Pamela Anderson’s Dazzling Performance in The Last Showgirl (2024)

Staff Writer Angelica Ng discovers the nostalgia behind Gia Coppola’s 2024 film The Last Showgirl (2024).

Showgirls sweep past in a whirlwind of rhinestones and sparkly eyeshadow. A vintage costume tears as bodies squeeze through narrow corridors. The lights dim in a Las Vegas resort, and glamorous performers take the stage in a flurry of feathers. The grand finale is about to begin, and you’re cordially invited to enjoy the show.

The Last Showgirl (2024), directed by Gia Coppola, is a poignant story of nostalgia. It follows Pamela Anderson as Shelly, an aging showgirl whose once-legendary revue is about to close. Modern shows are taking over the entertainment scene, and scores of younger performers are ready to take her place. Over the course of this visually splendid film, Shelly grapples with her fragile relationships, unstable future, and the unimaginable loss of her former glory, as the curtains fall on bygone days.

No review of The Last Showgirl can exist without addressing the film’s highlight: Pamela Anderson is absolutely magnetic as Shelly, leading the show in possibly one of the most inspired casting choices in recent films. Anderson initially achieved fame as a sex symbol, through her roles as an iconic Playboy model and blonde bombshell on hit TV show Baywatch, before stepping back from the spotlight for over a decade. She returns in The Last Showgirl for a role widely considered her debut as a “serious” actress, and the parallels between Anderson and her character’s experiences aren’t lost on audiences. At The Last Showgirl’s world premiere, Anderson called Shelly “the role I have been waiting for my entire career” – and this emotional connection shines through in her triumphant return to the screen. 

Sometimes sweet, sometimes harsh, and often vulnerable, Shelly is a hugely sympathetic character. Anderson delivers a stunningly comprehensive and nuanced portrayal of the character, and it’s her presence that helps the film capture the touching complexities of the female experience, adding emotionally-charged depth beyond the glittery makeup and flashy costumes. 

The film focuses largely on the challenges and fears of aging women in an often unkind society, previously explored in recent movies like The Substance (2024). In The Last Showgirl, it becomes intensely evident that the clock is ticking much faster for Shelly than for everyone else – the younger dancers rapidly get other gigs and new jobs, while Shelly is left behind with financial disaster looming over her head. In a scene reminiscent of Pearl (2022), Shelly breaks down after a harsh rejection at an audition, realising that she will never again be beautiful enough, talented enough, or simply young enough for the unforgiving entertainment industry. Anderson captures her character’s emotional complexity exquisitely, charting her journey from optimism and denial, to desperation and resentment. After witnessing her memorably heartbreaking performance, it’s safe to say that this film simply wouldn’t be the same without Anderson as its emotional centre.

The film is a visual feast, interspersed with vibrant montages of life in Las Vegas – neon lights, sequinned outfits, and Shelly laughing with friends under the scorching sun. The showgirls flit around in dazzling archival costumes so grand that they fill the screen, making their beauty seem larger than life. But beyond the glitz and glamour of Vegas, The Last Showgirl is also characterised by stunning intimacy. Much of the film is shot with a handheld camera, which comes in handy for capturing the bustling chaos of the dressing room minutes before showtime, or Shelly’s panic as she struggles to rebuild her life. Shots of unassuming details like half-used makeup products, false lashes, and costumes hanging limp on the rack, create a thoroughly immersive experience. It almost feels as though viewers are transported to that dressing room, the air thick with excitement as we get ready with the showgirls. Shot on 16mm Kodak film, nostalgia seeps through every wistful, half-blurred frame of Vegas. Happy moments of golden sunlight feel like a fleeting memory, a glimpse of better days from a bygone era. To tie it all together, the film boasts an utterly breathtaking score, with dreamy orchestral arrangements that seamlessly blend strings, pianos, and harps.

However, this film isn’t for everyone, especially for viewers who crave a bit more substance. The script is by far the weakest part of the movie, with lines that are at times stiff and clichéd. Even so, the film’s cast helps to salvage the film with their dynamic performances, keeping it a largely enjoyable watch. Additionally, The Last Showgirl’s plot is minimal, taking some time to pick up speed. Extended wordless montages between scenes can feel overdone at times, with gorgeous visuals that fail to significantly advance the story. But then again, The Last Showgirl doesn’t aim for scathing social commentary. It simply captures the emotional weight and tragedy of Shelly’s circumstances in its fleeting (by modern standards) 1.5 hour runtime. It’s an easy watch that keeps its focus squarely on Shelly, eschewing complex plots in favour of impactful emotions. 

Beneath all the razzle-dazzle of Las Vegas, The Last Showgirl is ultimately a strikingly intimate film. Every scene is underpinned by devastating nostalgia – times have changed, and Shelly can never return to those golden days of stardom. It’s a theme that most will find achingly relatable – after all, it's in our nature to resist change and unfamiliarity, to continually yearn for happier days despite knowing that they’re long gone. To me, this is what stands out the most in this remarkable film – the sense of crushing grief that permeates the entire movie, leaving you feeling empty as the film comes to a close. Curtains fall, credits roll, and the sun sets over the Las Vegas strip. The show is now over, and you can never go back.