The Duality of Performance: Shelly and the Showgirl
Step into the world of Shelly, a showgirl whose life is a fascinating study of contrasts. Onstage, she embodies a fantasy, a dazzling performer who channels an old-fashioned ideal of femininity. Her costume and demeanor are meticulously crafted to captivate, a testament to the power of beauty. Yet, offstage, Shelly sheds this persona, revealing a multifaceted individual with everyday concerns and a tight-knit circle of friends, mostly women, who share a deep sense of solidarity. This duality—performance versus reality—is a recurring theme in Coppola’s exploration of “The Last Showgirl.” It serves as a metaphor for the American Dream, where commodified bodies often come with expiration dates, and women must navigate a world that frequently sees them as disposable. This narrative isn’t just about Shelly; it’s about women in film and beyond, who have long fought against their perceived disposability while finding strength in female-driven work and mutual support.
The Male Gaze in Art and Film: A Long-Standing Tradition
The portrayal of women in art and film has historically been shaped by the male gaze, a concept explored by art critic John Berger in his 1972 book “Ways of Seeing.” Berger argued that women are depicted differently from men not because of inherent differences between the sexes, but because the ideal spectator is assumed to be male. This dynamic is evident in Western art since the Renaissance, where women are often portrayed as objects of beauty designed to flatter the male viewer. The same trend persists in cinema, where women have been cast in roles that cater to male fantasies—sweethearts, vamps, mothers, wives, and dutiful or defiant daughters. These roles reflect a world where women are seen through the lens of male desire and societal expectations, often reducing them to uneasy stereotypes.
The Evolution of Women in Film: A Slow and Winding Road
The early 20th century marked a turning point for women in film, as new characters with fresh looks, sensibilities, and desires emerged on the screen. According to critic Molly Haskell, by the 1930s, women were being portrayed as having sexual desire without being villainized or exoticized. However, this shift was short-lived, as the film industry soon implemented stricter self-censorship to avoid government intervention. The 1970s and 1980s saw a gradual return of grown-up women to cinema, but their re-entry into meaningful roles was slow. This reflects the broader struggles women have faced in Hollywood, where actresses—largely white in the early decades—were often objectified, even as they captivated audiences and broke hearts. The studio system elevated some women to the status of goddesses, but it was also brutal, often exploiting their talent and bodies for profit.
The Struggles of Actresses: Beyond the Spotlight
Behind the glamour of Hollywood lies a more nuanced reality, as revealed in the personal stories of actresses who navigated the challenges of the industry. Bette Davis, in her memoir “The Lonely Life,” recounts how she was initially dismissed as “not photogenic” after her 1931 debut in “Bad Sister.” Similarly, Judy Garland’s struggles with her studio, MGM, are well-documented. She revealed a painful truth about her childhood, stating, “From the time I was 13, there was a constant struggle between M-G-M and me—whether or not to eat, how much to eat, what to eat. I remember this more vividly than anything else about my childhood.” These stories highlight the pressures women faced in Hollywood, where their bodies and appearances were tightly controlled, often at the cost of their well-being.
Women as Commodities: Bodies with Expiration Dates
The commodification of women’s bodies in Hollywood—and society at large—is a theme that resonates deeply. Coppola’s “The Last Showgirl” serves as a metaphor for this dynamic, where women are often seen as products with expiration dates. This is especially true in the entertainment industry, where youth and beauty are prized above all else. Actresses have long been subject to this reality, their careers often peaking early and declining rapidly as they age. This reflects a broader societal issue, where women’s value is frequently tied to their physical appearance rather than their talent, intellect, or contributions. The disposability of women in film mirrors the disposability of women in the workforce and beyond, where they are often undervalued and pushed aside once they no longer meet societal beauty standards.
The Power of Sisterhood: Finding Common Cause
Amid these challenges, women have found strength in solidarity. Shelly’s friendships with other women, who see each other with gazes of mutual understanding and support, are a testament to this. The bonds between women in “The Last Showgirl” serve as a reminder of the power of female-driven work and collaboration. This is not a new phenomenon; women in film and art have long found common cause in their shared struggles. From the early days of Hollywood to the present, women have fought against their perceived disposability and worked to create spaces where their voices and stories can be heard. In a world that often seeks to commodify and control them, women continue to find strength in each other, challenging the status quo and redefining what it means to be a woman in society.