dir: Edgar Wright
Last Night in Soho is not the kind of flick you’d expect from this director. He’s very clever, very erudite, has a deep, deep knowledge of cinema, and loves to put everything together in a fashion so fussy even Wes Anderson is like: “just chill out, occasionally, dude.”
It’s also the first of his flicks that isn’t totally boy and nerd centric. As much as I like his so-called Cornetto trilogy of Shaun of the Dead, Hot Fuzz and The World’s End, and his other stuff, and his other genre exercises like Baby Driver, he has a certain mode, and he tends to stick to it.
This is nothing like those other flicks, though it’s still a genre exercise. It’s set contemporarily, but a lot of the “action” happens in the early swinging 60s in London, of all places. Ellie (Thomasin McKenzie) is a young woman just moved to the city from Cornwall wanting to pursue her dream of being a fashion designer. Though she gets into a design college, what she was too naïve to realise is that some, if not many of the people who would go to fashion design college would be vapid and poisonous fucks like Jocasta (Synnove Karlsen), who goes out of her way to make Ellie’s life a living hell for no discernible reason.
I found all the dumb, pointlessly cruel shit Jocasta does in this first bit to Ellie way, way more triggering and irritating that anything that happens in the rest of the flick. And let me tell you, the rest of the flick is about the horrible exploitation of women by men, and a whole bunch of murders. So many murders.
Ellie is sensitive, and I don’t mean that she doesn’t taken constructive criticism kindly or has a fragile sense of self, I mean she seems to be attuned to the spirit world or something similar. Does she see ghosts? I’m… not entirely sure.
When she is drawn to a particular flat in Soho, her nightly routine becomes one of being transported, not through a wardrobe to a snowy wonderland, but to the 1960s, and to the adventures of Sandy (Anya Taylor-Joy). It’s not entirely clear whether Ellie “becomes” Sandy, or whether they’re both somehow there together. There are times when their dual consciousness seems to be mirrored, as in, literally mirrors are used to show that they’re somehow both “there”. Sometimes Sandy seems to sense Ellie, and sometimes Ellie almost gets Sandy’s attention.