“It brought home this idea of how dangerous nostalgia really is,” she said. Wright, in turn, told her the story of “Last Night in Soho” and Wilson-Cairns was hooked by it. On the night of the Brexit vote in 2016, Wilson-Cairns said, she and Wright were in Soho “drowning our sorrows” while she told him about the many dingy neighborhood dives where she’d worked as a bartender. Wright also met a crucial collaborator, his co-screenwriter, Krysty Wilson-Cairns (“1917,” “Penny Dreadful”), through the director Sam Mendes, a mutual friend. “I haven’t seen one but I’d really like to.”) (“I would say I’m ghost-curious,” Wright said. He researched Soho’s history of organized crime and unsolved murders and he studied up on theories of the supernatural.
Typically the moral of these films, Wright said, was “Beware, young lady that comes to the big city - you will be chewed up and spat out. Gréville’s “Beat Girl,” with Gillian Hills. “And that’s the end of the story.”īy 2012, before he shot his sci-fi pub-crawl comedy “The World’s End,” Wright was already contemplating a film that would explore the darker side of London and juxtapose the modern era and the period preserved in sensationalistic 1960s films like John Schlesinger’s “Darling,” which starred Julie Christie, and Edmond T. “My mom had a story that was literally, ‘I went to Soho once with my friend and we got harassed by a man and chased out,’” he said. the World,” “Last Night in Soho” offers a pastiche of genres and a generous helping of nostalgia.īut his mother's recollections of her sojourns to London in that era, Wright said, were murkier and more elliptical. Rather than focus on characters played by his longtime friends like Simon Pegg and Nick Frost, he used female leads for the first time.Īs with Wright’s zombie-apocalypse comedy “Shaun of the Dead” and the video-game romance “Scott Pilgrim vs. Wright’s newest film finds him steering away from comedic terrain and into a realm that is murkier and more horrific. “Last Night in Soho” follows his 2017 car-chase thriller “Baby Driver,” the biggest commercial hit of his career, and will be his second movie released this year after the rock documentary “The Sparks Brothers.” This is a pivotal moment for Wright, 47, the British writer and director who has put his idiosyncratic stamp on an array of action comedies.
But as Eloise tries to discover what happened to Sandie, the dreams turn nightmarish, revealing the sordid underside of the city in an era she once imagined as glamorous and uncovering decades-old crimes with ethereal victims who are still demanding justice.
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