Last Night in Soho

After being accepted into the London College of Fashion, Eloise Turner (Thomasin McKenzie) says goodbye to her grandmother Peggy (Rita Tushingham) and her Cornish home. Colstrope Farm on Colstrope Lane to the north of Hambleden in Buckinghamshire.

Antony Blair found alterations in progress and that the garden hedge has grown.

Ellie's train approaches the Capital. Played in reverse after being shot from the rear of a northbound train on the Down Fast line out of Euston, this is looking out from the Grade II* Listed eastern portal of Primrose Hill Tunnel in NW1 with a digitally altered landscape in the left distance.

The same lineside building and signal appear to the right in this moving shot taken through the window of the passenger saloon rather than the rear cab.

A short while later, Ellie alights from the service at Paddington. The clock on platform 1 at Paddington station in London W2.

A few hours earlier.

The design student with a love of the "Swinging Sixties" makes her way from the station. Looking along platform 1 at Paddington station. The terminus features in many productions including ‘The Mind Benders’, ‘The White Bus’, ‘Death Was a Passenger’, ‘The Bank Job’, 'West 11', 'Return to Yesterday', 'Joanna', ‘The Tenth Man’, ‘The Long Good Friday’ and ‘The Gold Express’.

The very late, very full train to Weston-super-Mare had just departed.

Outside the station Ellie takes a taxi, asking for Charlotte Street. The taxi rank at Paddington station in W2 with properties backing onto the Paddington Basin of the Grand Union Canal in the background. The buildings were seen in 'A Woman's Temptation' released in 1959.

Cabs wait in line to pick up fares.

The Taxi Driver makes conversation as the cab drives through Piccadilly Circus in the West End. Piccadilly Circus W1 with the southern end of Regent Street behind Anteros atop the Shaftesbury Memorial Fountain in the right foreground.

The view from the base of the "fountain".

Ellie notices the Criterion Restaurant, a place that her Gran and Mother couldn't afford to eat at many years ago. The Criterion Restaurant was established at 224 Piccadilly in 1884, as its canopy proclaims.

From closer range.

When Ellie mentions that it looks different, the Cabby tells Ellie that it's the same old London underneath. Looking into Great Windmill Street W1 from Shaftesbury Avenue. The street and the Windmill Theatre feature in 'Mrs. Henderson Presents' 'The Gelignite Gang', 'Murder at the Windmill', 'Time Without Pity', 'White Cargo' and 'The Optimists of Nine Elms'.

Taken a little nearer to the 20 mph sign to avoid the traffic on Shaftesbury Avenue.

Ellie smiles nervously when the Taxi Driver replies "So, you're a model?" when she tells him she's studying at the London College of Fashion. Through the cab's back window can be seen "Big Bite" at the corner of Old Compton Street and Wardour Street in Soho.

Without the aid of a taxi.

Explaining that she designs clothes, Ellie covers her legs as the journey continues. Looking across Oxford Street into Berners Street W1, facing northward.

With added scaffolding.

The Cabbie (Colin Mace) asks and comments about the student accommodation. Looking southward on Rathbone Street W1 with the corner of Percy Street in the left distance.

Has the traffic direction changed?

Making an excuse, Ellie asks the Taxi Driver to drop her off outside a corner shop. The corner of Rathbone Street and Percy Street with Rathbone Place to the left, a junction seen in 'Peeping Tom' and 'I Was Happy Here'.

I was happy that there were no peeping toms here.

Leaving the shop after the taxi drives away, the teenager walks the last few yards to her accommodation. Ramsay Hall at the corner of Maple Street and Whitfield Street in W1.

A brighter shot of the corner.

Outside the building, John (Michael Ajao) asks if she wants a hand with her case. Outside Ramsay Hall on Maple Street.

A change of name and signage.

On a night out with the girls, Ellie follows Jocasta (Synnove Karlsen), Cami (Kassius Nelson), Ashley (Rebecca Harrod) and Lara (Jessie Mei Li) through Soho. The junction of Old Compton Street, Greek Street and Moor Street with the Three Greyhounds public house to the right.

The previous night's merrymakers had long departed when I arrived on the street.

