I don’t know about you, but I’m not terribly up on my
British and Irish history. Because of
this, I don’t know a whole lot about The Troubles, the urban war between the
IRA and the British military over the national status of Northern Ireland. If ’71
is any indication, the conflict was complex, factionalized, and not necessarily
the will or in the interests of the average Irish citizen, and my ignorance of
this topic may have harmed my appreciation of the film. However, that doesn’t totally prevent one’s
enjoyment of this tense action thriller.
The story follows a young British soldier named Hook who
becomes separated from his unit in a hostile Catholic part of Belfast. Alone, with hostile factions of the IRA
warring all around him for the right to fight off the British, Hook must rely
on the assistance of civilian strangers in order to survive the night. Any of the people he meets would stand
something to gain by turning him over to the IRA, but it is ultimately
compassion that wins out amongst the constant threats of violent outbursts.
This is a vastly simplified explanation of the plot, and
that is because, quite honestly, some of the greater intricacies escaped
me. The film is decidedly minimalist on
dialogue, which in and of itself is not a bad thing, but it does mean that
exposition is scarce, and consequently that the significance of all the film’s major
players can get lost in the shuffle without a clear understanding of who they
are and what their motivations are.
Again, I think this may have a lot to do with my personal ignorance of
the political circumstances of the underlying conflict, but some greater
explanation would have generally been better appreciated.
However, at the end of the day, ’71 is not trying to be a political drama. It doesn’t really have anything poignant to
say about either the Irish or the British or those caught in between. Rather, this is a straight-up action
thriller, and at that is succeeds marvelously.
Never quite knowing who is friend and who is foe puts Hook in constant
survival mode, desperately struggling against anyone and everyone, even against
those who patch his wounds or shelter him against his pursuers. Despite the complex political climate, the
film deals with its characters in a very black-and-white morality, but many
characters remain shadowed in shades of gray until it comes time to make their
move. This makes for a very tense and
very engaging experience.
So, on the whole, I quite enjoyed ’71. It seems to fashion
itself as a more sophisticated alternative to the likes of American urban
action pieces, and while I don’t think it succeeds to that extent, it
certainly manages to engross with its bleak survivalist attitude. Check it out if you get the chance.
Am I alone in not knowing a whole lot about The
Troubles? I was certainly aware of its
existence, just not the political intricacies.
Validate my ignorance in the comments below.
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