In this disposable, modern-day life, it feels like whenever the latest and greatest item is revealed, the previous standard bearer gets tossed to the side, as if it was garbage, until the next “Big Thing” arrives. The cycle is endless when dealing with just about everything, including technology, clothing, buildings… and even people?
The Substance addressed this problem in a horrific way and The Last Showgirl is the latest movie to highlight an industry that chews up entertainers and leaves a disaster zone in its wake.
As Old Vegas gets demolished one historic building at a time, slowly making way for the newest entertainment spectacle, Le Razzle Dazzle — described not as a nudie show, but a “spectacle with dancing nudes” — prepares to finally end its 38-year run as “the last show of its kind on the Strip…”
Shelly Gardner (played by Pamela Anderson) faces a crossroads. She’s just about the only performer who takes her art form seriously, not caring about the sexual objectification that others impose onto her. Having sacrificed many personal relationships, as well as her financial future in order to be loyal to the show which brought her fame for many years, she is now “older, but not that old…”
Does this mean the aging dancer’s career has also ended?
Being content with performing at Le Razzle Dazzle, she hasn’t even considered looking for work elsewhere. So, when the moment finally arrives, and she introduces herself at an open-call audition, certain previous life choices flashback within her mind.
“It’s in me. You know what I mean? Not everybody has that…”
Show business and the movie industry, for that matter, is always searching for younger, new talent that might be prettier (read: less expensive) than the more-established bigger names. This story feels timely, just as if a once-in-a-generation greatness is currently gone from Las Vegas and will never return, once more, to the real world. These working-class problems affect everyone differently, but we all gotta find a way to make it work out, in the end.
Take, for instance, Shelly’s friend, Annette (Jamie Lee Curtis, who steals every scene in which she appears). As a former performer who has aged out of the job, she enjoys her life as a casino cocktail waitress, but the truth is, she doesn’t have any other option but to work. Annette can never retire since she doesn’t have a 501k or a pension and hopes to one day pass away while doing what she likes in her work uniform — now that’s a lifelong dedication, if I do say so myself. And then you have the younger crew: Jodie (Kiernan Shipka) is the youngest, who thinks working in Razzle Dazzle is still fun, while Mary-Anne (Brenda Song) is more realistic, simply seeing the job as a paycheck, and nothing else.
Retirement really is not an option for any of these dancers.
In only the third feature film for director Gia Coppola — yet another in the family’s filmmaking brood — Gersten’s script includes biographical elements of both Coppola’s and Gersten’s lives, while the overall script was adapted from the unproduced play, Body of Work, which provided added inspiration from the closing days of Jubilee!
Honestly, it’s nice to see these actors playing roles a little closer to their actual ages (even if they’re not quite as old as the characters they’re actually portraying). Anderson’s storyline feels tailor-made for the actress, who really hasn’t been seen in anything mainstream since her sex tape was leaked in 1995. I kid, but it’s true when I say the one-time sex symbol really hasn’t received very many strong offers of big-screen roles. Much like her character, she’s used to being treated like a movie star, instead of feeling like she’s been forgotten.
I was most surprised by Dave Bautista’s character, Eddie. Sporting long hair and a beard, the backstage Razzle Dazzle producer is more subdued and subtle with his performance, usually acting awkwardly around the women. This role feels like it was a great challenge for the actor, who’s known for portraying bombastic action heroes. Maybe Eddie’s age has wizened him when dealing with the dancers. Maybe it’s attributed to his past life experiences. Regardless, it’s great to see the actor “let down his hair,” for sure.
“All histories are bad with men, but you have a history.”
When Shelly’s not stressing out about her future job prospects, she’s desperately trying to reconcile with her soon-to-be adult child, Hannah (Billie Lourde), who doesn’t want much to do with her mom. Hannah’s family hatred eventually lessens as Shelly’s history unfolds. Met with difficult situations, neither one knows what they’re going to do with the rest of their lives. Along the way, there are rooftop revelations, backstage confessionals and impromptu, emotional dances.
The pains, the struggles and the need to make a drastic change is strong in just about each of these characters, paired with a lot of disappointments. And even though Shelly feels as if she’s constantly being judged or misunderstood by others, she has no regrets because she feels beautiful and feels like she’s actually been seen through her performances for all these years. Maybe that’s true for Anderson, as well.
While this is truly Pam’s story, I really wanted more shared scenes with Shelly and Annette. There just so happens to be two strong ’80s ballads that exemplify these actress’ best years while they’re on screen, which says a lot about their characters (as well as the state of the music industry these days, IMO), but it’s true for the actresses, as well. Together, they’re a powerful scene-stealing team.
“Just what I need is a lesson in character from a 19-year-old…”
The future for these characters is uncertain. They’re all imperfect, barely holding things together by a very thin string. And they’re doing the best that they can… just like everyone else. That concept is what I really connected with, especially during this inflationary economy. While I really wasn’t sure what to expect of The Last Showgirl before watching it, afterward, I can safely say that I truly enjoyed it. And I hope that everyone else takes the opportunity to get surprised by this great ensemble… the original Miley Cyrus song ain’t so bad, either.
While Shelly, much like Anderson, may have missed a step or two in her big-stage career, this film truly feels like a game breaker for Coppola, Anderson, Bautista and especially Curtis. In a blink-and-you’ll-miss-it moment, Jason Schwartzman’s acerbic director absolutely feels like a natural role for the actor, who really should be starring in more high-profile projects. As a very big fan of The Wrestler, this story feels familiar… but set within the dancing world. I enjoyed both very much and have high hopes for this one throughout the awards season. I’ll be cheering it on with every victory lap it makes, while its box office grows.
“Money doesn’t make a boring job that much better…”