“Last Dance,” released in 1996, features Sharon Stone in a compelling role as Cindy Liggett, a woman facing execution after 12 years on Death Row for a double murder conviction. As her final appeals dwindle, and the execution date looms, a state-appointed attorney, Rick Hayes, delves into her case, uncovering potential grounds for appeal. However, they face a formidable obstacle: a staunch, death penalty-supporting governor, known for rarely granting clemency. Cindy herself seems resigned to her fate, seemingly preferring death to a life sentence.
This movie explores potent themes with a thoughtful approach, providing a significant platform for Stone to demonstrate her range beyond the femme fatale roles she is often associated with. She delivers a committed performance, fully embodying the character. Her portrayal is reminiscent of Susan Hayward’s Oscar-winning performance in “I Want to Live” (1958), showcasing a raw and authentic vulnerability. Following her notable roles in “Casino” and “Diabolique,” “Last Dance 1996” serves as a stark reminder of how easily actresses can be pigeonholed based on stereotypical roles, overlooking their capacity for depth and serious acting.
However, “Last Dance 1996” unfortunately premiered in the shadow of “Dead Man Walking,” which had been released just the year before. “Dead Man Walking” was widely acclaimed as a masterpiece, lauded for its exceptional writing, performances, and direction. Compared to such a high benchmark, “Last Dance” struggles to reach the same heights. Many scenes in “Last Dance 1996” rely on familiar narrative tropes, making the story feel somewhat predictable and less impactful. The seams of conventional storytelling are visible, preventing the film from achieving true originality.
Cindy’s backstory reveals a troubled past: raised in an abusive home, exposed to drugs and sex at a young age, and under the influence of crack cocaine for two days leading up to the murders – crucial details that were inexplicably omitted during her trial. These circumstances, along with other potentially mitigating factors surrounding the murders, might have influenced a jury’s decision. However, Cindy received inadequate legal representation and missed the opportunity for a plea bargain, leading her to Death Row and facing lethal injection. Her lawyer, Rick Hayes, played by Rob Morrow, known from “Quiz Show,” is not portrayed as a legal prodigy. He secured his position primarily due to his brother’s connection to the governor’s office, raising questions about his competence and motivations.
Adding complexity to the narrative, Death Row houses another high-profile inmate, John Henry Reese, portrayed by Charles Dutton. Reese, a black man, has gained notoriety and public sympathy through a successful campaign to commute his sentence, even becoming a New York Times best-selling author. He shrewdly questions the likelihood of his execution given his public profile. While the governor, played by Jack Thompson, is a staunch advocate for capital punishment, the film hints that any potential pardon would favor Reese, not Cindy. Cindy, however, displays a profound apathy towards her situation. She harbors deep distrust, feels disillusioned with the appeals process, and expresses a desire to avoid life imprisonment, initially resisting Rick’s attempts to fight for her life.
Rick’s persistence eventually wears down Cindy’s defenses, using the argument, “What have you got to lose?” However, these interactions sometimes lean into predictable movie clichés rather than genuine psychological depth. Rick’s efforts to help Cindy become intertwined with his personal journey of self-discovery and redemption, seeking to overcome the shadow of his successful older brother and reclaim his self-respect.
Several scenes in “Last Dance 1996” could have benefited from further refinement before filming. One such scene involves Rick’s implausible and poorly timed confrontation with the governor, demanding clemency in an inappropriate setting. Another scene, where Cindy’s former boyfriend attacks Rick during a prison visit, feels forced and more like generic action than meaningful drama. Furthermore, the film employs the overused trope of a last-minute phone call as the linchpin of potential salvation, arriving just moments before midnight – a plot device that strains credibility and logic.
Despite these shortcomings, “Last Dance” features genuinely poignant moments, particularly in the scenes leading up to Cindy’s potential execution. Rick’s purchase of a dress for Cindy to wear in the death chamber, and the quiet emotion as she unpacks it, is deeply moving. The film also effectively portrays the chillingly routine and detached manner in which prison officials carry out their duties. The warden’s unhelpful platitude, “This is hard for everyone, but together, we’re going to get through it,” underscores the dehumanizing aspects of the death penalty process.
Sharon Stone’s performance in “Last Dance 1996” is commendable, but the film ultimately suffers from a script that lacks the depth and originality needed to truly resonate, especially when compared to the superior “Dead Man Walking.” While “Last Dance 1996” is earnest in its intentions, it ultimately feels unoriginal and derivative. Released in the wake of “Dead Man Walking,” its impact was inevitably diminished, leaving audiences to perceive it as a well-intentioned but ultimately second-tier exploration of similar themes.
