This will discredit everything on this blog: I have pretty terrible taste and often poorly/unconfidently dissect media in a meaningful way. At the risk of incurring the ire of cinephiles, though chances are low since this is a small blog, which is why I'm brave enough to write opinions in this perceived vacuum, here are my thoughts on The Last Showgirl.
The Last Showgirl (2024) Directed by Gia Coppola
When the glittering Las Vegas revue she has headlined for decades announces it will soon close, showgirl Shelly sets out to plan her next act. Reconciling the decisions she's made, Shelly decides to repair her complicated relationship with her daughter.
I did not like the shallow depth of field. Bold for critiquing a Coppola's artistic direction! I feel validated because others have made the same complaints. This gripe is what pushed me to write this.
I understand the backdrop in certain scenes is irrelevant to the story because we need to focus on Pam Anderson's character, Shelly. However, the soft, in-and-out-of-focus was distracting and dizzying in the worst way. Why does the movie look like this? What's going on in the back? Is the technique inconsistent, or is it just me? These aren't thoughts you want viewers to have while watching. Lastly, I want to get to know different characters. Some of them are more complex or intriguing than Shelly. I want a break from her narrative!
Why so much vitriol towards Shelly? She is struggling like the rest of the cast after their show is cancelled, but her desperation to cling to the past (oh, this show is so French and prestigious), her condescension towards other dancers/shows/ideas (those other shows are so vulgar, unlike our topless glides across the stage, ornamented with feathers and rhinestones), and her self-centeredness made me dislike her. Sometimes she goes on little rants about salmon, lemons, and organic milk in the middle of conversations. She's in her own world.
I sympathize with her; finding a new career after being comfortable is terrifying and discombobulating. In the same boat, sister! Worrying about the future due to poor planning? All of this is relatable. I would have liked to see her take more steps towards addressing her issues earlier, instead of making snarky remarks about others trying to adapt. She has all her eggs in one basket, and stubbornly doesn't want to take any out.
It's beautiful that she has a dream and encourages others to pursue their dreams despite possible challenges. If you love something, things (hopefully) will work out. That being said, she lacks self-awareness. Please be in touch with reality.
Weird plot logistics I can't stop thinking about:
- You know the show isn't doing as well—there are fewer shows per week—and you didn't do anything or think to yourself, "Molly, you in danger, girl"? The writing is on the wall, and you're purposely turning a blind eye.
- This is super zoomer-brained of me: they should've made content. Shelly could tell stories about her experiences and the show's history. She appears to have recordings/tapes of her performances from the past (it's projected on the wall, and she dances along). She could have a Patreon where she uploads her performances. She can record her reaction. Jodie should've made TikToks. Get ready with me to be a showgirl! A closer look at our gorgeous costumes!
- If you want to circle back to repairing her relationship with her daughter, Hannah could've done a photography project about being a showgirl. It's a career and relationship win-win situation for everyone.
- I would say Shelly can start a side hustle or be a consultant for acts like Catherine D'lish, but she isn't that skilled a dancer...
- All those years working, and I assume there aren't any benefits because she worries about retirement. It's a rather large company, since they have a variety of acts and are promoting new ones, so they must offer something. Investigate ASAP, Dancers and Theater Unions! Eddie has a pension!
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