Edgar Wright’s films are colored by his unique and visionary directorial style as his eye for stylization makes for aesthetically appealing visuals that make his movies stand out from the crowd. While there are countless examples of scenes and sequences in his filmography that you may point to as an example of his vision, there is one premier moment in one of his more recent films that exemplifies his creativity and technical mastery. What’s even more compelling is the juxtaposition of concepts in this sequence, demonstrating that there is room for both impeccable style and engaging substance in filmmaking.Last Night in Sohowas a 2021 psychological thriller that perfectly shows how technical precision, masterful performances from actors, and a commitment to an idea can create one of the most riveting and iconic scenes. Despite the horror elements in the film, it was the dance scene inLast Night in Sohothat stands out as a masterclass in choreography and filmmaking expertise, resulting in a final product that is both visually captivating and thematically significant.
Jack, Sandie, and Elllie’s Dance Is a Captivating Intro to London’s Nightlife
The film follows Ellie (Thomasin McKenzie), a young and hopeful young woman who moves to London from her rural home to attend fashion school to become a designer, like her late mother. In addition to her talent in design, Ellie has the ability to occasionally see ghosts in mirrors; the most notable of which is her mother. However, once she arrives in London, she soon learns about the harsher realities of city life and its sordid history.
After conflict with her roommate leads her to move into a small apartment on her own, Ellie soon experiences vivid dreams that transport her decades into London’s past, in the Swinging Sixties. In her dreams, Ellie observes and becomes connected to Sandie (Anya Taylor-Joy), an ambitious and confident woman who wants to become a singer at a prominent nightclub. Sandie introduces herself to Jack (Matt Smith), a charming and influential manager who she believes can help her become a star.
The night of their meeting is a time capsule of stylish and frenetic enjoyment, as Sandie swings onto the dance floor with Jack inan enthralling dance sequence. The club is lively, full of dancers and bouncing to a cover of “Wade in the Water” by the Graham Bond Organisation. With a groovy horn section, 60s-era sounding synths, and a driving rhythm section, the song helps transport viewers straight to London’s vibrant nightlife. Sandie is flirtatious and alluring, clearly impressing Jack as they dance together. As she spins and turns around him, Sandie is intermittently and seamlessly replaced with Ellie in a single shot. The contrast between the two – Sandie with her blonde hair and pink dress, Ellie with her dark hair and sleepwear – adds visual intrigue to the scene that makes it impossible to look away from the dancers. After the song ends, Jack defends Sandie from a handsy patron before pulling her off the dance floor to further adventure. In the back room, the two kiss while a mirror reflects Ellie, likewise in Jack’s embrace.
The Choreography Off-Screen is Equally Impressive
1960s London is brought to life with the choreography on-screen, immersing the audience in the distinct ambiance of the stylish late-night community. The era-accurate dance moves are highlighted by the stylish fashion statements that inspire Ellie’s future design work and the bumping music of the club. However, the most skillful choreography in this sequence actually happened off-camera rather than on screen. Wright releaseda behind-the-scenes video showing the filming of the dance, and the meticulous coordination of the cast and crew is possibly more impressive than the final product. The one-shot is shown to have been filmed without special effects, as McKenzie and Taylor-Joy literally duck and weave in and out of frame as they exchange places in real-time. The coordination between the three actors and the camera operator is intricate and precisely executed—it’s a dance between four people rather than just two.
In a video withVanity Fair, Wright breaks down this dance scene and explains the filmmaking techniques they used to make it possible without relying on editing or special effects. The vast majority of the scene is filmed in one, uninterrupted Steadicam take that uses a film technique called a Texas Switch, wherein actors duck out of frame and change spots with another person. This is often done with stunt work as actors trade places with a stuntperson who performs a more complicated move, but in this case, the switch happens between two actresses who both execute the same dance choreography. The synchronicity between Anya and Thomasin is an unconventional yet amazing example of chemistry between actors — made even more astonishing by the fact that their two characters technically never interact with one another in these dream sequences.
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The ‘Last Night in Soho’ Dance Is a Masterclass in Technical and Creative Skill
In addition to the actors on screen, there were two necessary crew members that ensured Wright’s vision could be properly executed. ChoreographerJennifer Whitetook the director’s initial idea and rough storyboard and put together the series of moves that looked perfectly in place at a nightclub while still incorporating moments where the Texas Switch can occur. As Wright described him in theVanity Fairbreakdown,Chris Bainwas the “shit hot” camera operator who was instrumental in making the one-shot work. His choreography around the dancers is just as important as the performers’ movements, as he crucially maintains his rote while keeping the weaving actresses out of frame.
Though there is one edit that happens in this scene, it’s still a demonstration of Bain’s masterful camera operating. In the first turn and change between Sandie and Ellie, Matt Smith had to recreate his movement with surgical precision for multiple takes as the move was shot with Taylor-Joy and McKenzie respectively. If perfectly replicating a dance move with two different partners wasn’t challenging enough, Bain also had to move the camera with the same exact movement in each take to make it happen. This sequence is an impressive display of technical and creative skill, ultimately making not just a good movie scene, but a phenomenal dance video in its own right.
This Sequence is Thematically Significant
Not only is this scene impressive for its stylistic qualities, but it’s also a moment that carries narrative and thematic weight for the overarching story. This scene is Ellie and the audience’s introduction to Sandie, Jack, and the appealing yet dangerous world of 1960s London. Ellie’s naive youth is deliberately contrasted with the other characters in the scene, as she is still dressed in her pajamas and looks so much younger than everyone else in the dream. Sandie is portrayed as the fashionable and confident ideal for Ellie, as her look later inspired the young designer in both her work and personal appearance. However, both girls are ultimately subjected to the sinister machinations of Jack and the seedy underbelly of the decade. Though Jack is initially portrayed as suave and chivalrous,he is soon revealed to be manipulative and abusive towards Sandie. The symbolism of him being in the center while the two women orbit around him feels sinister upon learning about his actual intentions with the aspiring singer.
The dance scene inLast Night in Sohoultimately stands out as an impressive product of creative collaboration and exhaustive effort from the director, choreographer, actors, and cameraman. Even though the film has stunning visual effects and heart-racing horror elements, this sequence is the most memorable and captivating in the entire picture.
