Director Gia Coppola – granddaughter of Francis Ford Coppola – has style to spare, and her heart is in the right place when it comes to depicting a story of fading glamour and ageing womanhood. But Kate Gersten’s shaky screenplay doesn’t do much to help Anderson shine.
Pamela Anderson plays Shelly, who is facing the end of a 30-year stage career (Photo: Roadside Attractions)
All rhinestones and false lashes, Anderson’s Shelly is a proud artist, likening her work to Parisian cabaret and cinema classics rather than anything that could remotely resemble a strip club. She’s a mother hen to a clutch of younger women in the biz (Kiernan Shipka as one troubled young dancer is particularly strong) but, at the age of 57 and after a successful 30-year stage run, is struggling to figure out her next move in an industry that has abruptly left her behind.
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Read MoreUnfortunately, most of the relationships in the film – this mother-daughter one most of all – are superficially written. Hannah bitches to her mother about being left in a casino car park with a Gameboy as a child; it’s standard stuff straight out of the “bad showbiz parent” playbook. In fact, many elements of the film recall Darren Aronofsky’s 2008 film The Wrestler, in which the former professional boxer and ageing star Mickey Rourke channeled the wear-and-tear of a public-facing career into his role, but The Last Showgirl is too lacking in depth to have the same emotional impact.
There is a lot to garner from Anderson’s performance as a woman who has spent her life as the vessel of other people’s lust and projection; that is the main attraction of The Last Showgirl. But without the narrative scaffolding or depth to surround her character, Coppola’s film can often feel like a message in search of a movie.
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