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| Gia Coppola: The Last Showgirl (US 2024). Pamela Anderson as Shelly Gardner in Las Vegas. |
La dernière danseuse de cabaret (titre québécois).
US © 2024 Body of Work. Sociétés de production : Utopia, High Frequency Entertainment, Pinky Promise, Digital Ignition Entertainment et Spark Features. Production : Robert Schwartzman, Natalie Farrey et Gia Coppola. Producteurs exécutifs : Jessamine Burgum, Michael Clofine, Nick Darmstaedter, Kara Durrett, Brandon Thomas Lee, Duncan Montgomery, Alex Orlovsky, Josh Peters, Robina Riccitiello, George Rush, Jack Selby, Kevin Wheeler et Cole Harper. Coproducteur exécutif : Matthew Shire. Coproducteurs : Jennifer Goodridge et Dani Koenigsberg
Réalisation : Gia Coppola
Scénario : Kate Gersten - based on her stage play Body of Work
Coconcepteur : Rainy Jacobs
Photographie : Autumn Durald Arkapaw – couleur – 2.39:1 – 16 mm
Décors : Natalie Ziering
Costumes : Jacqueline Getty
Musique : Andrew Wyatt
"Shadows of the Night" (D. L. Byron) perf. Pat Benatar. – "Total Eclipse of the Heart" (Jim Steinman) perf. Bonnie Tyler). – "Come and Get Your Love" (Lolly Vegas) perf. Redbone. – Theme song during the end credits, written for the movie: "Beautiful That Way" (Andrew Wyatt, Miley Cyrus, Lykke Li) perf. Miley Cyrus.
Montage : Blair McClendon et Cam McLauchlin
Distribution
Pamela Anderson : Shelly Gardner (vf : Malvina Germain), a successful seasoned showgirl
Dave Bautista : Eddie, producer of the revue, Hannah's father
Jamie Lee Curtis : Annette (vf : Véronique Augereau), Shelly's best friend, a cocktail waitress and former showgirl
Patrick Hilgart : Brad
Billie Lourd : Hannah Gardner, Shelly and Eddie's daughter
Jason Schwartzman : the casting director
Kiernan Shipka : Jodie, a showgirl
Brenda Song : Marianne / Mary-Anne, a showgirl
John Clofine : Poker Player
Patrick Hilgart : Brad
Jesse Phillips : Wardrobe Dresser
David Avne : Patron du restaurant (non crédité)
Sean Patrick Bryan : Patron du restaurant (non crédité)
Loc: Las Vegas, Nevada.
Durée : 85 min (L'Officiel des Spectacles), 89 min (Wikipédia, IMDb)
Langue originale : anglais
Genre : drame
Sociétés de distribution : Roadside Attractions (États-Unis), Sony Picture (France), September Film (Belgique).
Dates de sortie :
Festival premiere : 6 septembre 2024 (Toronto)
Festival international du film de Saint-Sébastien : 26 septembre 2024 : prix spécial du jury
États-Unis : 13 décembre 2024 (sortie limitée), 10 janvier 2025 (sortie nationale)
Finlande : 28 février 2025
France : 12 mars 2025 - Sony - sous-titres francais: Pierre Arson
Vu samedi, le 15 mars 2025, Majestic Bastille, 4 bd Richard-Lenoir, Paris 75011, 11e, M° Bastille, Lignes 1, 5, 8
IMDb: "A seasoned showgirl must plan for her future when her show abruptly closes after a 30-year run."
Wikipédia: " Depuis près de trente ans, Shelley est une showgirl de Las Vegas. Elle est la « pièce maîtresse » d'un spectacle typique de la « ville du péché ». Ses collègues danseuses sont comme une sorte de famille. Mais un jour, Eddie, le régisseur, annonce que le spectacle s'arrêtera définitivement dans deux semaines. Shelley et ses collègues danseuses doivent prendre des décisions pour leur avenir. Âgée de 50 ans, Shelley ne sait rien faire d'autre que de la danse. Très marquée par cette nouvelle, elle va tenter de renouer avec sa fille Hannah qu'elle connaît à peine. Elle va cependant être soutenue par sa meilleure amie Annette, une serveuse exubérante. "
AA: Gia Coppola's The Last Showgirl is a subversively body-positive celebration of femininity caught between glorification and exploitation.
It belongs to a contemporary trend of women film-makers "reclaiming the gaze" in the traditionally male-monopolized arena of presenting woman as spectacle.
Examples range from Bette Gordon's Variety (US 1983) to Lorene Scafaria's Hustlers (US 2019) and Lucie Borleteau's À mon seul désir (FR 2023). From the male side, sympathetic accounts include Paul Verhoeven's Showgirls (US 1995, first derided, then rehabilitated), Mathieu Amalric's Tournée (FR 2010) and Sean Baker's Anora (US 2024).
In parallel to Westerns featuring ageing gunfighters such as Sam Peckinpah's Ride the High Country / Guns in the Afternoon (US 1962), The Last Showgirl tells about "Showgirls in the Afternoon". It also resembles dramas about boxers past their prime such as John Huston's Fat City (US 1972) or the final entries of the Rocky franchise (US 1990, US 2006).
Shelly Gardner (Pamela Anderson) and her best friend Annette (Jamie Lee Curtis) are super troupers who face facts stoically. It is humiliating to be auditioning again after 30 years in a successful show, but this is not a story of disillusion and disappointment. Shelly is proud of her performances, and she is in good condition, happy about the style and glamour of the show.
