Jack O’Connell, an actor who made his name in the UK as one of the main stars of popular teen series Skins, currently finds himself on something of a hot streak. After edgy prison-drama Starred Up, the young englishman is at the heart of yet another gut-wrenching proposition. In ‘71, O’Connell plays a soldier in the Royal British Army, as he is sent into the “Heart of Darkness” of Belfast’s bloodsoaked civil war. In essence a fairly straightforward action film, the complicated politics of Ireland’s history of conflict are largely set to one side in order to facilitate the universal quality of its survival narrative.
In the world of measured brutality and overly physical camaraderie that is the army, private Hook feels right at home, armed with both a weapon and hubris. Yet no amount of physical training can prepare the young man for the rampant hostility he’s subjected to after being affected to the rubble-ridden streets of the Northern Irish capital. Demange goes a long way towards communicating the terrifying uneasiness that comes with being surrounded by a volatile population ravaged by hate, discontentment and prejudice.
After a routine, but nevertheless uncomfortably violent, house-search turns into a full-blown riot, tragedy strikes for the first time and Hook is left stranded in hostile territory with the enemy chasing at his tails. From that moment on, the film triggers into full action mode as the soldier attempts to return to his barracks and escape an ever-thickening web of murder, betrayals, close calls and chase scenes. Moral lines are consistently blurred along the way as undercover army officials mingle with paramilitaries, good hearts and cunning minds. It’s not just Hook who takes a beating as our alliances as an audience are consistently put into question or downright dashed in tragic outbursts of violence. Demange has managed to capture the mindlessness of war without mindless characters, each one ultimately the silent bearer of ulterior motives.
The real star of the show however is director of photography Scott Kevan, as he combines sharp, dizzying and oftentimes visceral camera movements with a gloriously grainy cinematography. The soft nostalgic glow he gives the early shots amidst the english landscapes seamlessly morphs into the almost tangible and murky textures of a night’s descent into living hell. Even in its darker moments, the image is so utterly exquisite I almost felt ashamed to be enjoying the horror so much. There’s a strong chance that you won’t find more beautiful images than ‘71 in this year’s Berlinale Competition, and it’s a good thing it also happens to come with a compelling atmosphere, a satisfying survival story and an effective punch.
