Soho’s Last Night Review: A fashion thriller full of Edgar Wright’s obsession

Edgar Wright is an artist who resonates all the year round, but this rarely means the loss of substance.While in Last night in Soho, A Wright movie partly set in the wobbly sixties, has numerous resonances. There is a karaoke soundtrack, as well as wonderful performances from Sandie Shaw, Dusty Springfield, The Kinks and John Barry. There is a stunning high fashion by costume designer Odile Dicks-Mireaux. Her white PVC mac and bubblegum pink ball evokes the best styles of the 60s, from the women of Mario Bava and Michelangelo Antonioni Take inspiration from the protagonist. Wright himself brought his encyclopedic film knowledge to the desktop, which has become his director’s signature and a hodgepodge of reference points for films in the 1960s.

The gray-haired defender of Wright among us knows that he has been doing this since the beginning of the TV series. interval, One of the greatest ironies of the 90s.But in 2004 Shaun the Dead It provides an international platform for his style experience.This is not just a heartfelt, elaborate romantic comedy created by Richard Curtis Notting Hill with Four weddings. This is an introduction to Wright’s exaggerated style on the screen. Think about it: his crazy, fast-paced editing, editing half a second of whipping and zooming together; fast-paced montages, usually rhythmically synchronized with karaoke scores; clearly stylized genre evokes.This exaggerated tone incorporates Wright’s sense of humor, such as when Ed (Nick Frost) yelled Night of the Living DeadThe famous line “We have come to you, Barbara!” tried to reassure the mother of his best friend.

Few contemporary directors have such metonymy in the style they cultivated. Just like Martin Scorsese, Quentin Tarantino or Michael Bay, when you hear “Edgar Wright”, you often know what you are doing. Last night in Soho It hardly deviates from the expected Wright norm. This is a feast for the senses of the movie, full of reference points from the giallo maven Dario Argento to the bloody Hammer Horror movies of the 1960s.Almost every lens is filled with neon blues Crimson. Soho It is a colorful fantasy, deliberately cut from the classic horror nostalgic fabric.

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Here, Wright is visually attributed to Argento suspicious As he said to Roman Polanski Repel, Although the latter may explain to a certain extent some of the deeper flaws that the film presents around gender-based violence. The gender makeup of this movie is novel to Wright, who has never focused the movie on female characters before. But the story focuses on two of them: the current precocious and shy fashion school student Ellie (Thomasine McKenzie) and the bold ballroom star Sandy (Anya Taylor Joy) of the 1960s.

The first act contains some of Wright’s best works, and the opening sequence is a miracle. Ellie danced around her home in a beautiful ball gown made of newspapers, accompanied by Peter and Gordon’s “world without love”. This scene also tells Ellie’s deep nostalgia, her poverty, and her creation. force. This also reminded Wright of his love for injections. Even before reality distortion, this was a young woman who was deeply committed to the past: not in the annoying “born in the wrong decade” way, but showing such a powerful trauma that the distant era became The ointment to escape reality.

Allie soon left the English country town she sheltered and began a long journey, heading to London with a record player and a box of vinyl records. London is nothing short of a myth for a child with piercing eyes like Ellie: a thick smoke fills centuries of dreams.Idealism is one of them Last night in SohoThe implied theme, especially the desire to make a mark in the world and leave a legacy. So, what is a better place to put Ellie’s story in a concrete time capsule in London, where countless hopes have been realized and heritage etched into the steel bones and marble bases of the city?

Heading to her dormitory, Ellie started her first class in London with a squinting taxi driver. “Are you a model?” he asked, almost salivating. For the first time, she saw the insidious imperfections in her fantasy, from the perverse taxi driver to the bullying peers. The latter group revolves around Ellie’s extremely insecure roommate Jocasta (Synnove Karlsen). Fashion Devil The metaphor under the sun. Wright likes catchy lines, and his scripts are always full of clever wit. Carlson received the best comment in this movie: “I tried to smoke an e-cigarette,” she said, while preparing a cigarette, “but it makes you look like a cunt.”

When Allie left the dormitory to live in a bed on Gucci Street (apart from the reality of a poor child, who can afford the neighbours’ extortion rent with a scholarship), Wright’s stylistic style soared to 110. Jumping into bed, sleepy Allie was attracted to her vinyl record and appeared in Leicester Square.A magnificent Thunderbolt marquee says it’s 1965-especially 1965 Repel.

