LAST NIGHT IN SOHO. A Nightmare Come True

Have you ever imagined living in the past? Have you felt out of place in the modern world and wished you could wake up in another era? Ellie, played by Thomasin McKenzie in Last Night in Soho, does this daily. Listening to music from, of course, a gramophone, she escapes to the past, quoting texts from famous pop culture figures while spinning around in her homemade dresses. When she moves to London for college and lives in a creaky room full of memories, her imagination kicks into high gear, transporting her to 1960s Soho. However, behind the alluring veil of nostalgia lie the ghosts of the past, and it won’t take long for them to remind her of the dark side of the district.

The news that Edgar Wright has made a full-fledged horror film electrified his fans. Previously known for comedies and responsible for one of the best trilogies in this genre of the 21st century and one of the best comic book adaptations of the 21st century, Wright decided to do something “serious” in the increasingly popular giallo style. Does this mean that Last Night in Soho lacks elements characteristic of his work? Quite the opposite – in some ways, this film is quintessentially Wrightian. From the subjective narrative, through the use of music, to the dynamic editing filled with both smooth transitions and abrupt cuts – viewers familiar with his work will immediately recognize the common traits. I assure you that Edgar Wright has not lost his aesthetic flair, and his depiction of Soho is truly stunning.

The sequence “inviting” Ellie into the nightlife of the 60s is as much a showcase of craftsmanship as it is a capsule of fiery emotions. The director unabashedly uses swing music, atmospheric lighting, and classic set designs to pull on our sentimental heartstrings. The beauty of this place is both enticing and dangerous, but initially, we overlook the danger, reveling in the neon-lit streets and the mirrored interior of a club. It is there that Ellie, on the other side of the mirror, sees her local alter ego – a mysterious beauty with the face of Anya Taylor-Joy, exuding eroticism and radiating confidence. Sandy, who plans to make a career on stage, is just taking her first steps toward that goal. Observing her fate quickly becomes one of the main threads of the story written by Krysty Wilson-Cairns and Edgar Wright.

The character of Sandy is the film’s brightest acting highlight. Convincing as both a future queen of the stage and a lost young girl, Anya Taylor-Joy excellently portrays the dynamically changing nature of her character, who quickly becomes an emotional reference point for us, the viewers. Just as Ellie is our guide in the contemporary plot, through Sandy we learn about the past of Soho. Thus, they both quickly grow into equal characters, and how their fates ultimately intertwine remains the main mystery until the end of the screening. Thomasin McKenzie once again plays the role of a girl undergoing a fast-track to adulthood and once again proves her abilities – her character has so much girlish charm that she quickly wins our sympathy.

Despite the action largely taking place in the past century, Last Night in Soho is a remarkably relevant film. Rooted in the historical past of the described location – let us remember that Soho was the heart of London’s sex industry for over 200 years – it addresses issues related to the exploitation of young women and preying on their ambition and naivety. At the same time, it tries to speak to mental health issues (the recurring mantra: “Don’t be afraid to ask for help”). From the beginning, it is clear that Ellie’s nightly journeys to Soho are her escapist lifeline from a disappointing real life. At some point, her dream meetings even replace her interactions with peers. Unfortunately, this theme ultimately does not resonate strongly enough to be considered fulfilled, and I cannot hide my disappointment that more time was not devoted to it.

Especially since there would have been room for it if some scenes from the weakest part of the film – the horror – had been cut. Don’t get me wrong – Edgar Wright’s horror is not bad. It is, however, so correct that it significantly lags behind the excellent rest of the film, which is a blend of a coming-of-age story and a psychological thriller. There is no point expecting the madness showcased by James Wan in his recent *Malignant*. The transparent beings seen in the trailer quickly become the main source of horror, which instead of causing chills, distracts from other elements. Of course, they are not included without reason and ultimately work towards the plot, but when a similar trick is repeated, one cannot escape the feeling of narrative hiccups. The use of the giallo crime backdrop also disappoints, as the intrigue is predictable and easy to guess where it is heading. Relying on plot twists does not always work, and sometimes it’s worth revealing the twists earlier so that the audience can focus on other layers of the production.

However, despite the fact that not all elements of the film are of equal quality, its best parts are good enough to translate into a final positive impression. Over the years, Edgar Wright has mastered the art of orchestrating our emotions to such an extent that he easily makes us fall in love with his characters, moves us, or makes us sad. A significant example of this is the first act, where after meeting Ellie, we painfully watch her clash with a group of fake peers who use every moment to mock her in more or less overt ways. As with the director’s previous works, the characters remain most important to him, ensuring that the emotional side of the story works flawlessly, and ultimately the story presented touches the heart.

Last Night in Soho marks an important episode in Edgar Wright’s career, hopefully heralding more non-comedy projects from the British director. Unfortunately, it lacks a few significant refinements to achieve perfection, but looking at how his work is developing, I believe the best is yet to come – and it’s already very good. The production allows you to escape the problems of the present for a few dozen minutes and look at them through the lens of old Soho. Even if its image sometimes turns into a nightmare, believe me – it’s hard to take your eyes off it.