You loved it Shaun and the Zombies, Super cop and The last pub before the end of the world ? Last Night in Soho is 100 leagues from the Cornetto trilogy which made Edgar Wright famous. The humor is largely eclipsed, but, rest assured, the blood and the horror are still present. Closer to his Baby Driver, this new film from the British director and screenwriter takes itself much more seriously, however it does not lack panache.
Eloise (Thomasin McKenzie) is a young and naive aspiring stylist who is leaving her campaign – dare we say her Sandford? – to go to study fashion in the big city. Of the introverted type, she is a die-hard fan of the 1960s, and would rather live in the past. It must be said that the present is not really encouraging for her.
As soon as she arrives in London, Éloïse is trampled by her roommate’s crouch. So much so that she quickly prefers to leave her student hostel to settle in Soho in a room rented by Miss Collins (Diana Rigg). Both, Chambre and Miss Collins, remained in their juice … sixties, sure. In this retro room, each time she falls asleep while listening to a vinyl, Éloïse is transported to her favorite era. She slips into the shoes of the charismatic Sandie (Anya Taylor-Joy), who dreams of becoming a singer. She follows her while she pursues her dream, until it turns into a nightmare and the past begins to stalk Eloise in the present.
Kind of horrific tale and vintage, Last Night in Soho claims its originality through its hybrid side. First an initiatory journey of a marginalized teenager, the film switches to the musical as soon as it ventures on the paths of the 1960s, before sliding more and more towards the horror film. This promising screenplay, based on an idea by Wright, is co-signed by Krysty Wilson-Cairns, nominated for the Oscar for best original screenplay for the grandiose 1917.
The expectation was therefore great in this matter, but the satisfaction is not quite there. What a pity that this Last Night in Soho does not exploit its full potential! Indeed, the initiatory journey aspect would have deserved more depth and finesse to move away from the teen movie prototypical, which is accompanied by its plethora of copy-pasted “twists”.
On the other hand, since the last century is king, the realization raises several notches throughout the film. With lots of neon neon lights, twinkling lights and rhythmic music, Wright makes the past intoxicating, sensual and glamour. In short, he skilfully makes us see it through the prism of Eloise’s eyes. It also multiplies the visual effects – long shots with complex camera movements, kaleidoscope, etc. – to lead the viewer into an irresistible frenzy.
Amid all the shimmer, Anya Taylor-Joy captivates the camera as Sandie. The heroine of Lady’s game brilliantly restores all the layers of this pin up ambitious and sure of herself who could have had the world at her feet. Sublimated by costume work, she supplants the simple character to set herself up as a pop icon.
Regarding pop icon, note that Last Night in Soho is the last film that Diana Rigg, the eternal Emma Peel of Bowler hat and leather boots. This one had made a remarked and remarkable passage in The iron Throne and it shines once again here.
Horror, for its part, first creeps subtly into the film, around a mirror, a neon, a shadow. To the point of submerging history. And to lose touch. The failure of Eloise’s makeup, once she has become the ghost of herself, is unfortunately more frightening than the visions that chase her. Despite this, this dreamlike, horrific and pop trip seduces with its style. We simply regret that the substance is not always at the level of the form, and vice versa.