The Toronto International Film Festival (TIFF) has long been a platform for actors seeking a renaissance in their careers. Notably, two years ago, the festival was buzzing with applause for Brendan Fraser’s heart-wrenching performance in The Whale, marking his triumphant return to the spotlight. Now, in an unexpected and wholly welcome turn of events, Pamela Anderson steps into the limelight with her own resurgence, courtesy of Gia Coppola’s indie film, The Last Showgirl.
On Friday night, the gilded curtains of the Princess of Wales Theatre opened to reveal Anderson in a role that has both startled and impressed critics and audiences alike. The indie drama, helmed by Coppola, tells the poignant story of Shelley (played by Anderson), an aging Las Vegas showgirl grappling with the twilight of her career. Shelley’s world is a shimmering yet fading microcosm of entertainment — a long-running casino dance show featuring scantily clad, feather-adorned women. This once lauded spectacle now struggles with dwindling attendance, forcing the show’s stage manager, portrayed by Dave Bautista, to announce that the end is nigh for the beloved revue. Shelley’s journey, intertwined with her deep belief in the value of the show, poses a compelling narrative about choice and identity in the face of inevitable change.
Despite the film receiving mixed reviews from critics, the applause that resonated through the theatre was especially warm for Anderson, now 57. It’s a moment of validation in a career often marked by public scrutiny rather than critical acclaim. Addressing the audience after the screening, Anderson said, “I’ve been getting ready my whole life for this role.” Indeed, for an actress whose most recognized credits include Baywatch and a memorable appearance in Borat, this critical nod at TIFF represents a significant career milestone.
Reflecting on her involvement with The Last Showgirl, Anderson expressed a sense of career fulfillment that has been elusive until now. “It’s the first time I’ve read a good script, first of all. I’ve never had a script come to me that was coherent,” she remarked candidly. Anderson’s enthusiasm for the role was evident when she recounted her initial reaction to the screenplay, “I was like: I’m the only one that can do this.
. I’ve never felt that strongly about something.”
The Last Showgirl is also significant for Anderson in light of her recent endeavors, including her 2023 memoir, Love, Pamela, and the widely acclaimed, Emmy-nominated Netflix documentary, Pamela, A Love Story. This momentum has further solidified her status as a multifaceted personality in modern entertainment.
Coincidentally, The Last Showgirl finds thematic resonance with another TIFF offering, The Substance, a body horror film featuring Demi Moore, which similarly addresses issues of ageism faced by female entertainers. This thematic overlap highlights a broader conversation within the industry about the challenges and narratives of aging women in showbiz.
Sharing the spotlight with Anderson is Jamie Lee Curtis, whose portrayal of Annette, an equally seasoned and bronze casino waitress, brought an emotionally charged explanation of her character’s reality. “I’m just a product of that same reality,” Curtis stated, emphasizing the harsh truths and societal pressures faced by women in the industry. Drawing attention to the common experiences that many women share, she said, “You know who Annette is. Every single one of you know an Annette. It’s a movie about dreams and going after your dreams. But of course, the dreams become a really (expletive) harsh reality. And for women, it’s a really harsh reality that men don’t have as much.”
Curtis injected a moment of levity, adding with a grin, “And a spray tan helps.”
The premiere of The Last Showgirl may not have set the critical world ablaze universally, but for Pamela Anderson, it marks a glowing chapter in her journey, signaling that her narrative as a performer is far from over. As the Toronto International Film Festival continues to be a stage for stories of artistic resurrection and rediscovery, Anderson’s turn as Shelley might just be the most intriguing comeback tale of the year.
Published – September 07, 2024 11:45 am IST
World cinema
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English cinema
