Last Night in Soho is one hell of a night, the stylishly dressed nightmare being more psychological than blood-thirsty horror. But don’t let that fool you, it’s fear and rage inducing all at once, as this film doesn’t just linger on a degree of realism but puts its grasping hands all over it. Supernatural meets the darker truth of sexual abuse, mental health, and mean girl cliques. Edgar Wright’s directorial trademarks shining brightly, especially in the university scenes and in the final reveal that recalls previous hits such as Hot Fuzz. In short, it’s nothing shy of brilliant.
The film’s story follows Ellie (Thomasin McKenzie); a shy girl who’s all sweetness and innocence, and who longs for the magical past of the 1960s, and of course has visions of…….dead people? In moving to London to pursue her dream of being a fashion designer, Ellie is quickly shown that the city she’s rose-tinted the hell out of, might not be quite what she’s imagined, until that is, she meets Sandie (Anya Taylor-Joy), or more accurately sees Sandie. For the two are separated by decades and joined only by the sharing of a bedroom (Ellie’s present, Sandie’s past). But through her visions, Ellie’s mind steps into 1960s Soho and into Sandie’s life.
Like two sides of the same coin, Ellie sees both the similarities of their lives; having both moved to London in pursuit of their dream, and the difference in their lives; confidence. Outspoken, enigmatic, charming, and powerful, Sandie, a wannabe singer, is exactly what Ellie wants to be, and so even outside of her visions, Ellie starts to dress like her in an attempt to embody Sandie’s strengths. And who can blame her, like Ellie, we the audience admire Sandie, making it all the harder as we watch her helplessly thrown into a world built to destroy her.
Initially mesmerised by both the period and Sandie, Ellie glides along giddy with excitement as she shares Sandie’s experience, in particular falling for the suave and controlling Jack (Matt Smith), who promises to help Sandie become a singer.
Through the film’s graceful cinematography, Ellie intermittently (and only symbolically) takes the place of Sandie as she dances, is kissed, or more commonly becomes her reflection – for that’s the role she’s taken in Sandie’s past; quiet, but watchful, smiling when she’s smiling, to later being trapped in hurt and fear as Sandie’s whirlwind romance turns into the nightmare you suspected was coming. Her knight in shining armour being more moustache-twirling villain.
Affected by Sandie’s past, Ellie’s visions also manifest in the physical – however this isn’t developed much beyond a hicky – leaving you to wonder as she comes up against “monsters”, just how much can she physically experience? But you soon forget the question as you witness the extreme impact on Ellie’s psyche, and to be honest on anyone’s – the script written to such perfection that even a short experience with a cab driver is all too true, and creepily so.
The film is driven with such intensity at times that I found myself looking to hide, especially in a library scene where Ellie is running, both away, and then to the “monsters” all the while holding razor-sharp scissors – did no one tell her not to run with scissors!! The film’s angst not only emanating from what happens to Sandie, but the repercussions of this on Ellie as she faces losing everything in her life, including her mind. Her mental health played with such beautiful empathy that you understand both what she feels and the frustration of being misunderstood, judged, and labelled by those outside of it. But through subtle progression and another layer of mirroring we watch Ellie as she moves from being Sandie’s reflection, dressing like her, to finding her own strength, with a final reversal of reflections – maybe everyone has a little Sandie.
The film is as close to perfect as possible, although a moment of vindication for Ellie against her all-too bitchy classmate Jocaste (Synnove Karlsen) would have been the icing on the cake, it would’ve also run the risk of being too sweet in its well-roundedness and verge into the comedic. Meanwhile the only unrealistic aspect to the film was not the supernatural elements, but in fact the complete trust and kindness of fellow student, John (Michael Ajao), who’s character received little to no explanation from Ellie as to her behaviour, and no proof to what she claimed, and yet still went straight into trusting her. Although, this did give a little relief to the film’s stress levels, it still made John far too good to be true.
Filled with interesting characters, they take turns in grabbing the screen’s attention, and as such work to tell the story rather than the individual’s tale. Michael Ajao, as John, was great at playing the right level of sidekick, without becoming the hero. Synnove Karlsen, as Jocaste, was perfect in playing today’s social media attention-grabbing bully, and it will be interesting to see her in a different role. Matt Smith was slimy enough to be detestable, but never strayed into being anything less than frightening. Anya Taylor-Joy is a star that continues to rise and caught the changing aspects of Sandie’s journey beautifully. Ellie, portrayed by Thomasin McKenzie, is a character I would greatly enjoy a spin-off from, and not just for her abilities, but for the mental health challenges she conveys so well. Last, but not least, are Terence Stamp and Diana Rigg, their screen-time being all too short, but not as short as Sam Claflin – blink and you might miss him.
Last Night in Soho helps to highlight the issue of sexual abuse, those that are taken advantage of, and the vulnerability that exists. But it also shows strength, and in the film’s greatest scene it tells the monsters exactly what they are and with no obligatory greyness to their characters – for it’s clear in black and white – they deserve what they get.
Director & Writer: Edgar Wright
Other notable works:
Baby Driver 2017
- Ant-Man 2015
- The World’s End 2013
- Scott Pilgrim vs. the World 2010
- Shaun of the Dead 2004
- Spaced 1999-2001
Writer: Krysty Wilson-Cairns
Other notable works:
- 1917 2019
- Penny Dreadful 2014-2016
