Belfast native David Holmes has composed the grooving soundtrack for a lot of good films with an eye for suspense and action, being Steven Soderbergh’s go-to-guy. But I don’t think he’s done 1970s synth menace before, and when he unleashes it in the third act to long takes and tracking shots of people stalking the endless concourses in The Divis block of flats it ratchets up the tension.
I love it when actors play the extremes of their range in a single year, and Killian Scott does it here. Scott had the funniest scenes in Calvary as misfit Milo, convinced that being homicidal would be a plus for the army – ‘like an engineering degree’. As the ruthless emerging IRA leader Quinn in ’71 he seems older, tougher, and even almost taller so complete is the transformation.
’71 is so unpredictable that you don’t expect Chekhov’s rifles. And yet one pops up. “You can use the Divis as an orientation point, but don’t go inside the flats. It’s an IRA stronghold” the soldiers are told at their briefing. So of course Gary wakes up to find himself on one the top floors of The Divis, with the IRA coming up, and guarding all possible exits…
“You know where Belfast is, right? Northern Ireland. United Kingdom. Same country. You’re not leaving the country” the deploying soldiers are informed. Well… they kind of are. Gary’s complete bafflement at the sectarian madness that greets him in Belfast almost satirises Thatcher’s infamous contention that Northern Ireland was just as British as Finchley. This isn’t so much not leaving the country, as going in-country in the Vietnam sense…
One of the funny moments of the film comes when Jack O’Connell’s protagonist has his named parsed: Gary Hook, obviously Protestant. Just to confirm he’s not a Taig, he’s asked by his foul-mouthed child protector if he is a Protestant. “Uh, I dunno.” “You don’t know?! Now I’ve heard everything.” Later he demurs any possible Nottingham connection, “Darbyshire and Nottingham don’t really get on.” “Why?” “Don’t know really.”
’71 initially surprises by using the Troubles almost as an incidental backdrop for an urban survival thriller. But then it really surprises in its acknowledgement of the North’s Dirty War. British military intelligence officers are depicted both training loyalists in bomb-making, and talking to leaders of the IRA. ’71 just takes it for granted that this is what happened, something which would outrage Daily Mail blowhard Peter Hitchens.
Black Watch playwright Gregory Burke and TV director Yann Demange (Dead Set, Criminal Justice) make an arresting cinematic debut with this movie – tense, sharply scripted, and directed with disorienting and dazzling flair. And praise doesn’t come much higher than saying it reminded me of another film about a wounded man in Belfast falling in with people with agendas of their own – Carol Reed’s 1947 classic Odd Man Out.