“This isn’t a typical American script. It’s a small story about a Showgirl coming to age and
realising the world is leaving her behind. It’s also about people reaching out to each other.”
Con Nats
3.5 Tassels
Pamela Anderson still looks good in a close-up which is fortunate as director Gina Copolla
likes to go in close. So close you can see every wrinkle and the sweat on her eye lashes. To
her credit, most of Anderson’s scenes are sans make-up.
This is the story of how the old Razzle Dazzle show in Vegas is closing down and how this
impacts an aging star like Shelley. It makes her reflect on life, reach out to her daughter,
Hannah (Billie Lourde) and try to find a way forward in a world where ageism is rife.
It may surprise but Pammy really can act. She could be playing herself but if that’s true, then she’s been brave to put her vulnerability, her frets and faults and frailties on screen so
honestly. It also means she’s not ‘acting’. She’s being Shelly and is very natural at it.
Jamie Lee also gets the raw close-up treatment in another raucous role as close friend
Annette, who also has her human moments. She’s great in support and there’s a real
chemistry with Anderson. The acting by all the characters is restrained as they all treat their characters with respect.
On a technical level I found Copolla’s choices to be terrible. (She is Francis’ grand daughter.) On wide shots she uses a still camera. On close-ups she went handheld but it swayed so much I wondered if they used a fishing rod to hold the camera. And the blurred edge treatment? Pointless. The set designer would be furious as they had done their part in taking us back to the 90s. The sound early was also amateur level with indistinct dialogue. It may have been intentional but it soon settles into a listenable style. I really hope she finishes her film course before her next film.
This isn’t a typical American script. It’s a small story about a Showgirl coming to age and
realising the world is leaving her behind. It’s also about people reaching out to each other.
There are lots of nice sub-plots and simple scenes and imagery which say a lot without
words. This is a very human story and is based on Kate Gersten’s play, Body of Work, based on her own experiences.
Towards the end it falls into melodrama and that American trait of having to tell your
audience what they know through a rant (hello Barbie) instead of trusting the audience’s
intelligence. I like that the ending is unresolved and hopeful. But this story is about the ride
and the issues facing older talented women. In some ways the themes are similar to The
Substance, but this film resolves them without going into nonsense and comedy and is a
more satisfying and moving experience. It may miss out on the awards but definitely
deserves its plaudits.
Con Nats, On The Screen
