This article was first published during the premiere of The Last Showgirl at the Toronto International Film Festival. It is now being republished as the movie is set to be released nationwide on Jan. 10.
Following the debut of her latest film, The Last Showgirl, at the Toronto International Film Festival, Pamela Anderson took part in a Q&A session where she discussed her preparation for the role of Shelley, a Vegas showgirl facing the end of her long-running performance. Anderson, dressed in a black suit and sunglasses (which she later removed), humorously shared that she felt she had been preparing for this role all her life. She expressed gratitude for the opportunity, highlighting it as the first time she had encountered a compelling script. Directed by Gia Coppola, The Last Showgirl represents Anderson’s most significant film work to date, earning her praise from critics, including the BBC referring to her as a “revelation.”
The film arrives amidst a reassessment of Anderson’s career, moving beyond previous perceptions of her as a mere tabloid figure. While playing Shelley, Anderson brings depth to a character demanding respect for her passion for performance, echoing her own advocacy for recognition in the industry. The movie delves into the complexities of showbiz in Las Vegas, challenging stereotypes associated with the city’s entertainment scene.
This project stands out from Anderson’s past roles, including her previous film Barb Wire, which became a subject of ridicule within her career narrative. Over the years, Anderson has faced public scrutiny, but recent portrayals in media such as the Hulu series Pam & Tommy and the Netflix documentary Pamela, a love story, have offered audiences a deeper understanding of her experiences and struggles. The Last Showgirl serves as a departure from campiness, offering a poignant exploration of the Vegas showgirl world, inspired by the authentic stories of performers from Jubilee!.
Overall, The Last Showgirl showcases a different side of Vegas entertainment, shedding light on the dedication and artistry of its performers often overlooked by mainstream perceptions. The film provides a platform for Anderson to shine in a role that resonates with her own journey in the industry.
Now that would be taking over some of Jubilee’s performances. From there, Gersten envisioned Shelley, a veteran performer of over 30 years with the production Le Razzle Dazzle, gracing the stage nightly adorned in wings and rhinestones. Shelley’s passion for her work extends beyond the spotlight as she plays a nurturing role to the younger dancers, including Kiernan Shipka and Brenda Strong. However, Shelley remains tethered to the past, holding onto the memory of Le Razzle Dazzle’s glory days when showgirls were revered and globetrotting sensations. With the impending closure of the show to make way for a “dirty circus,” Shelley finds herself at a crossroads, grappling with the evolution of her beloved production.
Anderson portrays Shelley with a nuanced blend of sweetness and occasional naivete, capturing the essence of a woman whose identity is intertwined with Le Razzle Dazzle. Despite her deep connection to the show, Shelley struggles to grasp how others perceive it, including her estranged daughter (Billie Lourd), who is approaching graduation. Yet, Shelley is far from a pitiable figure. In a pivotal moment, she defiantly confronts a condescending casting director, asserting, “I’m 57 and I’m beautiful, you son of a bitch,” a declaration met with applause from the TIFF audience.
During the post-screening Q&A, the cast visibly rallied behind Anderson, with co-star Jamie Lee Curtis, playing Shelley’s flamboyant friend, moved to tears as she commended her colleague. Lourd, whose lineage includes the legendary Carrie Fisher and Debbie Reynolds, shared that embodying Shelley’s daughter was a cathartic experience, deepening her understanding of her own family history. Reflecting on her role, Lourd expressed gratitude for the opportunity to delve into complex familial dynamics alongside Anderson, whom she praised as both an on-screen and off-screen maternal figure.
Parenting emerges as a central theme in Anderson’s portrayal, echoing elements of her real-life journey as a mother, which she candidly discusses in Pamela, a love story. As she navigates Shelley’s emotional arc, which includes a poignant reference to her character’s miscarriage in Barb Wire, The Last Showgirl resonates as a poignant reflection of Anderson’s personal growth. Through this role, Anderson, a mother to adult sons Brandon and Dylan Lee, unveils layers of vulnerability and resilience that defy preconceived notions about her public persona.
Onstage, Anderson candidly shared her initial reaction to the script, affirming, “I’m the only one who can do this.” Her conviction shines through in her performance, underscoring the depth of connection she forged with Shelley’s character. This authenticity reverberates throughout The Last Showgirl, offering a poignant exploration of identity, legacy, and the enduring bonds that define us.
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