The five Students cross the road towards the Toucan. Soho Square is visible to the right from where the Toucan bar stands on Carlisle Street W1.

All quiet on Carlisle Street.

Letting the others to go on ahead after leaving the bar, Ellie spots a Silver-Haired Gentleman walking from a doorway. The pavement outside 13 to 14 Dean Street in W1.

Not quite the same visual effect.

On the opposite pavement, the Man (Terrence Stamp) walks into the light and looks straight at Ellie. Facing 87 Dean Street and Rippon's, stationer and newsagent, next door at 88.

It would have been an unobstructed view but for the parked car.

Seeing her fellow students some way along the street, Ellie turns and walks in the opposite direction. The telephone box stands outside 13 and 14 Dean Street.

Here we are again.

Waking up late the following morning, Ellie rushes towards the university. Facing east on Oxford Street W1 at the corner of John Prince's Street

Fewer people and extras.

The shot follows Ellie to the corner of John Prince's Street and Oxford Street.

A change of use . . . again.

Entering the building, Ellie arrives in the lecture theatre as registration is being taken. John Prince's Street looking towards Oxford Street W1.

Same street, different bus.

Lying to her Gran about her great place and fun room-mate during a call home, Ellie looks for new accommodation. Goodge Place with Goodge Street in the top right background.

Not as busy on a Sunday morning

After speaking on the phone, Ellie makes her way to Goodge Place and a meeting with Alexandra Collins. Goodge Place W1.

A bicycle takes the place of the motorcycles.

Facing north at the corner of the bend on Goodge Place.

A change of colour.

Ellie approaches Ms. Collins' lodging house at number 8 where she takes the old fashioned looking top floor flat. Looking north on Goodge Place.

The background building has had a facelift.

As the smell of garlic from the French Bistro next door fills the air, Ellie unpacks her belongings. Goodge Place with the BT Tower illuminated to the left.

A difficult angle to achieve.

Lying in bed listening to Cilla Black singing "You're my world", Ellie turns over and walks onto a street in the 1960s.

Ellie approaches a brightly lit cinema playing 'Thunderball'. Suitably dressed for the era, this is the Empire Cinema on Haymarket SW1.

Please excuse the mess. The cinema closed in May 2023 and, rather than the planned demolition, the building is being refurbished and restored.

As she looks around, cars and buses from a different era pass by. Facing southward on Haymarket with the junction of Cockspur Street and Pall Mall in the distance.

The corner of Orange Street can be seen to the left and the Theatre Royal on the right.

Hiding a modern bus shelter on Haymarket, a prop Cabman's shelter stands in the background.

Ellie continues to turn around in the middle of the street, taking in the sights from decades ago. Haymarket SW1.

Crossing to the other side of the road, Ellie enters the Café de Paris. Facing the Empire on Haymarket which is doubling up for the location.

After a drink, a dance and a fight. Jack (Matt Smith) leads Sandie (Anya Taylor-Joy) from the club. Outside the Empire Cinema on Haymarket SW1.

Jack drives the pair through Piccadilly Circus. In the background stands the digitally augmented Swan & Edgar building with Regent Street to the right.

The reality . . . sometimes I wish I owned a scaffolding company.

More special effects bring a lost Piccadilly Circus back to life.

Today's bright lights aren't quite the same.

Promising her a job as a singer, Jack drives Sandie home. Facing Piccadilly Circus from Shaftesbury Avenue.

A gap in the traffic allows for a relatively clear view.

Jack's Triumph TR4 arrives on Goodge Place.

Not a Triumph in sight.

Sandie enters number 8 and makes her way to the top floor room. Goodge Place in W1.

The same corner.

After Jocasta makes fun of her as she completes a design based on Sandie's outfit, Ellie leaves the university. John Prince's Street with Oxford Street in the left distance. The street plays a major role in 'Daylight Robbery'.

Remarkably little change.

That night, Ellie opens the front door of number 8 to find Jack calling to collect Sandie. Looking onto Goodge Place.

From the doorstep.

Driving past the Flamingo jazz club and the 2i's coffee bar, Jack's TR4 reaches Frith Street. Here, we're looking south from the junction with Bateman Street.

