Tag: Last Night


Last Night in Soho: Anya Taylor-Joy goes full blonde bombshell in blood-soaked thriller


The ghosts of the past don't so much rattle their chains as dance the Mashed Potato in Edgar Wright's 60s-inspired supernatural thriller, a film about two young women who get lost in swinging London's historic red-light district.

A story that alternates between past and present, Wright's film is in love with what he perceives to be the area's glory days, when gangsters wore tuxedos and sipped champagne with women who looked like Julie Christie in Darling.

But the film is also fascinated by Soho's seedier side, and there's fertile ground for psychosexual horror, tinged with some Italian giallo gore.

New Zealand actor Thomasin McKenzie (Jojo Rabbit; Leave No Trace) is Eloise, a timid, 60s-obsessed fashion student raised by her nan in Cornwall.

Space to play or pause, M to mute, left and right arrows to seek, up and down arrows for volume.ListenDuration: 54 minutes 7 seconds54m Thomasin McKenzie on The Screen ShowDownload 49.5 MB

We learn early on that there's mental illness in the family, and that she lives in her head a lot, so it's understandable that grandma offers some words of advice about the unscrupulous people who lurk in the big city.

No sooner has Eloise arrived, than a creepy cabbie propositions her on the ride from the station, a scene which foreshadows the film's preoccupations with sex, seduction and untrustworthy men.

Wright proceeds to set up modern day Soho as a sleazy dump, making a visual note of a phone booth plastered with explicit calling cards from sex workers to underline his point.

Against this vice-ridden backdrop, the wiry, pale McKenzie looks as vulnerable as a mouse in a lab experiment.

The story really begins when Eloise moves into a bedsit and starts having visions of a young woman who used to live there in the 60s – a wannabe singer named Sandie, played by Anya Taylor-Joy (The Queen's Gambit; Emma) in blonde bombshell mode.

Eloise finds herself transported to Soho's bustling, neon-lit streets in their heyday to witness Sandie's whirlwind romance with a nightclub fixer named Jack (a suave, Brylcreem-ed Matt Smith).

"For hundreds of years, it's [Soho] been a place where artists and, I guess, the underworld kind of mingle," Wright told NPR.(Supplied: Universal/Parisa Taghizadeh)

These hallucinations are like harmless fantasies at first, but as Jack reveals his dark side, the visions become something more: psychic messages from the past that Eloise must decipher.

One of the consequences of the film embarking on a time travel mystery is that some other interesting elements are sidelined.

Eloise's ongoing friction with a group of mean girls at fashion school and her friendship with a kind-hearted, fellow outsider from South London (Michael Ajao, one of the film's few nods to contemporary London's diversity) dovetail clumsily into the main flow.

"It’s always been baffling to me that studios don’t bet more on original movies," Wright told Indiewire.(Supplied: Universal/Parisa Taghizadeh)

But this is indicative of where Edgar Wright's happy place is, and he's best when he's evoking the psychic wormholes that link Eloise to Sandie.

The two young women are echoes of each other, and their doubling inspires shots using mirrors, where Eloise appears as Sandie's reflection, and scenes where she even takes her alter-ego's place. There's a well-staged dancefloor sequence where the two alternate on Jack's arm, swapping places off screen when the camera swirls away from them.

The playful inventiveness of such ideas bolsters a sense of excitement and romance, but it's not long before some harsh realities derail the good times.

Wright first saw Taylor-Joy in The Witch, while serving on the jury for the 2013 Sundance Film Festival, and initially considered her for the role of Eloise.(Supplied: Universal/Parisa Taghizadeh)

It's obvious that Wright and co-writer Krysty Wilson-Cairns (1917) have been taking notes from 60s movies critical of gender roles, the class system and capitalism's raw deal.

There's a nod to Tony Richardson's 1961 movie about poverty and single parenthood A Taste of Honey, for example, with that film's star Rita Tushingham playing Eloise's granny.

But 60s cinema is more of a vibe than a model.

Other actors synonymous with the era appear as mysterious and vaguely sinister figures, including the late Diana Rigg, who plays Eloise's stern landlady, and Terence Stamp – first framed as an ominous silhouette in a Soho doorway — who later turns up as a regular at the Irish pub where Eloise works.

Sadie's story is based on the real stories of women working in show business in 60s Soho.(Supplied: Universal/Parisa Taghizadeh)

There's a lot of foreboding and a strong sense that people are keeping secrets, but Wright is less interested in laying out some rueful assessment of society's ills, and more interested in flexing his genre muscles.

And here he sometimes falls into cliché.

Sandie's rock bottom moment, for example, isn't particularly unexpected or revelatory. Wright uses a tracking shot to show how low she's come, following her backstage down a nightclub corridor – an every-parents'-worst-nightmare scenario where we catch glimpses of other 'fallen women' shooting up and performing oral sex.

Subtle it ain't.

Murderous violence is just around the corner, and the clock ticks down on Eloise's scramble to try and see what – if anything – she can do.

