LAST NIGHT IN SOHO (2021)
Looking for a trip back in time, that will rattle you to the core? It sounds like you need to take a trip to 1960’s Soho via Edgar Wright’s thriller, Last Night in Soho.
Having revisted the film multiple times, I always find myself falling under the spell of Mr. Wright’s direction. He has crafted multiple films, over the years, that have drawn my attention but this particular film has stuck with me more than any of his others, even though I find Baby Driver to be a modern classic.
I am a sucker for a mystery and brilliant cinematography which Soho has plenty of. As soon as our protagonist, Ellie, is transported back to 1960’s Soho via Cilla Black’s triumphant “You’re My World”, we are taken on a journey that can only be described as spookily transcendent.
I am still in awe, every time that I watch the film, because there isn’t a misstep when it comes to the direction of it. Wright’s usage of camera angles, mind bending mirror shots and iconic music doesn’t just create a movie worth watching, it creates a film that the audience experiences with all of their senses. We can almost smell the streets of London and taste the martinis and beers that are poured in the clubs and pubs of Soho because we are so immersed within the world that has been created.
It is worth noting that Edgar Wright understands music so strongly that every note that we hear serves a purpose. There is not a song that is out of place because he wants us to feel every moment so fully, whether it be euphoric or horrifying. If there are two questions I would ask Edgar Wright, they would be: when are you directing a musical? and Can I make an appearance?
Not only can Mr. Wright create an atmospheric wonderland, he chooses of the best actors to reside in it. Anya Taylor-Joy, Matt Smith, Thomas McKenzie, and the legendary Diana Rigg, combined, create one of the strongest ensembles in resent memory. They fit their roles so well that we all but forget who they are outside of the context of the film. It is truly a shame that they didn’t get the praise that they deserved for their star turns. (At least they are getting their dues now, minus the glorious Ms. Rigg who sadly passed away in 2020 prior to the film’s release).
When the Oscar nominations were announced, Last Night in Soho’s omission was so glaring that I was gobsmacked. No nomination for Edgar Wright for Direction. No nomination for cinematography. Not even a nomination for sound. Why was it snubbed? Was it too stylish? Too niche? Or was The Academy afraid to nominate and award a film that was marketed as a thriller?
Whatever the reason, it was unfortunate because it deserved to get recognition on a level higher than just word of mouth. No matter, it still stands as a triumph for taking risks and giving the audience one hell of a ride.
