LFF 2014: ’71 ****

This is Northern Ireland Troubles behind ‘enemy lines’ (from a British military perspective), a powerful cat-and-mouse game that makes ’71 an exhilarating watch from the start. There needed to be a fresh angle, which writer Gregory Burke evokes, making sure that there is enough Belfast streets-located violence to establish and drum home the effects of the sectarian violence, but to also ensure that it’s not an action replay of other films in the same genre.

In fact, the ending could be staged on any sink housing estate, and it’s this sense of ‘reality’ and possible familiarity that really grounds proceedings. In addition, ’71 stars one of the most exciting Brit actors to date, Jack O’Connell, who highly impressed with his angst-ridden portrayal of ironically-named Eric Love in LFF 2013 gritty prison drama Starred Up.

O’Connell plays young soldier Gary Hook, newly posted to Belfast in 1971 to assist the Ulster Constabulary in carrying out searches for IRA activity. He leaves a younger charge behind in the UK (this part of the story is unclear as to their relationship), as he experiences his first day on the streets. Tragedy mixed with lack of military command – accidentally abandoned by his unit – propels disoriented Hook into a dangerous situation, hunted by Sinn Fein while trying to get back to his barracks. A further explosive situation means he is also at danger from those supposedly on his own side.

This nail-nibbling drama has O’Connell’s magic touch to thank for its full impact. The actor seems to ooze violence and pent-up frustration like a ticking time bomb. His character here is no more vulnerable as in the 2013 film, only this time, Hook’s actions are mostly reactionary to his current situation. Amidst the storm there are brief snatches of reflection from Hook as he meets a cocky young boy who tries to help him. The rest of the film is a dangerous chase through open and confined spaces, accompanied by a feeling of hopelessness but propelled forward by the will to survive. It’s infectious as you want Hook to survive at all costs, if not for rendering the former futile if he does not.

Resident nasty Sean Harris stars as Sergeant Leslie Lewis, again proving his physical and acting prowess in such a role that will forever have him typecast but will bring him regular work for decades to come. Like O’Connell, his forte is putting his audience on edge as he has us wondering as to the full extent of his character’s capacity for malice. Lewis is no exception, turning out to be the biggest threat. In a sense, debut feature-film director Yann Demange has the right tools in place to coax out the best – and he does a fine job that is pure tension on tap.

The hard-hitting drama totally captures the surroundings of the decade too, shot in subdued, grainy tone to make it more relevant. However, because of the estate setting, this gives ’71 a surprisingly current, ‘street-wise’ feel, perhaps opening it up to a wider, younger audience who could empathise while make comparisons with life at the height of the Troubles. It’s an interesting take on the genre.

’71 will have you on the edge of your seat throughout. Like its lead character, there is no respite, even when Hook gets wounded. Adding a brilliant score from David Holmes further cements a cracking first feature for Demange and O’Connell’s natural flare for such action-drama parts.

4/5 stars

By @FilmGazer

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