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doomonfilm · 3 years ago

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Review : Last Night in Soho (2021)

When we get around to making definitive statements about creatives who found prominence in the 21st Century, I hope that Edgar Wright is not overlooked. Be it Shaun of the Dead, Scott Pilgrim vs. the World, Hot Fuzz, the near-perfect Baby Driver or any of his other projects, he has not only proven time and again to be a director who is proficient on the highest levels, but a sincere and genuine fan of film whose ability to communicate that love through his project rivals that of Quentin Tarantino, if not surpasses it at times. At this point, anything that Wright is connected with instantly has my attention, so when Last Night in Soho popped up on the release radar, the Alfred Hitchcock energy radiating off of it made me as excited as I was curious. Add to this the fact that Anya Taylor-Joy is cast to do what she does best, which is period-piece character work, and on paper we’ve got a recipe for success.

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Last Night in Soho takes on the Herculean task of telling two fish out of water stories wrapped into one : a modern day story of Ellie Turner and her ambitions of being a famous designer in the shadow of her talented grandmother and troubled mother, and a flashback period piece story of a young Sandie Collins with loads of star potential facing the dark underbelly of success, with the second connected to the first via a sort of supernatural Quantum Leap-esque body switch. Through this supernatural juxtaposition of Ellie and Sandie, we feel the weight of Ellie fighting two very real battles : a jealousy-fueled peer battle in which she finds herself an unwilling participant, followed by an overwhelmingly powerful battle against the pressure of male-based objectification. It is no secret that Edgar Wright gives nods to other influential films in his work, and intentional or not, I see shades of films like Vertigo, Black Swan, L’Avventura, Repulsion and Perfect Blue in Last Night in Soho. Despite this influence, Last Night in Soho has its own clear identity of a riveting and intense ghost story centered around a young woman who is philosophically and literally haunted by the past.

Through this slow burn ghost story, we are presented with themes of gaslighting, the practice of wielding trauma as a manipulative (when not literal) weapon, fixations on bygone eras and the importance of staying true to yourself in the face of the hurdles that come with trying to fit into character-changing tradition. Wright and writing collaborator Krysty Wilson-Cairns present viewers with a highly stylized tale of how universal the story of trying to avoid the trappings and pitfalls of fame-seeking can be, no matter the era that the story takes place in. We are also given some very strong ruminations on how people are forced to sometimes create a character to shield themselves from the dark allure of the high life, and how easily one can end up in a tug of war for identity by losing themselves in this protective shield in the hopes of breaking through the darkness to the promise land of dream fulfillment and supposed safety. Some of the threads are left unresolved, but then, that’s the nature of life and growth... not every struggle we are presented with gets resolution, though each struggle has an influence in the person we grow to become.

Wright is known for his prowess as a director, and he continues to improve his pedigree with Last Night in Soho. From very early on, the incredible use of mirrors and cinematography-based trickery is present, and as our immersion into the story grows, so does the scale of the trickery, leading us into some deeply connective and dramatically tense moments shared between Thomasin McKenzie and Anya Taylor-Joy. On top of these mirror shots, we are given tons of poetic and captivating practical shots that stand out in their own right, especially the rented room shots with their bold lighting. The shifts to the period-piece sections are flawless and highly effective, wholly transitioning use into another era without breaking the established visual language, which makes Ellie and her downplayed attire work that much better in the midst of Sandie’s world of high-style and glamour. Speaking of said high-style, the stellar costuming across the board speaks volumes for each character in both choices of color and material, not to mention how much one adheres to seasonal trends or bigger picture tradition. The physicality of McKenzie and Taylor-Joy is wonderfully vivid not only in the shared mirrored sequences and dance scenes, but the individual moments of terror they exhibit in their most stressful individual sequences. The soundtrack is stellar, but this comes as no surprise in light of the fact that powerfully impactful music cues are an Edgar Wright signature. The super creepy imagery of the male pursuant ghosts are the kind of film symbolism that haunts viewers long after the final credits roll.

Thomasin McKenzie serves up the full spectrum of emotion in a standout performance, giving us equal parts innocent hope and ambition, bone-chilling fear and unhinged breakdown with the grace and composure of a seasoned veteran. Anya Taylor-Joy gives her own captivating performance, losing herself in the essence of the 1960s while channeling a healthy dose of Kim Novack and Audrey Hepburn, all the while managing to keep that Anya Taylor-Joy touch that has rocketed her to her current star status, all the while gearing up for a third act turn that allows her to play bigger than normal. Diana Rigg counterbalances this with the kind of wisdom that is fueled by regret and tough choices, all the while masking a deeper sinister nature that mirrors the many levels of London darkness. Terence Stamp juxtaposes the callousness of a man tarnished by the weight of a career steeped in vice with the frankness of a man who has counseled women during their darkest times. Michael Ajao does as much as he can in the role of reserved male romantic interest held up against scarring images of male aggression and intimidation, but he is able to provide a compassionate portrayal in the face of such darkness. Synnøve Karlsen does a fine job of playing the positioned protagonist in the modern day story, turning the pettiness up to the highest levels in order to help give the narrative proper setup for a good swerve. Matt Smith is dramatically menacing in ways that resonate immediately, making the fear of the 1960s story palatable in both story lines, thus having an equal impact on McKenzie as the direct impact it had on Taylor-Joy. Appearances by Sam Claflin, Rita Tushingham, Pauline McLynn and a host of other supporting actors fill out this vivid tale.

Last Night in Soho may be divisive for some viewers, especially those used to the lightness that generally comes with Wright’s work, but in my opinion, this film marks a huge step forward for Wright in terms of style presentation and narrative nuance. The film is also proof that Wright can direct properties written outside of the sphere of influence from his camp, which to some may be needed in the wake of his journey with the Ant-Man property. This is largely thanks to the collaborative writing with Krysty Wilson-Cairns, as her very honest and vulnerable story is told with the care of someone empathic to the pain and desires communicated via the story (in my opinion). I would definitely recommend seeking this one out during what seems to be a limited run in theaters, and if you miss it, keep an eye out for its arrival to streaming services.

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