McKenzie is good at channelling the emotional energy and exhaustion of the movie. Her frantic efforts to convince people of the life-or-death drama in her character's head make for an affecting, if obvious, allegory about creative personalities and psychological crisis.

"I would not say I'm a technical actress at all. I think a lot of it is intuitive," McKenzie told Jason Di Rosso.(Supplied: Universal/Parisa Taghizadeh)

Meanwhile, Wright leans on his toe-tapping jukebox soundtrack — as he did in Baby Driver — to wallpaper over the film's inert spots and structural cracks.

He is nothing if not a savvy sampler, and as he ramps up the psychodrama he drops the needle on gems like Sandie Shaw's pop confection Puppet on a String, R. Dean Taylor's Motown floor-filler There's a Ghost in my House, and even the anachronistic (but welcome) post-punk of Siouxsie and the Banshees' Happy House.

What's not to like?

Well, perhaps the nagging feeling the film doesn't quite deliver much deeper meaning.

There's a theme running through it about women and ambition that never quite comes into focus – and certainly there's a lack of plot sharpness more generally.

Wright's two damsels in distress, caught in a twisted relationship across time, are vivid and captivating, but when the crimson curtains fall on their blood-soaked (mis)adventures, you wonder if they might have communicated something more. To each other, and to us.

Last Night in Soho is in cinemas now.

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Source: https://www.abc.net.au/news


Big world – Last night lyrics


Lyrics Last Night – Big world

She’s talking about fast money and cars
But deep inside she’s hiding her scars
Are we alone? In this big big world
He’s working hard from nine to five
Wasting his time putting money aside
Are we alone? In this big big wooorld.

Oh I’m never alone, when you’re there to lean on
Oh I’m never alone, in this big big wooorld
Don’t you give up tonight, gonna make it alright
Versuri-lyrics.info
Oh I’m never alone, in this big big world.

In this big big wooorld. (x2)

Wish I was a rich man’s son, in this big wooorld
Always laying in the sun, in this big wooorld
If there’s a problem you know I don’t got it
If there’s drink then I got to have ittt.
Last Night lyrics
Video world


2PM – Promise (I’ll Be) lyrics


[Wooyoung] Sigyeman chyeodabogo isseo
Gidarigiga neomu himdeureo
Ilbun ilchoga neomu gireo I need you right now
[Nichkhun] Niga eoptneun bameun neomu gireo
Jigeum baro derireo galkka
Oneureun neomu neujeotna I need you right now

[Chansung] Uri dulmanui Moon Light
Meorissogeul maemdoneun Last Night
Duriseo ([All] Oh) Baby ([All] Oh)

[Junho] Baby I’ll be Baby I’ll be
Mwol wonhadeonji mwol baradeonji
Junbiga dwae isseo
[Jun.K] Baby I’ll be Baby I’ll be
Achime niga nuntteul ttae naega yeope isseojulge
Baby I’ll be Eh

[Nichkhun] Everything is set and ready now
Niga johahaneun geu jangmido
Ijen neoman isseumyeon dwae So I need you right now
[Chansung] Naragal deusi deultteun nae mam
Nan gidarimyeo neoreul sangsanghae
Jeo muneul yeolgo deureowa And I need you right now

[Wooyoung] Uri dulmanui Moon Light
Meorissogeul maemdoneun Last Night
Duriseo ([All] Oh) Baby ([All] Oh)

[Junho] Baby I’ll be Baby I’ll be
Mwol wonhadeonji mwol baradeonji
Junbiga dwae isseo
[Jun.K] Baby I’ll be Baby I’ll be
Achime niga nuntteul ttae naega yeope isseojulge
Baby I’ll Be

[Taecyeon] Lights Camera Action
Neomaneul wihan i Reaction
I modeungeol neol wihaeseo junbihan geon aneunji
Twenty four-seven all hour
Can’t never stop for ma lover
I’ll be what you want me to be
Ni sangsange matgiji Ah Do it faster nal neukkigien Closer
Jogeumssik nimami yeolliji
Nado moreuge neol gyesok ikkeulji
Oneulbameun nawa hamkkehae
Achimi doedo gyesok ni yeope
Isseulge geokjeongmareo ijeneun Baby I will Be

[Wooyoung] Eonjena naega hamkkehalge
[Jun.K] Ni soneul nohji anheulge
[Junho] Neoui misoga tteonaji anhge naega jikyeojulge
[Nichkhun] Eonjena naega hamkkehalge
[Chansung] Ni soneul nohji anheulge
[Taecyeon] Neoui misoga tteonaji anhge naega jikyeojulge

[Junho] Baby I’ll be Baby I’ll be
Mwol wonhadeonji mwol baradeonji
Junbiga dwae isseo
[Jun.K] Baby I’ll be Baby I’ll be
Achime niga nuntteul ttae naega yeope isseojulge
Baby I’ll be Eh




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