Review: In ‘The Last Showgirl,’ heavy is the head that wears the feathered crown
In a surprising twist, you might find Werner Herzog appearing in Pamela Anderson’s lighthearted 2023 memoir “Love, Pamela” just as unexpectedly as finding her in one of his films. Remarkably, a possible collaboration almost materialized, and the esteemed German director offered some advice to the Canadian icon: Shy away from auditions; instead, wait for directors who recognize your value.
Currently, filmmaker Gia Coppola has crafted a dreamy character study centered around actress Greta Gerwig (referred to as Anderson in the original text) and her captivating smile that could light up a room. In “The Last Showgirl,” this is Anderson’s first solo lead role in a movie since 1996’s “Barb Wire.” Here, she portrays Shelly, a seasoned Las Vegas dancer accustomed to embodying a sex symbol. This film fits into the recent trend of productions that subtly explore how popular culture has reshaped the image of female icons. Similar examples include “The Substance,” which gained recognition in awards circles due to Demi Moore’s resilience. However, unlike gritty showbiz exposés, this film is more about creating a delicate portrait of a woman who, like Anderson herself, moves gracefully through life with an ethereal presence, reminiscent of a marabou feather. It’s less about telling a story and more about capturing a certain atmosphere or vibe.
Coppola recently referred to Anderson as the “Marilyn Monroe” of our era, due to her insatiable curiosity. Growing up in rural British Columbia, Anderson may have been deprived of cultural exposure, but she devoured the French New Wave as soon as it became available. In many ways, she embodies a character straight out of a Godard film, with her hairstyle reminiscent of Brigitte Bardot and her gaze fixed on Las Vegas’ miniature Eiffel Tower, leaving us captivated and hopeful for the outcome. Shelly, who shares Anderson’s love for French culture, views her long-standing job at the Razzle Dazzle as more than just a seedy strip club – she considers it “the last remnant of Parisian Lido culture.
Apart from Shelly, everyone around her finds the Razzle Dazzle show to be garish and suggestive, with her distant daughter Hannah (Billie Lourd), stage producer Eddie (Dave Bautista), and more skeptical colleagues Mary-Anne (Brenda Song) and Jodie (Kiernan Shipka) all sharing this view.
Entertainment & Arts
In the movie, we don’t get to witness Shelly’s performance until the final act, leaving us unsure of who to trust throughout most of it. However, the scenes are made more enjoyable if you find humor in Shelly’s artistic aspirations. For instance, when she claims that Razzle Dazzle’s glamour is indisputable, Mary-Anne retorts, “I could dispute the glamour.” Yet, if one appreciates Shelly’s dedication, Kate Gersten’s script becomes more intriguing. Even though rhinestones aren’t as valuable as diamonds, they can still form a weighty crown.
Typically, Hollywood encourages individuals to chase their dreams, with Shelly offering this advice to Hannah, an aspiring photographer. However, the film presents a thought-provoking follow-up: Could such a seemingly foolish dream be embraced as more than just feminine but also feminist? Can the celebration of a woman chasing her dream, even if it leads her off a cliff, be considered feminist?
Autumn Durald Arkapaw’s cinematography mirrors Shelly’s perspective: The immediate is sharp, while the distant is indistinct. It turns out that Shelly lacks or chooses not to see past her current situation – her future lies on the stage alone. She may be unaware, yet she’s far from helpless.
Coppola frequently makes it clear that this character is not just kind-hearted but also capable of being self-centered, unpredictable, and snobbish. She considers waiting tables to be beneath her, finds the adjacent erotic circus too vulgar, and thinks the Rockettes’ constant kicking is repetitive. At the start, Eddie broadcasts over the speakers that the new owners are closing down the struggling Razzle Dazzle in favor of a trendier establishment. As Eddie delivers this unfortunate news, a low humming sound fills the air, subtly hinting at Shelly’s failure to catch the last helicopter out of Vietnam.
