This article was initially published upon the premiere of The Last Showgirl at the Toronto International Film Festival. Its republication coincides with the film’s nationwide release on January 10th.
Following the world premiere of her film, The Last Showgirl, at the Toronto International Film Festival, Pamela Anderson responded to an audience question about preparing for her role as Shelley, a Vegas showgirl facing the end of her career. Wearing a black suit and sunglasses (later removed), she stated, “I think I’ve been getting ready my whole life for this role.”
She also highlighted the uniqueness of this opportunity, humorously remarking, “It’s the first time I ever read a good script,” adding that previous scripts lacked the same coherence.
Directed by Gia Coppola, The Last Showgirl represents Anderson’s most significant film role to date, garnering positive reviews. The BBC praised the 57-year-old actress’s performance. The film’s release coincides with a cultural re-evaluation of the former Baywatch star’s career, which has often been trivialized. While Anderson’s portrayal of Shelley is original, the audience’s existing perception of the actress, whose fame is intrinsically linked to her appearance, is integral to the narrative. Shelley’s insistence that her passion for performing, including nudity, be taken seriously mirrors Anderson’s longstanding advocacy for herself.
Prior to this, Anderson’s most notable film was arguably the 1996 thriller Barb Wire, which became another comedic element in her career narrative. This period coincided with her high-profile marriage to Tommy Lee, and she experienced a miscarriage during filming. Roger Ebert described Anderson as “a good sport,” although not a great actress. Later, Anderson herself admitted, “I don’t even know what that movie is about. I have no idea.”
Recent years have prompted a reassessment of Anderson and the media’s portrayal of her. The 2022 Hulu miniseries, Pam & Tommy, exploring her relationship with Tommy Lee, featured Lily James as Anderson. Although sympathetic, Anderson disapproved of the series, calling it “a mess”.
The following year, Anderson shared her own story in the Netflix documentary, Pamela, a love story, directed by Ryan White. She candidly discussed her life, including sexual abuse, and shared diary entries. The film also documented her rehearsals for her eight-week run playing Roxie Hart in Chicago on Broadway in 2022. The Guardian commented that Anderson, “may not demonstrate great talent for singing… or dancing… but she has what she needs: an unserious self-awareness and an excellent grasp on winking camp.”
However, The Last Showgirl is not campy. It offers a sensitive portrayal of often overlooked aspects of Las Vegas. The screenplay by Kate Gersten draws inspiration from her experiences observing the showgirls of Jubilee!, which she described as “the last standing tits and feathers show.” Gersten, who wrote patter for the show replacing Jubilee!, envisioned Shelley, a woman who has spent over 30 years with the production Le Razzle Dazzle.
Shelley loves her job and acts as a mentor to younger dancers (including Kiernan Shipka and Brenda Strong). However, she is also entrenched in the past and clings to the former glory of Le Razzle Dazzle, now facing closure and replacement by a “dirty circus.” In its final weeks, Shelley grapples with uncertainty.
Anderson portrays Shelley with an endearing sweetness that sometimes borders on naiveté. Shelley’s long-standing involvement in Le Razzle Dazzle has left her oblivious to how others perceive it, including her estranged daughter (Billie Lourd). However, Shelley is not a tragic figure; she defiantly confronts a dismissive casting director, declaring, “I’m 57 and I’m beautiful you son of a bitch,” prompting applause from the TIFF audience.
During the post-film Q&A, the cast expressed visible emotion for Anderson. Jamie Lee Curtis, who plays Shelley’s friend, was visibly emotional in addressing her co-star. “I can’t,” she said.
Lourd, daughter of Carrie Fisher and granddaughter of Debbie Reynolds, described playing Shelley’s daughter as cathartic, stating, “It felt like Shelley was my grandma and I got to be my mom and I got to understand my mom on a deeper level than I ever had… And to get to do that with Pamela was an absolute gift. She is a wonderful mother in real life and a wonderful mother to me on this film.”
Parenthood is a central theme in Anderson’s Pamela, a love story, including her miscarriage during Barb Wire, making The Last Showgirl another significant moment for her. This film showcases aspects of Anderson’s personality, as a mother to adult sons Brandon and Dylan Lee, that may have previously been overlooked.
Anderson stated during the Q&A that upon reading the script, she thought, “I’m the only one who can do this.” After watching the film, it is easy to believe her.