August
Tuesday 18 September 2018 photo 8/8
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'71 Sub Download
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In 1971, a young and disorientated British soldier is accidentally abandoned by his unit following a riot on the deadly streets of Belfast.
A young British soldier is accidentally abandoned by his unit following a terrifying riot on the streets of Belfast in 1971. Unable to tell friend from foe, the raw recruit must survive the night alone and find his way to safety through a disorienting, alien and deadly landscape.
This film is highly recommended.
In brief: A gripping war thriller that matter-of-factly tells its tale of a soldier caught behind enemy lines.
GRADE: B+
A city can outlive the atrocities of war. Time may all but erase the memory of bloodied injuries and its once escalating death toll as new generations push those events further to the back of their minds. Warsaw. Hiroshima. Berlin. Dresden. Saigon. All places that were war zones that now camouflage the suffering and only hint at the wounded lives and destruction that came before.
'71 visits such a a time and a place. Belfast. The Troubles. Catholic vs. Protestant. A most unholy holy war. Caught in the crossfire is Private Gary Hook (Jack O' Connell), a soldier separated from his British Army band of brothers. Hook combs the mean streets, searching for a safe haven until he can be rescued and encounters various people on his journey, both sympathetic and otherwise.
Well directed by newcomer Yann Demange and written by Gregory Burke, 71 depicts that sorrowful event. The screenplay focuses on Hook's ordeal and doesn't add much details about the turmoil between the fighting factions. The dialog is minimal, although some of it was lost on me with its thick Irish brogue. (Subtitles would have enhance the movie-going experience.) Characters and their motives remain either murky or purely of the black and white variety. What the film lacks in character development, it more that makes up in its tension-filled scenes of warfare.
The chase scenes are riveting. Taut editing by Chris Wyatt and an effective score by David Holmes ratchet up the suspense. Tat Radcliffe's hand-held camera work brings the moviegoer directly in the line of fire and cause us to immediately empathizes with the lost soldier and his dilemma. O'Connell's performance is more intrinsic and physical. The actor's strong screen presence says more than words itself. He becomes the common man, easily identifiable and emotionally grounded. Fine supporting work by Killian Scott, Sean Harris, Richard Dormer, Charlie Murphy, and Sam Reid add to the film's impact.
Demange's images of the war-torn village and its bombed-out ruins show a powerful vision and the director expertly handles the war scenes of escalating violence, with sudden bursts of savagery that left me gasping aloud at times. He is definitely a talent to watch and I look forward to his next venture.
In this time of terrorism and religious extremism, '71 is a lasting testament to us all. The film recalls an era of violence, a time of lives lost and corrupted, under the guise of religion freedom, that needs to be remembered in order to avoid repeating those mistakes once again.
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Set in 1971, a year before the infamous Bloody Sunday tragedy, '71 tells the story of a young British soldier Gary Hook (Jack O'Connell) sent to Northern Ireland on active service, who becomes involved in an exercise designed to protect the Royal Ulster Constabulary as they raid a Catholic house, much to the local residents' anger. Hook gets separated from his fellow-soldiers and eventually gets lost in the back streets of Belfast. He is eventually rescued, but in the process discovers the seamy truth about daily life during the Irish Troubles.
Filmed in and around the streets of Yorkshire, Yanin Demange's film has a newsy feel to it; this is chiefly due to the use of a hand-held camera that photographs the action in jerky style, with fast cutting and an emphasis on incident rather than characterization. This approach works well on one level, as it emphasizes the atmosphere of perpetual danger prevailing in Belfast at that time, where no one - not least the citizens themselves - knew who their friends were. Loyalties perpetually shifted, despite the religious divisions and the prevailing antipathy towards the British soldiers, who were often regarded (especially by the Catholic population) as representatives of the colonizing power.
On the other hand, the film has little real sense of socio- historical context. The action plays out like a gangster thriller, with several sequences of physical violence interspersed with (the mostly male) cast swearing at any and every opportunity. We never really discover why people actually behaved as they did during the early Seventies; why the troops were brought in; and whether the troops' presence at that time differed from other periods in Irish history (for example, in the action leading up to and following the 1916 Rebellion). It seems that Demange has sacrificed analysis in favor of action and incident.
As a result, we are left with a film that despite its title seems curiously ahistorical. Its subject-matter could refer to any internecine conflict past and present; while the characters' reactions tend towards the predictable. '71 represents a missed opportunity; viewers wanting to find out more about Irish history might be better advised to watch ODD MAN OUT (1946) or THE CRYING GAME (1992).
The film’s stark realism and bruising impact are enough in themselves, but the risk, and the real artistic payoff, is its bold sensory plunge into this Hadean inferno.
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