Taken at street level.

Jack turns into Bateman Street. At the far end of the street stands Portland House on Greek Street.

The view towards Greek Street without props.

The car is parked opposite the Rialto and the two go inside for Sandie's audition. Facing Portland House on Greek Street W1.

Redevelopment has taken place over the intervening years with James Court appearing on the street to the right.

Leaving the Rialto, Sandie looks back before asking Jack to be her manager. Facing the corner of Greek Street and Bateman Street.

The same corner.

Dying her hair blonde, Ellie phones her Gran after sending her a selfie. The corner of Broadwick Street and Berwick Street with the Blue Posts public house on the left.

One of several pubs named the Blue Posts that are dotted around Soho and the surrounding streets.

A period coat similar to Sandie's is discovered at a vintage clothes shop. Looking out onto Greek Street from inside number 53.

The background buildings seen from the pavement outside the shop.

While the Assistant goes off to find a Biba dress, Ellie looks out of the shop window. Portland House or Wedgwood Mews . . . all rather confusing . . . Greek Street, where the mews is currently known as James Court while Portland House is the former name of what is now an apartment block.

Confusion persists.

Fixing her sight on the 'R' above the doorway, Ellie walks from the shop wearing the coat before being brought back into the present by the Shopkeeper's calls. The corner of Bateman Street and Greek Street, which also appears in 'Evidence in Concrete', 'The Blue Parrot' and 'The Look of Love'.

The road markings remain in place.

Having paid £375 for the coat, Ellie makes her way to the Toucan to ask for work. Carlisle Street W1 from the corner of Dean Street.

Pizzas all round!

Getting a job as a barmaid, Ellie leaves the Toucan followed by the Silver-Haired Gentleman. Looking along Carlisle Street from Soho Square with the Nadler Hotel in the distance beyond Dean Street.

All still there after just five years . . . but unfeeling developers still have their eyes on Soho Square.

The Man approaches Ellie, telling her that she looks familiar. Facing the gardens in Soho Square.

There are two spots with "Residents Parking" painted on the road . . . this appears to be the one.

Turning away, Ellie walks into the path of a taxi. Soho Square W1 with Frith Street in the centre background.

To the top right, the unlisted Twentieth Century House, originally the British headquarters of Twentieth Century Fox, awaits its fate at the hands of developers.

Realising that Sandie's world was one filled with drugs and vice, Ellie speaks with her Gran while on a break at the bar. The Toucan at number 19 Carlisle Street W1.

Too early for Guinness to be on sale.

The Silver-Haired Gentleman tells Eloise that he makes it his business to know all the pretty girls around here and asks if everything is alright before handing her a piece of paper and walking away. Carlisle Street with Soho Square in the right background.

Looking left.

Opening the paper, Ellie sees her design for Sandie's dress that she had screwed up at university before lifting her head to see the Silver-Haired Gentleman looking back at her. Outside the Toucan on Carlisle Street with Dean Street in the background.

Looking right.

After witnessing Sandie meet a man named Lindsay at the Rialto in the 1960s, Ellie returns to the present and spends a Halloween night out with John. The exterior of the night club was played by Fire on South Lambeth Road SW8.

The inferno has died down to become just a fire.

Seeing Sandie dancing in the modern day club, Ellie tells John that she needs to leave before running into the street. South Lambeth Place beneath the railway lines to the south of Vauxhall station.

The sun was not my friend while attempting to take this shot.

John catches up with Ellie, breaking her out of the visions from the 60s that she continues to see under the railway bridge outside the club. Facing south at the corner of South Lambeth Place and South Lambeth Road.

Is the traffic signal still at red!

Although it's forbidden, Ellie asks John back to her room and the two catch a bus to Soho. John Shaftesbury Avenue W1 at the corner of Rupert Street.

The same corner, dry, daylight and no bus.

The pair laugh as they hurry through a downpour. Facing north on Rupert Street with Brewer Street in the distance.

Looking from the corner of Shaftesbury Avenue.

John and Ellie whoop and shout as they run down a narrow street. Bourchier Street with Brewer Street across Wardour Street in the background.

The bollard's companion traffic sign has been removed.

