in 90s pop culture as a Playboy model, a global ‘Baywatch‘ star, and then for “breaking the internet’ in a sex tape scandal with rocker and former husband Tommy Lee.

But after fading from the public view, at the age of 57, Pamela Anderson has decidedly made quite an unexpected comeback.

Surprising with an exceptional range, she is absolutely terrific in this latest feature from director Gia Coppola, granddaughter of legendary director Francis Ford Coppola, whose earlier two attempts, Paul Alto (2013) and Mainstream (2020), have largely been forgotten.

Structured as an artistic and raw presentation of a past-their-prime performer entering the next chapter of their life kind of story, the script, written by Kate Gersten, raises important questions about aging, self-worth, and the sacrifices made in pursuit of a dream. And along with being director Coppola‘s best work till date, Anderson‘s casting happens to make the narrative undeniably symbolic, reflecting her own journey as a cultural icon navigating public perception and personal reinvention.

Yes, the style in which it is told, which at times divulges too much into lyricism, won’t be to everyone’s taste, however, considering how films nowadays are just getting bigger and glossier, minus any substance, in comparison, this one comes as a breath of fresh air by able to tell a relatable human tale without needing to resource to hyper stylized visuals or an over-complicated plot that too in just 89 minutes.

Set against the neon-drenched backdrop of Las Vegas, the story follows Shelly Gardner (Pamela Anderson), a veteran showgirl who loves nothing more than performing at her casino show, The Razzle Dazzle. She’s seen dancers come and go throughout the show’s 37-year run but has been there from day one with all these wild stories of yore that she happily shares with her much younger co-workers Jodie (Kiernan Shipka) and Mary-Anne (Brenda Song), whether they want to hear them or not.

However, her world comes crashing down when Eddie (Dave Bautista), their long-time producer, informs them that their rapidly declining act is finally going to be closed and replaced with a fresh, popular strip-circus show by the new owners. As her time in the spotlight nears its end, Shelly must not only deal with the fact that her livelihood at stake, but also manage with her estranged daughter Hannah (Billie Lourd), who after years is finally showing signs of wanting to reconnect with, or at least make sense of, a mother who chose the stage over her.

The script by Kate Gersten clearly draws inspiration from The Wrestler (2008), echoing its themes of estranged familial relationships and the struggle for dignity in the face of professional decline. Yet, director Coppola seems sensitively attuned to the experience of these women, finding beauty and grace among their struggle and anxiety. The words and deeds writer Gersten gives her characters are rich and full and tragic.

The film manages to capture the unglamorous, cruel side of Vegas, as well as the fickle nature of a business built around superficiality. Our characters, once young and beautiful, came to Vegas long ago to dance, but they ended up as part of the mirage. And they still hold their dreams in their hearts. But despite the city seeming so dreary, a vivid picture of Vegas comes alive through Shelly’s recollections she shares with her co-workers.

You see the impact the city’s deteriorating had on her and other showgirl performers trying to make a living and pursue their dreams. This one is a drama, no doubt, but it isn’t melodramatic. It is profoundly sad but it doesn’t linger. It’s heart breaking because we all know a Shelly, or we’ve been one ourselves. We recognize these characters, and the actors do a great job bringing honesty to each and every part.

While the film centers on Shelly, a fascinating character to follow, the film would’ve benefitted from more time spent on the relationship between her and her co-workers. I found myself more intrigued by the other showgirls Shelly works with, like Jodie, a 19-year-old on her own, or Mary-Anne, who has a strong presence and Millennial survival-driven wisdom to her that’s sadly underutilized. There was potential to make this intriguing portrait bear clarity.

Nevertheless, a major reason the film works is Pamela Anderson. In her first proper dramatic role, she embodies this character so naturally, that it’s infuriating that it took this long for her to get this star-shining moment. In contact, Jamie Lee Curtis delivers a vibrant and unabashedly campy performance as Annette, Shelly’s brash and glamorous best friend. Curtis‘s brash and bawdy personality brings spark, and the two have genuine chemistry here.

In supporting turns, Billie Lourd, Kiernan Shipka and Brenda Song are highly effective, while Dave Bautista proves yet why he needs to be offered more subtle dramatic roles. Jason Schwartzman too appears in a cameo and does a good job leaving his mark in the one scene he is in. On the whole, ‘The Last Showgirl‘ is a thoughtful slice-of-life drama bolstered by a stunning lead performance from Pamela Anderson.