Last Night in Soho

Edgar Wright's newest film is something of a return to his early days, but without the comic elements. Last Night in Soho, starring Thomasin McKenzie and Anya Taylor-Joy, is an astral projection murder mystery set in London, now AND in the 1960s. McKenzie's Eloise gets a bursary to study at the London College of Fashion and leaves her country town for the big smoke. She quickly gets fed up with her student digs and takes a room in a house in Goodge Place owned by Ms. Collins - Diana Rigg in her final film. The first night she dreams (travels?) herself as hopeful music star, Sandie, with Taylor-Joy's image reflecting back at her through the mirrors in the Café de Paris. So far, this is all exciting stuff, but things start to go pear-shaped for Sandie/Eloise when Matt Smith's Jack shows his true, nasty colours.

Now, unlike some folk, I went along with this film. It's very clever, plot points are set up to pay off later, the story by Wright wears it's influences openly, and the screenplay by Krysty Wilson-Cairns does the job of keeping us on the edge and not being too outrageous - for example, there are always 'real' characters to anchor us in the present day. Wright is a proper film nerd, and his references are such that I could recognise them, without knowing where I'd seen them before. The ones I can recall would be Don't Look Now (Ellie's second sight and raincoat - white though, not red); Peeping Tom (all the voyeurism and Soho setting); Blowup (London 60s setting), Shaun of the Dead (zombie ghosts?); and possibly Blade Runner (overhead shot of rain falling on a body in the street) and some Giallo stuff (eyes reflected in a bloody knife). The last two are guesses because I'm not at Wright's encyclopaedic level of film memory, the bastard.

The street scenes are beautifully shot by Chung-hoon Chung (Park Chan-Wook's regular collaborator), with some wonderful wet work, perfect for the viewer who misses London as much as I do. Going by the end credit photos of London's streets, it's pretty clear this film was Wright's love letter to the city. The music is also crucial to the big picture. Like James Gunn and Tarantino, Wright puts a lot of stock in finding just the right tracks for his films, and he's picked some old gems here, with a special mention for Barry Ryan's, Eloise. The scene where the excellent Terence Stamp sings along to this at the bar is worth admission alone. I have some minor quibbles about the general story outcomes, but I'll leave that sitting there, and just say that the same issues I had with the end of Baby Driver resurface here. Maybe that's been Wright's modus operandi since Spaced and Shaun but I just loved those too much to pick any negatives.

Last Night in Soho opens on Nov 18th.

See also:

It would be remiss of me not to plug the best TV show of all time, Spaced (1999-2001), and this film was oddly similar to the film I saw the day before (see previous entry), Tigers (2020), directed by Ronnie Sandahl, in that a young person swaps home for the big time and has to deal with mental health issues. And, yes this is irregular but for a third choice, the body inhabiting element brings up Spike Jonze's Being John Malkovich (1999).

(Film stills and trailer ©Universal, 2021)