The camera pans to follow the pair. Bourchier Street, seen in 'Secrets of a Door-to-Door Salesman' and 'Where Has Poor Mickey Gone?'.

No change here.

After an evening full of disturbing visions ending with John being thrown out by Ms Collins, Ellie returns to her studies. The London College of Fashion at the corner of Oxford Street and John Prince's Street

Suffering from a lack of focal power.

When a Model turns into Sandie while she works on a dress, Ellie runs from the college. Looking west on Oxford Street from the corner of John Prince's Street.

And this is what Oxford Street looks like without hoards of shoppers.

Visions of Jack and numerous shadowy figures of faceless Men haunt Ellie as she runs along Oxford Street. The entrance to Oxford Circus station at the north-east corner of Oxford Circus.

No ghosts on the stairway.

Across the street stands Sandie. The corner of Oxford Street and Regent Street at the south-west of Oxford Circus

Looking over Oxford Street finds a change of business in the corner premises.

Ellie mingles with Pedestrians as they begin to cross Oxford Circus. Looking down onto Oxford Circus W1 with Regent Street crossing from the bottom left to the top right and Oxford Street running top left to bottom right.

Without longer arms, this is the best I could manage.

The corner of Oxford Street and Regent Street at the south-east of Oxford Circus.

Looking across one of the UK's few crosswalks.

Leaving the Crowds behind, Ellie turns onto quieter streets. Argyle Street W1, facing Liberty's department store on Great Marlborough Street.

With the tailgate down and the driver nowhere in sight, that van wasn't moving anytime soon.

Shadowy Figures from the 60s stand alongside present day People. Little Marlborough Street W1, looking towards Great Marlborough Street.

I think the only shadowy figure about was me!

Ellie continues to run. Kingly Street with Great Marlborough Street visible beyond the arches.

Spot the difference.

More Ghosts appear and disappear as Ellie passes. Kingly Street at the corner of Foubert's Place.

You wouldn't know where you were if it wasn't for the top of the telephone box around the corner.

Ellie bumps into Strangers as she turns a corner. Looking along Foubert's Place towards Carnaby Street from Kingley Street.

A number of changes to the occupiers of the street are evident.

Facing north on Carnaby Street W1 with Little Marlborough Street in the distance.

Almost devoid of people, ghosts and traffic.

Marlborough Court with Carnaby Street in the background.

And so a queue begins . . . .

Outside the White Horse public house, looking towards Newburgh Street from Marlborough Court.

Tables and chairs stacked ready for deployment.

The corner of Newburgh Street and Marlborough Court with Ganton Street in the left distance.

Too early, even for faces from the past.

Jack catches Ellie "Where are you going?" Outside numbers 3 and 2 Newburgh Street.

Colour schemes have changed.

As Ellie breaks free, Jack becomes the Silver-Haired Gentleman. Facing north-west on Newburgh Street with the corner of Marlborough Court to the left and Foubert's Place in the distance.

The same corner, deserted.

Jack's voice fills her head as Ellie carries on fleeing. Looking south-west on Ganton Street W1 with the corner of Newburgh Street in the background.

Life, and deliveries, must go on.

Ellie turns another corner as Ms Collins' voice joins with Jack's. The corner of Marshall Street and Ganton Street.

Even the branches and leaves have stayed put.

Finding sanctuary in a police station, Ellie reports the murder that she saw in the previous night's visions. Marshall Street Leisure Centre on Marshall Street.

The reality.

Told by a Police Officer that the case is too old, Ellie researches murders that took place in Soho during the 1960s. The School of Oriental and African Studies library at the University of London with an address on Thornhaugh Street WC1.

After another encounter with the ghoulish Figures, Ellie looks out from the library where she sees Sandie walking along the street. Looking from the Brunei Gallery onto the unnamed thoroughfare running between Thornhaugh Street and Malet Street with the School of Oriental and African Studies in the top background.

All the capture's elements in a ground level view.

Ellie rushes from the building to follow. Malet Street WC1, between the London School of Hygiene and Tropical Medicine to the left and Senate House North on the right.

A brighter shot.

