The Last Showgirl

Through the glittering facade of Las Vegas and all of the city’s false promises to those struggling to remain relevant in a land defined by perpetual reinvention, Gia Coppola’s The Last Showgirl delves into the fading glamour of the Vegas showgirl and the emotional cost of chasing dreams in a world that has little time for nostalgia.

At the heart of the narrative is Pamela Anderson’s Shelley, a veteran dancer grappling with the impending closure of Le Razzle Dazzle, the revue she has performed in since the 80s. Her desperate efforts to cling to a bygone era highlight the fragility of staking one’s identity in a culture that thrives on youth and beauty. Contrasting Shelley is Jamie Lee Curtis as Annette, Shelley’s best friend and a retired dancer-turned-cocktail waitress, whose cynical, world-weary outlook serves as a sharp foil to Shelley’s wistful, girlish naivety. Curtis brings a biting humour and poignant resentment that turns Annette into a Ghost of Christmas Future-like figure who vividly illustrates the harsh toll of ageing in an industry that prizes beauty and novelty above all else. And although Anderson delivers a compelling performance, it is Curtis who steals the show, offering a heart-wrenching portrayal of Annette’s loud anger and quiet sorrow. 

Coppola uses the iconic showgirl – long a symbol of beauty, allure and aspiration – as a powerful metaphor for the American Dream. Shelley’s self-perception as an artist, along with her pride in her decades-long career, underscores the tension between artistry and the commodification of entertainment. As nostalgic glamour is eclipsed by the overt spectacle and sexuality of modern Vegas productions, particularly the one set to replace Le Razzle Dazzle, Shelley’s inability to adapt becomes a poignant reflection of the disillusionment experienced by those holding onto fading ideals. This tension is mirrored in Annette, whose life stands as a stark reminder of what remains when the dream evaporates, leaving only the reality of survival.

While The Last Showgirl is uneven at times, with several promising supporting characters left underexplored due to its brisk pacing, its exploration of identity and ambition feels strikingly fresh. Coppola’s direction shines through in the intimate moments and the emotional weight of transitions amidst the glitz and chaos backstage. By allowing Shelley to mourn her dreams and artistic aspirations rather than her fading youth and beauty, the film provides a refreshing perspective on female ageing – one that moves beyond the conventional narrative of losing male admiration. Its bold themes and emotional depth linger long after the credits roll, marking it as a potential future cult classic.

Christina Yang

The Last Showgirl is released nationwide on 28^th February 2025.

Watch the trailer for The Last Showgirl here: