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‘The Last Showgirl’ presents low-level drama

And two unforgettable scenes.

The Triplex kicks off this year’s limited engagement series in ironic fashion: choosing “The Last Showgirl” to go first.

An inspired choice you should see on the big screen, “The Last Showgirl” presents low-level drama. These days, nothing is more high concept than this, am I right?

Starring Pamela Anderson as Shelly, our leading lady must come to terms with the abrupt end of her long-running Vegas show. Since headlining it for three solid decades, the show’s closure is a jolt to her entire system.

Watching “The Last Showgirl” on a snowy afternoon last month felt like a warm hug. I think this is the feeling you get when you see a movie that is just the right size—not too big but not too small.

At the same time, Anderson’s performance outshines the movie as a whole. Of course, this is a credit to her not a critique of the movie. In fact, as directed by Gia Coppola and co-starring Jamie Lee Curtis as Annette, the movie itself shines bright as it is.

Still, Anderson nails the role of an aging showgirl as well as a lifelong member of the working class. Indeed, Shelly’s whole life has depended on a recurring role, when the world always demands new ones.

Courtesy of Roadside Attractions.

This is what makes the story interesting. Together with Annette, an aging cocktail waitress with a drinking problem, Shelly mourns the loss of her livelihood. Sensing larger shifts in the industry, the landscape, and the wider world, Shelly and Annette support each other.

Although neither has a clear plan about what is next, they are also women of limited means. Singing, dancing, and serving drinks rarely produces wealth. Thus, economic insecurity is a major theme here.

What I loved most about “The Last Showgirl” were two song and dance numbers, naturally. The first scene shows Annette in her cocktail waitress get-up when business is slow.

Bored, she steps up onto a small one-woman stage, then completely enters her own world. To see Curtis belt out Bonnie Tyler’s hit “Total Eclipse of the Heart” is worth your ticket price, trust me.

Later when Shelly auditions for a new act, Pat Benatar’s “Shadows of the Night” provides the backdrop. That’s right, you will get your early ’80s musical fix in these two unforgettable scenes. What you can’t miss is the unmistakable metaphor each song conveys.

Anderson and Curtis have been nominated for their respective performances in “The Last Showgirl,” and both could pick up wins at the upcoming Screen Actors Guild Awards.

Either way, “The Last Showgirl” presents a healthy dose of low-level drama just in time. In some ways, it even reminded me of “Nomadland,” the first flick I caught on the big screen as the world gradually re-opened post-pandemic. In other ways, I thought I really need to watch Netflix’s documentary, “Pamela, a Love Story.”

In conclusion, The Triplex’s choice to lead off this year’s limited engagement series is a winner. Consider this column my executive order to get up, get dressed, and go hang out with “The Last Showgirl.”

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