The corner of Keppel Street and Malet Street with the Senate House visible to the right. Other views of the Senate House can be seen in ‘Their Finest’, ‘It’s Not Cricket’ and ‘Nineteen Eighty-Four’.

The same corner.

The camera follows Ellie as she tries to catch up with Sandie. Looking south-west on Keppel Street.

Taken from the roadway for reasons I forget.

Facing the Fitzroy Tavern at the corner of Charlotte Street and Windmill Street in W1. The location features in ‘Everything’, 'Sapphire’, ‘It Happened in Soho’ and ‘Monsieur Ripois’.

Closed doors as it's a while before opening time.

Looking along Percy Passage towards Charlotte Street.

Sunlight streams into the alley.

Sandie leaves the alleyway and crosses the street. Percy Passage with the Newman Arms public house on Rathbone Street in the distance.

Not such a red light district after all.

Facing the Newman Arms on Rathbone Street W1 with the alley leading to Newman Passage to the left.

The Newman Arms in full colour.

A taxi almost knocks Ellie over as she runs into the road. Looking north-west on Rathbone Street.

All clear to cross.

Facing north-east along the alley running between Rathbone Street and Newman Passage.

Flickering lights illuminate Newman Passage.

Entering the passage where she last saw Sandie, Ellie looks up to see a pair of Women looking down on her. The corner within Newman Passage W1.

I wonder what's behind those windows now.

Jack calls out, causing Ellie to turn. Facing south-east in Newman Passage.

Looking the same way.

As Jack shouts "You think you can just walk away?" Ellie notices Sandie making her way between shadowy Figures. Looking westward on Newman Passage.

And back to facing Newman Street.

Sandie walks on as Ellie fights her way through the Ghouls who try to hold her back. Bateman's Buildings W1 with Bateman Street in the right distance.

Work completed and a fish restaurant open at the location.

Breaking free, Ellie sprints after Sandie as Jack calls to her. Looking towards Soho Square from Bateman’s Buildings.

Six years later.

Waking in a puddle with rain falling on her, Ellie gets up and makes her way through Soho Square calling out Jack's name. The south side of Soho Square.

Facing number 30 Soho Square.

Ellie reaches the Toucan where she finds the Silver-Haired Gentleman waiting for her in the basement bar. Soho Square with Carlisle Street to the centre. As one would expect, the square has appeared in many productions over the years including 'Soho Conspiracy', 'Where Strangers Meet', 'Soho Incident', 'Burning an Illusion', 'The League of Gentlemen’s Apocalypse', 'The Sexplorer' and '84 Charing Cross Road'.

The west side of Soho Square.

After Ellie confronts the Silver-Haired Gentleman believing him to have killed Sandy, he leaves the bar and is knocked down by a black cab. Outside the Toucan on Carlisle Street. The premises can be seen in a previous incarnation during 'Something in the City'.

I wasn't going to lie down on the road.

When the Silver-Haired Gentleman's name is revealed to be Lindsay, a former vice-squad officer, Ellie is comforted by John who has come looking for her. Soho Square in London W1.

A difficult shot to recreate, no height and a van parked where I would like to have stood.

John drives Ellie to her lodgings to collect her belongings. Goodge Place W1, which also features in 'A Touch of Love'.

A poor comparison from street level.

Wondering if Ms Collins will return some of her deposit, Ellie asks John to wait in the car. Facing northward on Goodge Place in Fitzrovia.

In daylight with different cars.

"If I'm not back in fifteen minutes, come and check on me." The upper floor windows of number 8 Goodge Place.

Not quite so atmospheric.

Ellie enters the house and knocks on her Landlady's door. Facing 8 Goodge Place W1.

Almost identical.

After Ellie makes a chilling discovery, Alexandra Collins looks out from her window to see John. Looking onto Goodge Place from the window of number 8.

The view across the street from outside number 8.

The end titles appear over a sequence featuring night time shots of empty streets taken during 2020's COVID-19 lockdowns. Newman Passage, looking towards Newman Street in W1. The narrow alley is also seen in ‘It Happened in Soho', 'Peeping Tom’, 'Das Geheimnis der gelben Narzissen', 'Flannelfoot' and 'The Frightened City'.

As deserted as when filming took place.