Matt Smith lit a cigarette while watching Anya Taylor Joy on his last night in Soho

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The opening string of Shila Black’s “You Are My World” sounds similar to the famous psychology Rating: Maybe more suitable for horror movies than romantic pop ballads. When Allie heard this song when she returned to the past, Wright’s enthusiasm for injections reappeared. The intoxicating, love-lost charm of Blake’s lyrics is strangely juxtaposed with the harsh, piercing sound of the opening notes of the song. Moreover, it turns out that Black himself is performing this song for a group of people who admire tuxedos and dresses. These images are dreamlike and fantasy, the product of Allie’s deepest nostalgic fantasies—and they seem to be Wright’s too.

This is just one example of how Wright’s preference for popular music is reflected in it. Soho. In his film work, the soundtrack is the most attractive and energetic-even better than Baby driver, This is wall-to-wall bops. On the one hand, he used iconic 60s tracks to emphasize the fantasy of the film: with the establishment of the opening scene, one of the reasons Ellie is so obsessed with the past is her worship of music.

It also puts the audience in that era.and Baby driver, Some of these songs are crucial, knowingly improvise: not long after Soho There is a more explicit supernatural turn, for example, R. Dean Taylor’s “There are ghosts in my house” is implied. It’s pleasantly catchy, but it’s not just related to the subject.Since the use of Kara Thomas’s “BABY” refers to the protagonist of the same name driver, A scene SohoIn the final scene, Ellie sang a serenade by Barry Ryan’s powerful percussion “Eloise”.

Some later figures, such as Soho The tone became something completely dark, with a terrible irony. When Sandy was forced to participate in a lascivious stage performance, she dressed up like a marionette, and she would dance to Sandie Shaw’s bumpy cabaret-style tune “Puppet on the Rope.” (Speaking of its ambitions, it was the UK’s first Eurovision championship in 1967.) In another Wright-style subversion, the stupidity of the song turned into a tragedy because Sandy’s attempts to become a star are moving towards Go in a dark direction.

Using such an iconic song to support her emotional turmoil is a clever director’s choice, which also shows SohoThe most convincing conceit. Wright’s career is marked by and closely connected with the worship of the past culture. But here, he struggles with this impulse, conveying the message that nostalgia is just a pair of rosy goggles, covering up the darker reality hidden under the shiny surface.

Anya Taylor-Joy walked down the dark streets of Soho last night in a bright white coat

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However, Soho has a lot to balance, and Wright is not always successful. His previous movies were far from empty, but relatively irrelevant. There are zombie comedies, buddy police/murder mysteries, Body grabber Tribute, superhero imitation and robbery movies. (This may be his highest achievement, except for the unfortunate review of the accused sex offenders Kevin Spacey and Jamie Fox.) Wright may want to do something meaningful with his first heroine, but Soho The subjects dealt with are much heavier than his predecessors: tragic sexual violence, mental illness, suicide and depression, memories and trauma.

Although he maintains the grandeur and prosperity of his style-this is the aesthetic dexterity that his fans expect-but in the final scene, the characters, plot and said heavy themes appear very thin on the page.Allie has lost her initiative, and her erratic mental state more and more evokes Carol’s RepelShe embodies the drama of women who represent the horror of the classic giallo, which is a discordant example of Wright’s affinity for respect. She saw in the mirror that the theme of the dead mother was not fully realized, which inadvertently made her mental trauma insignificant.

In a hammer-like scene, Wright’s obvious stylization is a kaleidoscope-like mushroom cloud, reminiscent of a gorgeous genre. A victim’s eyes reflected on the raised blade, and as the weapon dropped repeatedly, strawberry jam was thrown in this place.although Soho It was still a feast for the senses until the end, and there was a superficial risk of constructing continuous sexual violence in this exploitative way, even if he consciously aroused giallo, especially Mario Bava (Mario Bava) Blood and black lace.

Central, as a study of Wright’s own nostalgic tendencies, Soho It is a fascinating cultural object. He has shown interest in the fragility of nostalgia in his previous works.exist Hot Blood Detective with the end of the world, The characters are subject to unrealistic nostalgia and are condemned.However, in terms of style, he always tends to pay tribute and return to interval, Its countless visual and textual references to Hollywood and more esoteric movies. Respect itself is adjacent to nostalgia: in Wright’s case, it is a celebration of the style and aesthetics of the past, and a deep and eager love for decades of historical film permeates his film work.

Soho It feels like Wright’s clearest interrogation of his own emotional impulse, and at the same time his most ambitious work. But the core of this story is also the violence and appalling exploitation of women.This is of course Edgar Wright in his Edgar Wright-iest, but even if he is opposed to celebrating the past Last night in Soho, He is celebrating it himself, in an inescapable way, and sometimes, more difficult to enjoy.

Last night in Soho It will be shown in theaters on October 29.