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Eloise “Ellie” Turner (Thomasin McKenzie), the wide-eyed protagonist at the heart of director Edgar Wright’s stylish but thematically inert horror/comedy “Last Night in Soho,” has aspirations to be a fashion designer, which she pursues with zeal and determination. Ellie, however, is haunted by a ghost: Ellie’s mother had aspirations to work as a designer, which Ellie shares. Her mother relocated to London only to commit suicide a short time later. Ellie is now able to recognize herself in every mirror.
Ellie, like her mother, is a fan of the styles and music of the 1960s and has made the decision to relocate to London for fashion school in the same year. However, her adoring grandmother (a touching Rita Tushingham) is concerned for her safety because she has the ability to see and feel emotions that others cannot, creating a kind of strong psychic link to her environment. In response to her college peers’ disinterest in her, who tease her for wearing clothes that she designed as well as for her humble country upbringing in Cornwall, Ellie makes the decision to move out on her own. She rents a vintage apartment from Ms. Collins, who is strict but appears to care about her (Diana Rigg, in her final film role).
It’s a wonderful set-up for Ellie until she begins to fantasize about being Sandy (Anya Taylor-Joy), a swinging, young blond woman who lived in 1966 London and who she wishes she could be. Soon, the lines between reality and fantasy begin to blur, and Ellie’s dreams begin to feel more and more like nightmares. Wright’s “Last Night in Soho,” which he co-wrote with Krysty Wilson-Cairns (“1917”), is funny and chaotic, slick and stylish, and it all comes crashing down in the film’s confusing second half.
When Ellie’s adventures through London take her to the streets of Soho, the first section of “Last Night in Soho” sings through the lens of Wright’s penchant for sharp needle drops: songs like Petula Clark’s “Downtown,” James Ray’s “Got My Mind Set on You,” and Peter and Gordon’s “A World Without Love” toe tap Ellie’s journey. Despite the fact that she is a hayseed, the young woman is enthralled by what she has read about the big city and is on a quest to find the London that she has heard about in her favorite songs. McKenzie’s portrayal of Ellie is eerily similar to her performance as Tom in “Leave No Trace.” She’s a stranger in a strange land, attempting to repair the damage caused by her parental estrangement. She uses her nostalgia for the ’60s as a safety net, eventually purchasing clothing from the era and dyeing her hair blonde to resemble the style of the time.
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Additionally, the initial premise for “Last Night in Soho” is realized. She must stay away from lascivious elements because she is a country girl now living in the big city. On a particularly uncomfortable taxi ride, for example, the driver begins to comment on her legs and inquires as to whether she has any other models living with her. Wright intends to use this film not only as a cautionary tale against the dangers of blind nostalgia, but also as a critique of dirty, toxic men.
This central hook alludes to the latter theme, which is that when Ellie sleeps, she not only sees Sandy, but Ellie also transforms herself into Sandy. Sandy enters a hip, fabulous 1960s club after descending a flight of stairs and passing through a wall of mirrors, thanks to in-camera effects and staging that are both inventive and effective. Sandy can be found on one side of the mirrors. Ellie, on the other hand, is a little more reserved. The two characters, on the other hand, are diametrically opposed to one another. As opposed to Ellie, who is shy and reserved, Sandy exudes the confidence of a runway model. She is clear about what she wants. And she believes she knows how to get her hands on it.
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It is with the antagonist that Wright’s film begins to sputter and falter. Sandy, as it turns out, comes under the scrutiny of Jack (Matt Smith), a pompadoured, pinstripe-wearing agent who represents all of the girls. Sandy has no idea that Jack works as a pimp. And he uses her desire for fame against her, promising her the benefits of proposing herself to others in order to advance her career. While Ellie begins to be afraid of him, the rest of the audience does not. It is incorrect to state that the concept of Jack would not make for a despised antagonist. Wright, on the other hand, does not develop that character sufficiently to make him more than a boogeyman.
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Wright made his name with the zombie comedy “Shaun of the Dead,” so it shouldn’t come as a surprise that he’d use the same approach in this film. A swarm of ominous apparitions appears to attack Ellie as she walks through a colorful, surreal kaleidoscopic reflection. Because of their indistinguishability and the frequency with which Wright employs them, these ghosts elicit few frights. If Ellie and Sandy were more connected than simply sharing the same address in different decades, the ever-shrinking boundaries between them might be intriguing.
Another flaw in “Last Night in Soho” is that it makes a common casting mistake that is caused by colorblind casting. When the film’s lone Black character (Michael Ajao) is dressed for Halloween to elicit a scare in one scene, which is unintentionally the scariest in the film, he is accused of near-rape by a white woman, which ends up being the scariest in the film. It’s difficult to talk about the scene in depth without giving anything away, but filmmakers need to understand that simply casting a Black actor isn’t enough, especially when considering the racial history of a scene like this. After that, that Black character continues to try to help the white person who nearly killed him, a decision that is even more absurd than that of a ghoul.
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In addition to the initial themes—such as zealotry to the past and toxic men—there is simply not enough material to sustain the film. Wright doesn’t have anything substantive to say about the sex industry, the casting couch, or mental health that goes beyond a cursory grasp of the issues. Instead, he relies on cornball humor, copious amounts of blood and gore, and homages to far superior films to carry the film forward. Normally, that would suffice, and it has in the past, but the film’s tonality doesn’t quite fit with the subject matter, which is particularly heavy this time. In fact, many people will not be surprised by the twist ending.
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Ellie’s story ends up feeling incomplete, buried by the fashion of the film until the style is no longer able to support it. In spite of the fact that Wright’s “Last Night in Soho” has a killer soundtrack and stylish retro fashion by costume designer Odile Dicks-Mireaux, the film ultimately falls apart in a heap of disappointment.
Following the North American premiere at the Toronto International Film Festival on September 11, 2021, this review was submitted on September 12, 2021. The film will be released on October 29, 2021.
For more personality quizzes check this: Chaos Walking Quiz.