But there is a "best before" date in show business, particularly cruelly for women who are more dependent on their looks. Pamela Anderson's performance is equally daring as Demi Moore's in The Substance (FR 2024). Demi Moore played her part in a mode of utter horror, as a woman destructively lost in illusions of surface youth.
In contrast, Pamela Anderson gives a warm and tender performance. In the heartbreaking world of sex as commodity she has not lost her humanity. She meets her estranged daughter Hannah (Billie Lourd) whom she abandoned as a child. Now Hannah is her mirror, the one who sees her and through her. The show manager Eddie (Dave Bautista) is Hannah's absentee father. Shelly does her best to make up what was broken. What remains is the most important of all: dignity, again in contrast to the horror show of The Substance.
...
I missed the beginning of the movie because of erroneous information in L'Officiel des Spectacles about the duration of the previous film, Armand.
BEYOND THE JUMP BREAK: DATA FROM WIKIPEDIA:
Wikipedia: "The Last Showgirl is a 2024 American drama film directed by Gia Coppola and written by Kate Gersten. It stars Pamela Anderson, Jamie Lee Curtis, Billie Lourd, Dave Bautista, Brenda Song, and Kiernan Shipka. Its plot focuses on a middle-aged Las Vegas showgirl who is faced with an uncertain future after learning that the revue she has performed in for three decades is scheduled to close. The screenplay was adapted by Gersten from her own play, Body of Work, which she based on her visits to the Jubilee! show shortly before its closure in 2016."
"The film had its world premiere at the Toronto International Film Festival on September 6, 2024, and began a limited theatrical release in the United States on December 13, before expanding on January 10, 2025. It received generally positive reviews from critics, with Anderson garnering critical praise. Anderson received nominations for Best Actress at the 82nd Golden Globe Awards and the 31st SAG Awards while Curtis received nominations for Best Supporting Actress at the latter as well as at the 78th BAFTA Awards."
Plot
"Shelly Gardner is a 57-year-old showgirl who has performed for three decades in Le Razzle Dazzle, a classic French-style revue at a casino resort on the Las Vegas Strip. Her co-stars in the show now include several younger women, including Mary-Anne and Jodie, who view Shelly as a mother figure. Shelly's older friend, Annette, maintains a close kinship with Shelly, despite having been ousted from the show years prior, and now works as a cocktail waitress."
"Eddie, the producer of the show, breaks the news that Le Razzle Dazzle is due to close in two weeks due to declining ticket sales, and is to be replaced by the more contemporary, neo-burlesque circus show that already took over their most popular nights. Shelly is crestfallen by the news, and views the replacement show as obscene and garish. Mary-Anne and Jodie begin auditioning for roles in other shows on the Las Vegas Strip, despite Shelly's objections that they are low-class and too risqué. With no means for retirement and few resources, Shelly worries for her livelihood."
"Shelly notices her newest paychecks are smaller due to the fewer shows with fewer ticket-buyers, and she is docked for tearing her costume which required new fabric to be ordered. Shelly reaches out to Hannah, her semi-estranged daughter. Hannah lived with family friends for much of her adolescence and is now a student in Arizona. Hannah briefly visits Shelly at her home, but their reunion is marred by Hannah's emotional distance and Shelly's lack of realism. Shelly shows lack of knowledge of her daughter, forgetting her daughter's age and asking her if she has declared a major. Hannah declines dinner with Shelly that night but returns the following night and they enjoy each other's company."
"Hannah later attends a Le Razzle Dazzle performance, unbeknownst to Shelly. Afterward, Hannah confronts her in the dressing room, offended that her mother prioritized the show over caring for her. Shelly storms out and Hannah briefly meets Eddie before leaving. Jodie comes by Shelly's place distraught because her own mother will not talk to her, but Shelly is unsympathetic and rebuffs her. At the next show, Jodie refuses to help Shelly get ready, leading her to rip part of her costume and ultimately miss her cue, breaking down on the floor backstage. Shelly invites Eddie to dinner, where she discusses her future and feelings of alienation as an aging woman, frustrated that Eddie can continue working for the casino as a producer of the new show. Through their conversation, it is revealed that Eddie is Hannah's father, a fact which neither has ever disclosed to Hannah. Eddie implies his disappointment about Hannah's upbringing, while Shelly condemns Eddie for his failure to be present in Hannah's life."
"Annette and the other older cocktail waitress are shown having their shifts cut early in favor of younger new hires. Annette seemingly gets drunk while working on the casino floor and begins dancing. When she next appears with Shelly, she reveals that she's lost her job, and needs a place to live, as she has been living out of her car for several weeks. She asks Shelly to let her live with her, and promises it will be only temporary."
"Shelly auditions at a casting call also attended by Mary-Anne. The audition goes poorly, as Shelly is clearly nervous and unfamiliar with modern auditioning. The director stops Shelly early and plainly tells her she is not a talented dancer, and made up for it with youth and looks when she was hired years ago at Le Razzle Dazzle. Shelly is shattered and humiliated, and Mary-Anne misses her own audition slot to console her and get her to leave the stage. Before driving off, Shelly verbally attacks Mary-Anne in her grief over giving up her life for this unforgiving industry, telling her she is not their mother and she does not love them."
"Shelly leaves Hannah an apologetic voicemail and appears to reconcile with Jodie and Mary-Anne. At the final performance of Le Razzle Dazzle, Shelly tells Eddie she is considering moving to Arizona so she can be present for Hannah's graduation, but also considers maybe working as a cocktail waitress like Annette. Shelly envisions Hannah smiling at her backstage and watching excitedly in the audience with Eddie, but it is unclear if Hannah truly forgave her or if it was just a manifestation of Shelly's hopes."
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