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The Rich History Behind Pamela Anderson’s Tender Performance in The Last Showgirl

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The Rich History Behind Pamela Anderson’s Tender Performance in The Last Showgirl

As a seasoned movie critic with decades of experience under my belt, I must say that watching Pamela Anderson grace the silver screen in “The Last Showgirl” was nothing short of a revelation. This film, directed by Gia Coppola, showcases Anderson’s most substantial work to date and solidifies her status as a formidable actress.

Following the debut of her latest film titled “The Last Showgirl” at the Toronto International Film Festival, Pamela Anderson was posed a question during a live interview about how she prepared to portray Shelley, a Vegas showgirl nearing the end of her long-running stint. “I feel like I’ve been preparing for this role my entire life,” Anderson responded, donning a black suit and accessorizing with sunglasses (though she later removed them).

Apart from expressing her delight, she emphasized that this particular script was exceptional and seldom found.

Indubitably, “The Last Showgirl,” helmed by Gia Coppola, represents a significant milestone in the film career of actress Dakota Johnson. This role is earning her impressive accolades, with the BBC dubbing her a “revelation” at age 57. The timing of this film’s release coincides with a cultural reevaluation of Johnson’s career, often overshadowed by jokes or tabloid headlines. Despite Shelley being a fresh character, the audience’s historical perspective on Johnson, whose stardom was closely tied to her physical attributes, is pertinent to the narrative. Shelley asserts the gravity of her dedication to the Vegas revue, even with its nudity, and seeks respect for her performances—a sentiment that mirrors Johnson’s long-standing self-advocacy.

As a die-hard cinephile, it’s fair to say that before this point, one of Wes Anderson’s most notable films was the 1996 action-thriller “Barb Wire,” which unfortunately added another joke to the tale of her career. At that time, I was right smack in the midst of my high-profile union with rock legend Tommy Lee, and I experienced a miscarriage during filming. Roger Ebert, in his review, remarked that: “Pamela Anderson Lee, though not an exceptional actress, is game for anything.” Later on, I confessed, “I can’t even recall what that movie was about; it’s a complete mystery to me.

Over the last few years, there’s been a renewed discussion about how Anderson and the media have been handled. This began with the 2022 Hulu miniseries titled “Pam & Tommy“, which delved into the aftermath of the infamous sex tape involving Anderson and Lee, with Lily James portraying Pam. Although the series showed empathy towards Anderson, she publicly expressed her disapproval, labeling it as “more salt on an old wound” during an interview.

In the following year, Anderson narrated her personal tale in the Netflix documentary titled “Pamela, a love story“, which was directed by Ryan White. Here, she openly discussed her life, encompassing her encounters with sexual abuse and revealed diary entries. The film also captured her rehearsals to portray Roxie Hart in the Broadway production of “Chicago ” during an eight-week run in 2022. Critics from The Guardian appraised her performance as: “Although Anderson’s singing voice might not be exceptionally talented (it’s light and sometimes hard to hear even amidst the orchestra) and her dancing skills may not stand out (they are adequate), she possesses what truly matters: a self-deprecating sense of humor and an exceptional ability to play winking camp.

titled “The Last Showgirl“, deviates from being campy and instead offers a heartfelt exploration of the less glamorous aspects of Vegas, often dismissed as tacky or kitschy. The screenplay was penned by Kate Gersten, who drew inspiration from her time watching the showgirls at Jubilee!, referred to as the “last remaining tassels and sequins show” during a Q&A. Gersten was responsible for writing dialogue for the show that would eventually replace some of Jubilee‘s performances.

In that location, Gersten envisioned Shelley, who’s been associated with the show “Le Razzle Dazzle” for more than three decades, gleaming on stage every night in feathers and crystals. Shelley cherishes her role, serving as a caregiver to some of the younger dancers (like Kiernan Shipka and Brenda Strong). However, Shelley is rooted in the past, clinging to the notion of what “Le Razzle Dazzle” used to be: an extraordinary spectacle where showgirls were admired and jet-set around the globe. Soon, it’s set to close and make way for a “grim circus,” and in its final performances, Shelley feels lost and adrift.

Anderson plays Shelley with a consummate sweetness that sometimes registers as naivete. Le Razzle Dazzle has been Shelley’s life for so long that she doesn’t understand how others perceive it—including her estranged daughter (Billie Lourd), who is on the verge of graduating from college. However, Shelley is not a tragic figure. During one key scene she tells off a dismissive casting director, telling him, “I’m 57 and I’m beautiful you son of a bitch.” The TIFF audience applauded. 

After the movie ended and there was a Q&A session, it was apparent that Anderson moved the rest of the cast to tears. Jamie Lee Curtis, who portrays Shelley’s sun-kissed cocktail-waitressing companion, was weeping as she spoke to her fellow actor. “I just can’t,” she stated.

Lourd, the child of the late actress Carrie Fisher (who herself was the offspring of Hollywood legend Debbie Reynolds) shared that portraying Shelley’s kid was a deeply therapeutic experience for her.

It seemed as if Shelley played the role of my grandmother, allowing me to step into the shoes of my own mother, and I gained a deeper understanding of her than ever before. This was an incredibly moving experience for me,” she expressed. “Additionally, having Pamela by my side during this process was truly a blessing. In reality, she is a remarkable mother, and on set, she became a nurturing presence to me as well.

In the narrative that Anderson explores in Pamela, a love story, parenthood plays a significant role. This is evident when she discusses her miscarriage during the filming of Barb Wire. The release of The Last Showgirl can be seen as a complete loop in her journey, as it offers another opportunity for Anderson, who has sons Brandon and Dylan Lee, to disclose aspects of herself that may have been overlooked otherwise.

On the stage, Anderson expressed that as she read the script, she felt a sense of uniqueness, thinking, “There’s no one else who could pull this off.” Her conviction is palpable when you observe her performance.

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2024-09-07 19:07

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