Gia Coppola’s film, lament for an era as lost as the old west, works its grand elegiac tone to ruthless death
It is hard not to think that, without the right break, Anderson might have ended up like poor Shelly in Gia Coppola’s slight but memorable third feature. With cracked voice and increasingly desperate aspect, she is, as Coppola’s title implies, a Las Vegas performer of the old school: on stage, all tights and feathers and costume jewellery; offstage, a kindly sort doing her best for ageing chums.
The cinematographer Autumn Durald Arkapaw, who got her break on Coppola’s Palo Alto in 2013, finds endless variation on the city at magic hour – the gigawatts of neon just becoming visible as the horizon reddens. The characters sad in mufti. The nothingness of desert just visible through the haze. Critics have been divided on the sequence that has Annette, increasingly edged out by younger staff, dance solo and ignored to Bonnie Tyler’s Total Eclipse of the Heart on a podium in a public space. Too mawkish? Too on the nose? Maybe, but it certainly gives The Last Showgirl the late set piece it needs.
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