Gia Coppola’s The Final Showgirl is a dreamy, melancholy portrait of a veteran Las Vegas dancer reeling from the information that her profession has hit its expiration date. The film is as gossamer-thin because the wings that the title character, Shelly — performed by Pamela Anderson with an undiluted sense of heartbreak — retains tearing on her stage costume. The story extra typically drifts than advances, favoring atmosphere over substance in a couple of too many wordless sequences observing Shelly wandering or dancing or simply staring into the abyss in sun-blasted parking heaps, on rooftops and streets, bathed in lens flare and the shimmering rating of Andrew Wyatt.

After her promising 2013 characteristic debut Palo Alto and her sophomore stumble seven years later with Mainstream, Coppola appears extra in thrall than ever to the impressionistic fashion of Aunt Sofia. However the brand new movie — written by Kate Gersten, a Coppola clan member by marriage — can’t examine to the piercing emotional intimacy of, say, The Virgin Suicides, Misplaced in Translation or Priscilla, even when the uncooked character examine at its middle steadily builds poignancy.

First seen rolling up for a dance audition in a jaunty cap whose crystal beading appears a calculated bid to attract consideration away from her age, Shelly is a 30-year veteran of a spangly revue referred to as Le Razzle Dazzle, the final survivor on the Vegas Strip of a yesteryear leisure quaintly described as a “tits and feathers present.” However that regular job is about to be yanked out from beneath her because the revue goes the way in which of the dinosaur, to get replaced by an attractive burlesque circus.

Although she’s been shuffled to the again of the stage, surrounded by dancers a long time youthful, Shelly’s identification has remained inextricably intertwined with the present. She goes right into a tailspin when stage supervisor Eddie (Dave Bautista), with whom she has a private historical past, drops the bombshell that they’re closing in two weeks.

For Shelly, Le Razzle Dazzle belongs to a venerable leisure historical past that stretches again to the Paris Lido cabaret acts born within the postwar years. She sees herself as an envoy for that heritage. For her youthful colleagues like Jodie (Kiernan Shipka) and Marianne (Brenda Music), who gravitate towards Shelly nearly as a maternal determine, it’s only a job, or a solution to depart residence and acquire monetary independence.

Much more dismissive is Shelly’s college-age daughter Hannah (Billie Lourd). She lastly accepts her mom’s invitation to see the revue in its closing days, calling it lame trash and dismantling Shelly’s delusional claims of historic significance by belittling it as “a nudie present.”

It’s an indication of how deep Shelly’s private funding in Le Razzle Dazzle runs that she storms out of her dressing room and dangers touchdown again at sq. one in her efforts to fix fences with Hannah, who resents her mom’s option to parade round in rhinestones each evening as a substitute of being a secure presence in her daughter’s life.

A special perspective on girls growing older out of labor for which “attractive and younger” are the chief necessities comes from Shelly’s previous pal Annette (Jamie Lee Curtis), a former showgirl now serving cocktails on the on line casino ground and dropping shifts to more energizing faces. Annette has seen all of it, offering loud, world-weary commentary whereas sucking down margaritas. However when she, like Jodie, turns to Shelly for assist, the latter is just too caught up in her existential disaster to have time for them.

One other efficiency from Curtis’ wig interval, Annette sees her go even bigger than Donna, the pickled mess of a mom on The Bear. She appears like a tanning mattress accident, together with her caked on aquamarine eye shadow, frosted lip gloss and a shag lower that in all probability dates again to the ‘80s. Her meltdown at work, which blurs the road between fantasy and actuality, has her stepping up, uninvited, onto a mini-podium in her cheesy pink and gold bellhop uniform and launching into a tragic, sexual dance to “Complete Eclipse of the Coronary heart,” as on line casino clients stroll by paying no consideration.

Each Annette as a personality and Curtis’ pantomime tackle her jolt us out of a film Coppola has clearly conceived as a soulful, delicate different to gaudy display screen depictions of comparable milieus, like Showgirls and Burlesque. Even the gutsiness of a employees locker room scene through which Curtis refuses to hide what a near-naked 65-year-old physique appears like makes the actress’ no-vanity efficiency into its personal type of vainness gimmick.

The film is on steadier floor when it stays near Shelly, inevitably inching into meta territory because it finds the overlap between the showgirl’s glory days fading into obsolescence and Anderson’s transition of late away from the Baywatch babe to the makeup-free candor of a late-50s girl unwilling to be a slave to unrealistic requirements for feminine magnificence.

If the breathy Marilyn voice and fixed, nervous verbal diarrhea put on skinny at instances, Anderson’s transformative efficiency is undeniably affecting, providing illuminating insights into each the character and the actress enjoying her, who has needed to wrestle to be taken significantly. This function ought to mark a turning level on that entrance.

Shipka additionally makes an impression as a younger girl who appears coolly self-possessed till realizations about her decisions sink in; her demonstration of the strikes required of dancers within the erotic circus is hilarious. Lourd walks the difficult line of a daughter cautious of letting her mom — whom she calls Shelly, by no means mother — into her life however on the similar time craving closeness. The actual shock is Bautista, who shows a brand new depth of feeling as a sort, caring man whose respect for Shelly remains to be tinged with romantic affection.

Coppola’s cousin Jason Schwartzman makes a quick look as a director pushed to brutal honesty when Shelly will get hysterical, demanding to know why her audition (to Pat Benatar’s “Shadows of the Night time”) was “not what we’re on the lookout for.”

Even when The Final Showgirl feels slender total, extra constantly attentive to aesthetics and ambiance than psychological profundity, there’s shifting empathy in its portrait of Shelly and girls like her, their sense of self crumbling as they develop into cruelly devalued.