On the surface, Edgar Wright’s Last Night in Soho opens like a rite of passage movie, leaning into London locations as a transformative catalyst for Thomasin McKenzie’s Eloise: A naïve, talented, and socially awkward twentysomething trying to find her feet in the big city. However, what emerges over the course of two hours is an increasingly inventive sensory assault, melding the kaleidoscopic color palette of 1960s London with Stanley Kubrick circa 1979.
What the director has done is embrace an era through its iconography, moving from a muted modern-day color palette, to a vibrancy that fully exploits the moment these characters step back in time. Not only is this achieved through an eclectic playlist of vintage tunes, but composer Steven Price expands on that through his tempered soundscape and orchestral interludes. Musically, it also opens up the melodramatic elements, allowing this uninhibited era to be explored on a narrative level.
from Movies – We Got This Covered https://ift.tt/3Eup9L1
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