57-year-old Pamela Anderson caused a stir just two years ago by choosing to go bare-faced at Paris Fashion Week. She explained her decision to People magazine: “Since I don’t wear makeup at home, why should I wear it for Paris Fashion Week? I didn’t think anyone would take notice, but I’m glad it turned into a positive statement.
After that incident, Anderson has been frequently in the news for a decision she considers empowering. She’s graced events like the Golden Globes, Met Gala, and even the Oscars in elegant, long gowns, while maintaining a natural, minimally-made-up look. As she put it, “It feels incredibly liberating to feel comfortable in my own skin.
The action signified a change for Anderson, who gained fame during the ’90s as a ‘Baywatch’ ’90s sex symbol, particularly for her character CJ Parker, and became associated with red swimsuits. Similar to many beautiful women in the ’90s, Anderson has faced intense public scrutiny, stemming from her high-profile marriages and a leaked private video that was illegally obtained.
2022 marked the time when a group primarily composed of men, without seeking her consent, depicted the most contentious and distressing phase of her life in the Disney Plus series titled “Pam & Tommy.
Even though Anderson has adopted a fresh perspective on beauty, there are some who remain unconvinced. In a lengthy article I recently came across, the author blatantly expressed their disbelief. “I’m not convinced,” they stated, casting doubt on Anderson’s bare-faced look as nothing more than a publicity tactic tailored for the media. “What makes it ‘otherworldly’ to not wear makeup?
Her detractors contend that due to her previous role as a Playboy model and undergoing breast augmentation surgery, Anderson is deemed ineligible to project the image she considers empowering for herself.
Anderson can’t be victorious, as there will always be someone waiting to pass judgment on her. This is the challenge. To truly empower women, we should uplift all women, even those who have undergone cosmetic enhancements or are considered traditionally attractive. Every woman has the right to shape their own identity – whether you admire it or not. It seems she’s not someone you aspire to emulate, but that’s her choice, not yours.
In Anderson’s recent movie The Last Showgirl, there seems to be an echo of this concept as it follows Shelly, a Las Vegas showgirl in her middle age, portrayed exceptionally movingly by the actress (whose performance was surprisingly overlooked by the Oscars). The story unfolds when Shelly learns that her cherished revue, Le Razzle Dazzle, is set to shut down after three decades of operation.
In the course of the movie, it becomes clear that Shelly and her daughter Hannah (Billie Lourd) have a tense connection primarily due to Shelly’s difficulty in reconciling her cherished career with being a single mom. Hannah’s father, Eddie who is the producer of Le Razzle Dazzle, has been absent from her life, despite his knowledge of her existence and witnessing her mother’s tireless work nearly every day.
For most of Hannah’s life, Shelly has been juggling her cherished career with the joy she derives from being a mother. From Hannah’s perspective, Shelly’s profession often took precedence. Now, as Shelly grows older, her career is starting to falter. A director bluntly tells her during an audition at Le Razzle Dazzle, “You were hired here years ago because you were attractive and young.”
This version maintains the original meaning while using a more conversational tone and simplifying some of the sentence structures for easier reading.
As a devoted cinema enthusiast, I must say that “The Last Showgirl” serves as an unyielding testament to the predicament faced by many women: the struggle between nurturing a family and pursuing a career. This film embodies the quintessential female conundrum – a dilemma that the character, Shelly, encounters.
Regardless of her choice, it seems she can never truly please society. If she is devoted to motherhood, she must relinquish her professional aspirations. On the other hand, if she concentrates on her career, she forfeits the opportunity to be the mother her daughter yearns for. Now, both her family and her career lie in ruins. Her daughter harbors resentment towards her, while her youth and beauty – once her career’s cornerstone – are no more.
Although The Last Showgirl presents a somber view of womanhood, it gains importance when realized that a 57-year-old woman is its storyteller. Interestingly, this trend of middle-aged women taking center stage is on the rise. For instance, Nicole Kidman delves into her sexuality in Babygirl, Demi Moore demonstrates her value in The Substance, and Renee Zellweger finds love again as a 52-year-old mother of two in the newest Bridget Jones film.
In many stories, women over fifty have traditionally been portrayed as secondary characters, such as wives, daughters, or mothers of younger protagonists. However, this is changing, and these women are now making a comeback in spaces that were once dismissive, using terms like “old” and “ugly.
While we’ve made progress, there’s still much more ground to cover. The women highlighted here are all white and straight, which doesn’t reflect the diversity among us. It’s crucial that we continue to amplify stories from a broader range of women who may not have had the same privileges as Pam, but every victory is significant. Let’s not tear down one woman to uplift another; instead, let’s work together to create a space where all women can thrive.
In the climactic scene of The Last Showgirl, Shelly proudly declares, “I’m beautiful. I’m 57, and I’m beautiful,” and on International Women’s Day, let’s acknowledge that she indeed is right about herself.
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2025-03-08 15:37