About Last Night In Soho…
Last Night in Soho whirls us into a mesmerising, time-bending escapade that feels like Edgar Wright’s unofficial pitch for Doctor Who, a connection that’s certainly not hurt by the presence of Matt Smith. This film transports us through the gritty realism of modern-day London and the neon-soaked allure of the 1960s, all seen through Wright’s singularly creative lens.
The cinematography serves as a kaleidoscopic love letter to the Swinging Sixties, contrasting sharply with the unromantic drudgery of contemporary life. Wright and his team craft a visual banquet that captures the essence of both eras with such vibrancy, you might find yourself wondering if you’ve stumbled into a temporal rift. The stark, cold light of the present day juxtaposes beautifully with the warm, inviting glow of the 1960s, creating a world where glamour and danger entwine in a seductive dance.
At the heart of this temporal tango are performances as captivating as the visuals. Anya Taylor-Joy, with an almost ethereal presence, embodies the allure and underlying menace of the past, delivering a haunting performance that lingers like a half-remembered dream. Terence Stamp, with his enigmatic gravitas, and Matt Smith, oscillating between charm and threat, complement Taylor-Joy perfectly. Yet, it’s Thomasin McKenzie who anchors the film, her portrayal of the wide-eyed Ellie blending innocence with resolve, drawing the audience into her psychological descent. Carrying this already stellar cast, though, is the late Diana Rigg in her final film role, delivering a performance that’s compelling and poignant, contributing significantly to the film’s atmospheric depth.
But Last Night in Soho doesn’t merely play with time; it delves into the dark heart of nostalgia, presenting the 1960s not as a utopia of peace and love, but as an era fraught with peril, particularly for women. Wright deftly removes the rose-tinted glasses often used to view the past, revealing a reality steeped in misogyny, danger, and exploitation. This harsh reality check is used to tremendous effect as a catalyst for modern-day psychological horror, as Ellie finds herself haunted by the spectral remnants of those dark times and the way the revelations of the past can shake and reshape our understanding of the present. The vibrancy of the sixties’ glamour serves as a stark juxtaposition to its underlying brutality, wrapping the film’s chilling message in a package of dazzling visuals and compelling performances. Wright masterfully employs the uncanny to unsettle, suggesting that the past, though often romanticised, is a place of beautiful nightmares—seductive and horrifying in equal measure.
Wright’s deft handling of foreshadowing and Chekhov’s gun in Soho may remind fans of his earlier work in Shaun of the Dead, where seemingly trivial details brim with future significance. Here, he elevates this storytelling technique to take on a more sinister twist, with the vibrant past harbouring secrets that stretch into the present, ensnaring Ellie in a mystery as much about her own identity as the fates of those she encounters.
In Last Night in Soho, Wright takes a significant step away from his usual multilayered pop culture commentary and comedic sensibilities. This film marks a bold departure into a kind of time travel noir, where the humour is dialled back to let a more sinister narrative unfold. It’s a testament to Wright’s evolution as a filmmaker, showcasing his ability to pivot from the kinetic, genre-blending style of films like Baby Driver and Hot Fuzz, to a more mature, nuanced exploration of psychological horror and suspense. The result is a film that is as visually arresting as it is emotionally resonant, highlighting Wright’s versatility and growth.
Last Night in Soho emerges as Edgar Wright’s beautifully twisted love letter to a bygone era, laced with a cautionary tale. It reminds us that while the past may call to us with the siren song of nostalgia, its waters are teeming with unseen dangers. And, true to Wright’s style, it suggests that sometimes the scariest ghosts are those we carry within us, not those lurking in history’s shadows. While Wright may never helm an episode of Doctor Who, Last Night in Soho proves he doesn’t need a TARDIS to take us on a thrilling, time-traversing adventure—one that’s as thought-provoking as it is visually stunning. Just remember to keep one foot firmly in the present, lest you get swept away by the allure of a past that never truly existed.
