'71

Reviews

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  CinemaSerf

  Mar 17, 2024

  7
  Though neither he nor Sean Harris should ever be described as particularly versatile actors, Jack O'Connell really does work well in this brutal and gritty drama. He ("Hook") is a soldier who becomes separated from his unit after a riot on the streets of Belfast sees his colleague shot in the head, and him pursued - unarmed - through an hostile urban terrain. He's been injured, is disorientated and is under no illusion that there are men chasing him from the Provisionals who want to kill him. What now ensues is a really tensely directed and sparingly written depiction of just how the "troubles" might have impacted on people of both religious persuasions at the time. Even those passionate about unionism or republicanism need not necessarily agree on the role of violence in their struggle, and as we follow "Hook" we encounter a variety of people whose sense of pity and human decency is as important as anything else. The photography also adds richness and intimacy to the scenario - largely filmed hand-held, at night by streetlight, and there is a real and increasing sense of jeopardy here. Will the boy make it or not? Politically, it goes some way to illustrating that nothing in this Province was as straightforward as it might seem - people with conflicting (and self) interests frequently throwing obstacles in his way that are as unwelcome as they ought to be unexpected. Speculative? Sure, it has to be - I doubt we will ever really know all of the truths from this conflict, but O'Connell, Sam Reid and Harris help deliver a complex and quite frightening observation of activities taking place quite recently in one of the world's oldest and most functional democracies.Read more

  Though neither he nor Sean Harris should ever be described as particularly versatile actors, Jack O'Connell really does work well in this brutal and gritty drama. He ("Hook") is a soldier who becomes separated from his unit after a riot on the streets of Belfast sees his colleague shot in the head, and him pursued - unarmed - through an hostile urban terrain. He's been injured, is disorientated and is under no illusion that there are men chasing him from the Provisionals who want to kill him. What now ensues is a really tensely directed and sparingly written depiction of just how the "troubles" might have impacted on people of both religious persuasions at the time. Even those passionate about unionism or republicanism need not necessarily agree on the role of violence in their struggle, and as we follow "Hook" we encounter a variety of people whose sense of pity and human decency is as important as anything else. The photography also adds richness and intimacy to the scenario - largely filmed hand-held, at night by streetlight, and there is a real and increasing sense of jeopardy here. Will the boy make it or not? Politically, it goes some way to illustrating that nothing in this Province was as straightforward as it might seem - people with conflicting (and self) interests frequently throwing obstacles in his way that are as unwelcome as they ought to be unexpected. Speculative? Sure, it has to be - I doubt we will ever really know all of the truths from this conflict, but O'Connell, Sam Reid and Harris help deliver a complex and quite frightening observation of activities taking place quite recently in one of the world's oldest and most functional democracies.