71 In Hindi 720p



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'71 In Hindi 720p
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In 1971, a young and disorientated British soldier is accidentally abandoned by his unit following a riot on the deadly streets of Belfast.
1971. Instead of being sent to Germany after the completion of basic training as they expect, Private Gary Hook and the rest of his regiment with the British Army are deployed early to Belfast, Northern Ireland, where tensions are rising between the Protestant Loyalists and the Catholic Republicans, the latter militarized under the Irish Republican Army (IRA). The regiment&#39;s task is largely to maintain the peace within the conflict while the local police do their job related to the conflict. Much of the populace, especially on the Catholic side, will not be happy to see the British Army intervention. While the regiment is dealing with a situation in Belfast that has the potential to escalate into a full blown riot, Hook, due to a specific incident within the situation, is separated from the rest of the regiment. He has to try to make his way back to the barracks on his own, which will be difficult as he doesn&#39;t have his bearings within the neighborhood, and as he knows a few young men in particular, they with the Provisional IRA, will shoot to kill him, those within the provisional army who are younger, and generally more willing to take extreme measures for the cause in their inexperience. In the process, Hook will find that many are caught in the middle in some form or another, some who do not believe in the conflict or the potential loss of life regardless of which side they fall on, and some who, despite their official positions, may take what may seem on the surface to be uncharacteristic measures, which may help or hinder Hook, all for their self-serving motives.
If Jack O&#39;Connell carries on like this, he&#39;s going to have the best resume of any young British actor out there, right next to Tom Hardy. From the magnificence of &quot;Harry Brown&quot;, to the brutality of &quot;Starred Up&quot;, the guy seems to be found in every brilliant piece that&#39;s come out in the last few years. That said, it&#39;d be nice to see him in something where he isn&#39;t beaten half to death.<br/><br/>Being a British-funded film, it&#39;s slightly weighted towards the plight of the Tommy, unlike other NI-based dramas such as &quot;The Wind that Shakes the Barley&quot;, but what more can you say than what&#39;s already been said: it&#39;s beautifully shot, nerve-wrackingly tense, and brings the personal nature of urban war right into your living room with all its horror and mindlessness. The sinister streets of Belfast have never looked so frightening on screen: if &quot;24&quot; needs a director for its next series, they know who to call. What a debut; what a fantastic talent. When you read British newspaper tales of &quot;dark forces&quot; the old Empire has nurtured so well, you&#39;ll know what they were talking about.<br/><br/>&quot;The Hurt Locker&quot; and other urban war tales are excellent in their own right, but always have a glossy &quot;hero&quot; veneer for the audience. 71 takes us straight into the darkness and evil, which is 50ft thick on all sides, wherever the camera is. This is a SCARY place to be lost in, even with women and children all around you. Good doesn&#39;t save the day here: survival is good enough in somewhere so toxic; where the evil of tit-for-tat has consumes everyone, badge or leather-jacket.<br/><br/>The color is just extraordinary: orange, cold green; over an incredibly claustrophobic backdrop that is the last place you&#39;d ever want to be stuck in at night. But it does beg the question: why not just use a payphone to call into base?<br/><br/>The only criticism i&#39;d have, other than the flatness and/or two-dimensional nature of Jack&#39;s character, is that perhaps there wasn&#39;t enough exposition and/or backstory about the rival factions, and their motivations: it&#39;s slightly difficult to follow who is doing what, and why - it fades into the Fog of War, maybe intentionally. What the MRF, the Det, and the SAS did in Northern Ireland was truly malicious and sinister, if brilliant in terms of State control. A thriller like this opens up a whole new editorial world for the genre, and a landscape of stories against the intrigue, espionage, and evil perpetrated by both sides in a battle of symbols. There is the Middle East, American espionage tales, or even classical European conspiracies, but Belfast has a darkness of its own that&#39;s been waiting to be explored in film for decades - finally the tip of the iceberg has arrived.<br/><br/>I say, sequel. A darker one, with more intrigue, and a deeper look at who those British bad guys are, and what they did in Ireland.
Jack O&#39;Connell plays Gary Hook, a private in the British Army sent to Belfast, who finds himself separated from his men during a raid that turns into a riot. His mission thereon is to survive the night and get back to his barracks. This is the entire plot – or perhaps should have been. Events are complicated by Captain Sandy Browning&#39;s (Sean Harris) undercover operatives, whose methods are, shall we say, &#39;questionable&#39; and whose allegiances are &#39;fluid&#39;. I wonder about the casting of the ever-excellent Harris in a role that seems to demand brawny over creepy, but it shouldn&#39;t detract from what is a very accomplished directorial debut from Yann Demange.<br/><br/>Gregory Burke&#39;s script stripped down to the point of sparseness. There&#39;s a moment when a sympathetic doctor explains the entire structure of the military hierarchy through a handful of choice words, three of which are the same and begin with &quot;C&quot;. The screenplay is merely a vehicle for the experience of one soldier – one pawn – as he witnesses someone else&#39;s war from the inside. It&#39;s an intense experience; a brisk exercise in tension and spasms of violence, rather than out-and-out action. Mirroring the horrifying situation in Northern Ireland at the time, there&#39;s a sense that anyone can die, any time, in the blink of an eye. The evocation of the period is impressive, without resorting to TV clips and newsreels; instead, it&#39;s all crap cars, crapper clothes, and mum-hair.<br/><br/>As high concept thrillers go, there are no new ideas as such, simply a new setting in which to deposit those old ideas. Permeating is an air of John Carpenter&#39;s Escape from New York – and I would have preferred more Carpenter luridness and less Greengrass realism – as well as hints of Children of Men, particularly in one single-take sequence involving a pub bombing.<br/><br/>Demange doesn&#39;t shy away from the violence but nor does he shy from the effects of doing violence to others. This is a film about the perpetrators of pain, briefly exploring the theme of culpability. Hook is just a grunt, put in a situation where he must kill or be killed. Can he be held responsible for what he must do next? Embodying this anguish, it&#39;s another very strong performance from O&#39;Connell. &#39;71, Starred Up, and the forthcoming Unbroken should cement him as the new British face of brutal cinema.<br/><br/>I&#39;m not sure &#39;71 is a film to be taken totally seriously – indeed, it never quite resolves its dual identity as a chase-&#39;em-up and an issue movie – but Yann Demange is a serious new talent to watch.
'71 constantly thrills without sensationalizing its surprises. The war-is-hell ethos drives it forward, so that the movie retains its suspense in conjunction with its dour outlook.
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