Soho nights and small town frights
Last Night in Soho
ACCLAIMED BRITISH writer-director Edgar Wright (Shaun of the Dead, Baby Driver, The Sparks Brothers) delivers a dazzling genrebending extravaganza in his latest film. Starring Thomasin McKenzie (Leave No Trace, Jojo Rabbit), Anya Taylor-Joy (Emma, The Queen’s Gambit) and Matt Smith (Doctor Who, The Crown), this stunning psychological thriller delves deep into London’s seedy past, all the while paying homage to the Swinging Sixties.
Mckenzie is Eloise/Ellie, an aspiring fashion designer with a mysterious ability who finds herself transported back in time to 1966 London in the body of Sandie (a stunning turn from Taylor-Joy), a talented night club singer. While in Sandie’s body, Ellie is seduced by smouldering lothario Jack (Smith), but she soon realises things aren’t quite as they seem when Sandie is coerced by her new beau into a life of depravity and exploitation.
Homesick and missing her grandmother (Rita Tushingham), Ellie grows closer to fellow fashion student John (Michael Ajao) who is desperate to help her out of her predicament. Elsewhere, Dame Diana Rigg — in one of her last ever roles — stars as the young woman’s stern Soho landlady Mrs Collins, while Synnøve Karlsen delivers a fantastic performance as Ellie’s cruel and condescending former roommate Jocasta.
Horror fan Wright digs deep into his own influences to give us one of his most daring films yet. As well as paying homage to Soho’s rich and vibrant history, he and co-writer Krysty Wilson-Cairns have also devised a commendably precise story about exploitation and abuse. Furthermore, what the film wants to desperately put across is the idea that nothing really changes and that underneath all the new buildings and exclusive upmarket members clubs, Soho is still very much its old seedy self if one scratches
the surface hard enough to reveal all its imperfections.
There are hints of Dario Argento giallo horror throughout that may throw off those who might come into this expecting an all-singing alldancing straightforward narrative.
And while there are a few misses here and there, one has to admire Wright’s exquisite technical work which in the end seduces you into submission.
This is a thrilling, gorgeously acted offering from a filmmaker who is at the top of his craft and knows exactly what he wants from his performers.
Prepare to be charmed, horrified and genuinely startled by Last Night In Soho’s somewhat bonkers premise.