Looking south on Bateman's Buildings with the lights in windows on Bateman Street at the far end.

As seen from the Soho Square end.

Facing northward on Rupert Street from the corner of Archer Street with Winnett Street to the right and Brewer Street in the distance.

It wouldn't be the same without scaffolding.

Tisbury Court with Rupert Street crossing the background. This paved street can be seen in 'The Look of Love', 'Mona Lisa' and 'Say Hello to Yesterday'.

Without the focal length but with construction clutter.

Manette Street with Greek Street through the archway of the Pillars of Hercules public house. An aerial view of the rest of the street appears in 'The Look of Love'.

The Sunday morning clean up continues.

Great Marlborough Street, looking towards Regent Street and the junction with Maddox Street.

One worksite gives way to another.

Cambridge Circus with Romilly Street to the left and Moor Street on the right.

With the inadequate provision of public conveniences, tourists and the general population have to endure the sight of street urinals and portable toilets.

Looking along Air Street from the corner of Brewer Street.

No too much has altered over six years.

Facing the junction of Shaftesbury Avenue and Great Windmill Street with Denman Street to the extreme left.

The same junction.

The junction of Old Compton Street, Greek Street and Moor Street with the Three Greyhounds public house to the right. The pub can be seen in 'The Wrong Arm of the Law', 'Melody' and 'Beat Girl'.

Quietly awaiting the day's influx of people.

Looking westward along Meard Street, a popular thoroughfare with film makers which also features in 'The Moon Over the Alley', 'Saturday Night Out', 'Man at the Carlton Tower', 'Danger by My Side', 'The Six Men', 'The Hippopotamus', 'Decline and Fall . . . of a Birdwatcher', 'The Teckman Mystery' and 'Don't Open till Christmas'.

Meard Street in daylight.

Dean Street, facing south. This section of the street features in 'A Cock and Bull Story', 'Zeta One' and 'The Sandwich Man'. while the premises to the left appear in 'The Small World of Sammy Lee'.

Changes have been made to the left.

Looking north on Wardour Street from the junction with Brewer Street.

Las Vegas still paying out.

Facing north-east along Gerrard Street from the corner with Wardour Street. The street can be seen in 'The Small World of Sammy Lee' and 'Mona Lisa'.

The same street, almost as quiet.

Looking south at the junction of Carnaby Street with Foubert's Place, which is also seen in 'Smashing Time' as well as 'Arthur? Arthur!'.

Carnaby Street now, waiting for the next trends to surface.

Newburgh Street with Foubert's Place in the distance. This street also appears in 'Stranger in the City', 'The Dark Stairway', 'The Haunted House of Horror' and 'The Frightened City'.

Easily recognisable.

Facing north along Bateman's Buildings towards Soho Square.

There are fewer bins cluttering this end of the passage.

Looking into Carlisle Street from the corner of Dean Street. The corner features in 'The Sandwich Man' and 'The Small World of Sammy Lee'.

From a similar position.

Facing west along the northern side of Soho Square. As one would expect, the square has appeared in many productions over the years including 'Soho Conspiracy', 'Where Strangers Meet', 'Soho Incident', 'Burning an Illusion', 'The League of Gentlemen’s Apocalypse' and 'The Sexplorer'.

The corner of Soho Street is shrouded and a van hides the portable pissoirs and toilets provided for weekend revellers.

Hanway Street with Hanway Place in the background. The narrow streets can be seen in 'Franklyn', 'Emil and the Detectives', 'Rattle of a Simple Man', 'Expresso Bongo' and 'Play it Cool'.

There's something interesting in that window.

Looking north along Charlotte Place in W1 with the Duke of York public house to the left and the BT Tower prominent in the distance. The pedestrianised street appears in 'The Sandwich Man' and 'Monsieur Ripois'.

After the bin men have called and just as the cafés are opening.

The view east from Piccadilly Circus along Coventry Street.

Having found their pitch, those two weren't moving.

Facing north on Wardour Street, past Oxford Street to Berners Street with the BT Tower in the distance. Other views of the street can be seen in 'The Sleeping Tiger' and 'Policeman's Holiday'.

Practically impossible to recreate without the focal length.