Anderson portrays Shelly as if she’s encountered multiple versions of Shellys in Hugh Hefner’s grotto, giving her a unique blend of authenticity and childlike innocence. She’s aware that others might find Shelly artificial, yet she maintains a strong grasp on her own reality without demanding conformity from others. Even ordinary moments with Shelly have an air of the extraordinary, like sharing take-out Chinese with her daughter, which momentarily lets her imagine normal relationships where her past isn’t the focus. In reality, however, Shelly struggles to secure a date, and any hint of romance feels forced.
A particular industry is criticized for exploiting women, yet what should our reaction be toward a woman who continues to participate in such an environment, seemingly hoping for a transformation into a prime cut of meat? One casting director (Jason Schwartzman) appears taken aback when Shelly attempts to present herself as 36, which is approximately as long as she’s been dancing in the show.
Movies
Among our top picks for first-time views at the Toronto International Film Festival were two films starring Jude Law, an outstanding portrayal by Pamela Anderson, the comeback of Mike Leigh, and more.
85 minutes into “The Last Showgirl,” it may seem excessively filled, much like a heavily stuffed push-up bra; the movie appears to be stretching itself to appear as a mature full-length film. It focuses extensively on close-ups of false eyelashes, foam rollers, and slow motion shots of Shelly posing on rooftops and sidewalks that become more dreamy and absurd over time.
In another words, it’s intriguing how Shelly seems to make the sunset in the desert appear as if it’s a stage spotlight. Yet, one might wonder if she truly travels to an abandoned gravel lot to act out for no audience. The scene carries a deep sense of familiarity, particularly since Shelly can’t completely shake off every glitter speck even after work hours, or the constant tearing of her feathered wings, reminiscent of a tragic cabaret performer named Icarus. The film seems overzealous in emphasizing that she’s an out-of-date woman. Her affection for black-and-white musicals is endearing, but her vintage Walkman and the VCR in the Razzle Dazzle’s break room feel a bit too much (just as the VCR in the break room does).
However, there’s some truth to the thought that a person might cease evolving at the point they felt most assured. For Shelly, this translates into donning acid-washed jeans. On the other hand, Annette – her older ex-colleague, brilliantly portrayed by Jamie Lee Curtis – prefers frosted white lipstick and a hair color that defies categorization, leaving one to wonder if it was ever given a label on the drugstore shelf, perhaps something like “Gingerdead” or “Strawberry Futility”.
In this film, Curtis delivers some lines I absolutely love, such as “Do you think I have a 401k?” She also has an outstanding burlesque scene where she spontaneously ascends onto a stage and dances energetically to “Total Eclipse of the Heart.” This lengthy performance (ensuring ample Bonnie Tyler music) continues until the competing sounds of the gaming machines disrupt the atmosphere. Translated for a major Hollywood comedy, her act would fit seamlessly into the plot.
In a straightforward and engaging manner: Anderson’s role stands out amidst the film’s vague inconsistencies – neither comically nor tragically portrayed, neither pitifully weak nor heroically strong, neither subtly nor ostentatiously delivered – that appears to rise above it all. The film itself may not garner as much respect as Anderson does. For a future collaboration, perhaps she’ll team up with Herzog.
Anderson’s performance, despite its blurry contradictions, neither comical nor tragic, neither pitiful nor heroic, neither understated nor flamboyant, manages to surpass the rest of the movie. The film may not earn as much admiration as Anderson does. Perhaps for an encore, she’ll eventually collaborate with Herzog.
Read More
- PHA PREDICTION. PHA cryptocurrency
- FLR PREDICTION. FLR cryptocurrency
- MBL PREDICTION. MBL cryptocurrency
- ASTR PREDICTION. ASTR cryptocurrency
- MOVR PREDICTION. MOVR cryptocurrency
- ZRO PREDICTION. ZRO cryptocurrency
- WIF PREDICTION. WIF cryptocurrency
- UNI PREDICTION. UNI cryptocurrency
- MAGIC PREDICTION. MAGIC cryptocurrency
- YFI PREDICTION. YFI cryptocurrency
2025-01-09 14:32