A Última Showgirl

I was looking forward to this, hearing much about Pamela Anderson finding her form in the film. It is true that this is by far the best I have ever seen her, let's not get over excited as she is no Meryl Streep as yet, but she was great to watch. Fortunately or unfortunately, Jamie Lee Curtis polls up to steal the show on the acting front with a superb character piece. Props also to Dave Bautista (who knew), who also showed he can act with a great portrayal of the gentle giant, who when it comes to the old time show girl and the meaning there-in "gets it". It's a simple story of age and decay of an aging ex beautiful young showgirl, still treading the boards, and also reflects parts of Vegas in a similar light, with its own age and decay. Friends holding close within this melancholic tale of broken individuals. The film helps us see, and maybe reflect on our own ticking clock. Very worthy watch 7/10.

The beauty of this film lies in its simplicity but that doesn't mean it lacks complexity.

At a time when movies try so hard these days to be bigger and glossier, both in budget and running time, it's a breath of fresh air to find a film under 90 minutes that tells a relatable human story without needing to resource to hyper stylised visuals or an overcomplicated plot.

This movie is about real people going through real hardships. We are invited to be bystanders as we follow the life of the titular character (Pamela Anderson's Shelly) as she faces the end of a chapter in more ways than one, and she's in fact the last of a kind.

The director Gia Coppola gets close enough to her subjects using handheld cameras but never indulges in the drama talking place. This movie 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 recognise these characters, and the actors do a great job bringing honesty to each and every part.

But lets be clear, this movie works because of Pamela Anderson. Not only she does a great job here; the nuances in her choices as an actress, the physicality, the voice. But it is the old classic Hollywood style of acting that is so rare to see these days that really caught me by surprise and that I'm afraid will pass some viewers by. She reminds me of Marilyn Monroe, Lana Turner, Ingrid Bergman. She is vulnerable jet commanding of the screen. She is the closest to a Katherine Hepburn if she had worked in an indie film. She really is that good, without needing a big tear jerking scene, of which there are many 'close-to' moments. The dinner scene with with Dave Bautista's character is a great example of the complex and layered acting we're talking about here. So is the first scene in which Shelly meets her daughter.

I hope this movie finds its audience and that Mrs Anderson gets her well deserved flowers.

Like said Mickey Rourke in 'The Wrestler' Pamela Anderson makes a solid comeback where she wears her age well and isn't afraid to show lines, warts and body change but still manages to give herself a devil may care attitude to a profession she has spent years enjoying and honing just to keep the ' fans' happy. It's a touching brave performance and ranks alongside Demi Moore in 'The Substance' as a substantial age of reinvention for those over 50.

Jamie Lee Curtis (looking very much like Auntie Jo!!) provides able support as the cocktail waitress whose dreams faded long ago-her dance on the table to 'Total Eclipse of The Heart' is rather moving. She should have been getting more awards for this than the tiresome 'Everything, Everywhere, All At Once'.

I'm always interested in the twilight years of those who have made a living using their musical talents/movie star image and bodies for entertainment and fame whether it pornography or not-The Rialto Report is a thorough exploration in this.

Gia Coppola shows the brash colour of Las Vegas mixed with drab bungalows with plastic garden furniture and empty bottles highlighting these empty unfulfilled lives.

There is also a decent score by Andrew Wyatt.

There's a lot to admire about The Last Showgirl, first and foremost the performance of Pamela Anderson. It's a role that seems made for her and it's a role she plays to perfection. The supporting cast of Jamie Lee Curtis, Dave Bautista, and more are all spot on too.

The style of the film is also hugely pleasing and absorbing. Despite the unnecessarily heavy hand on the blurry camera focus, the cinematography is largely very impressive. The sets and costumes are all perfect and the score compliments everything to a tee.

My only real criticism is that the story has no real depth to it. It traces over some familiar tropes to do with family and ageing, none of which are particularly groundbreaking or explored with any great depth. The film whizzes by in a flash with many missed opportunities to dive into Anderson's character even more.

It would be fair to say this film favours style over substance, but when the style is pretty damn impressive, this isn't necessarily a bad thing. Although it lacks depth, it presents a solid portrait of an ageing star and the realities of living a life on the stage.

In "The Last Showgirl", Pamela Anderson stars as Shelly, a middle-aged showgirl who has made a decades-long career in a now rapidly declining act on the Las Vegas strip. When she learns that her famed show is unexpectedly set to close up shop, she faces an existential crisis.

There is no arguing that this film's surface appeal for virtually all of the filmgoing public is to see its star like we've never quite seen her before--and in some ways it's true, in others, not. The Pamela Anderson forever edified in pop culture has never quite been taken seriously as a performer, or perhaps has simply never gotten the right opportunity--but regardless, I will say that her performance here is very good. She captures a nervy pathos as Shelly that is well executed by any measure. The film's dialogue at times feels slightly stilted which does detract from the performances to a degree, but this is true of most of the cast, and not really their fault.

Visually, "The Last Showgirl" is a marvel. It appears to have been shot on aged film stock, which gives it a filtered but grainy appearance that is otherworldly and almost lost in time. While it appears to be set in the early 2000s, the 1980s-tinged set pieces and the dimly-lit casino interiors are supremely atmospheric. Anyone who has been to Las Vegas and seen this side of it can attest to how perfectly (and poetically) the city's less glamorous nooks and crannies are captured here.

The film is ostensibly a character study, as Shelly attempts to plan a future in the face of an impending career death--a career which she has long defined herself by. The premise is interesting in that the character is, in a sense, shamelessly shallow, despite having a real heart and an upbeat cheerleader-esque personality. She wants the best for not only herself, but those around her, and yet her anchor in life is proved ephemeral and only fails her. She is also un-glamorized in the sense that her personality flaws are unveiled as the film progresses.

By her side is Annette (Jamie Lee Curtis), an older and long-ago-ousted ex-showgirl who takes fleeting gigs cocktail waitressing, and who drowns her sorrows in a variety of alcoholic beverages. Where Anderson's character has more reserve, Curtis's brash and bawdy personality brings some spark, and the two have genuine chemistry here. The younger cast (Kiernan Shipka and Brenda Song, playing much younger showgirls who view Anderson as something of a surrogate mother, and Billie Lourd as Anderson's semi-estranged daughter) also give respectable performances.

Despite that it seems to strive toward character study, I ultimately feel like "The Last Showgirl" functions better as a downbeat mood piece than anything else. The characters--even Shelly--remain somewhat unreachable, which I suppose may be intentional. This is a world of surfaces, after all, and the film seems to fundamentally understand this. The moody shots of Anderson ambling around the Vegas strip, and Curtis's transcendent casino dance to "Total Eclipse of the Heart" are pure, unadulterated cinematic pleasures. And even if these moments don't drive home the heartbreak in the story, they are worth the price of admission alone. 7/10.