劇照
劇情介紹
Ex-cop Jack Taylor earns a reputation for being a tough-as-nails private investigator who's not afraid to take on vigilantes or track down killers.
長篇影評
1 ) 深陷其中的好看與并存的失望
我真的以為會是一部教父一樣的劇，結果我錯了，前兩集讓我真的以為男主看破了一切。是要用女主反間之類的。結果竟然一路被賣到了第六集。因為妹子死了兄弟還是喜歡妹子。hai。劇情硬傷，但是著實靚仔。拍的很好尤其是服道化場景等等。
接下來是細節。私藏軍火，干掉兄弟（其實沒死）和警長交易，透露著一種網文爽文的快感，控制了一切，讓人感覺這一切是合適的。結果后來全部失控了。
警長跟手下感嘆女間諜比你們全都有用？間諜就是這么簡單說出去的嘛。類似的小地方不吐槽但有不少。本來我以為男主看得透一切包括教堂那里就知道了誰泄密，再后來真的被賣了一次之后（抓妹夫）會知道是誰結果一直不知道？？靠女主的愛情和警長莫名其妙的同情就成功了。愛爾蘭人來的時候生死大事交給沒開過槍的人還抱怨警察來的晚？？？全國第三大賭馬公司收下黑幫兩大卡車經過了不激情的演講后被單挑干掉了.....共產黨員的轉變可真快....女主的本質也許就是渣吧（我真的一直以為tommy在反間或者給出錯誤的消息誤導警察或者驗證臥底....）
綜上所述。拍攝手法和場景布置甩國產幾條街。真正的的時代感和背景不是去嶄新的橫店電影城就可以拍的出來的。
想了想這和國內的玄幻小說差不多定義吧可以叫做爽文，但是是瑯琊榜那種級別有劇情硬傷的好爽文（瑯琊榜這個例子不怎么恰當）ps tommy后幾集智商最高的就是和結婚有關。比如試出了他弟弟想娶的妓女其實還是....雖然也預料之內的反應但可以說已經是后面陷入愛情tommy的極限了。
說了這么多這部劇的作用就是讓很多只看評分決定劇水準高低的朋友們一個清醒認知的機會。劇很好，但沒好到九分以上。
2 ) 很文藝的黑幫片
http://pureage.info/2014/01/18/peaky-blinders.html
這是一部BBC出品的黑幫劇，第一季只有六集，每一集時間大概一個小時。我連續看了兩遍。這部電視劇，有下面一些地方可以說道說道的。
這首先是一部黑幫片，但其中并沒有多少黑幫火并的場面。有且僅有的幾場火并戲，與以往我們看慣了的黑幫劇，簡直是小孩過家家。但美輪美奐的音樂和畫面，讓我們在觀看的時候會忘了這一點。也許等每一集看完后，你會冒出一句，不就是幾個人打架嗎，有必要搞的這么文藝范嗎？
浴血黑幫講述的是一個戰后歸來的年輕人，如何帶領小小的家族勢力在復雜的局勢下生存與崛起的。雖然在他們的片區內，每個人都對他們噤若寒蟬，但客觀的說，他們的勢力確實很弱小。這些勢力涉及到警察代表的政府、神秘的愛爾蘭共和軍、同樣是家族勢力的李家以及擁有合法身份的，更高層次的黑幫頭目金波。
他們的勢力弱到什么程度呢，如果不是老二湯米當家，換做其他任何一個人，上面的任何一個勢力都可以輕而易舉的滅掉他們。畢竟就那么幾個人而已，甚至連還是兒童的小弟弟也在跑腿。所以，他們雖然可以偏安一隅，只管自己的片區，但這樣下去被警察滅掉或是被黑吃黑是分分鐘的事情。
那么湯米都有哪些過人之處呢？
不外乎這么幾點，心思縝密，夠狠。但從方法論上來講，我覺得最重要的一點是，不能把雞蛋放到一個籃子里，或者說，不能讓自己只有一根救命稻草。由于無意中獲得了一批政府的武器，浴血黑幫受到了警察的嚴密關注。他既沒有將其作為一個燙手山芋急于出手，也沒有在上面孤注一擲，而是權衡利弊，將其作為籌碼等著某天能排上用場。為了達到將自己的地盤擴大化，生意合法化的目的，他故意得罪李家，取得與金波合作的可能。一旦與金波聯手后，又迅速再次與李家聯合，絆倒金波。每一步都走的深思熟慮，都能將自己的利益最大化。這樣的情節，是無需要大的動作場面來支撐的。
最后再提一下，配樂實在是太贊了，光是聽聽音樂，都夠讓你把它看完。
這是一部BBC出品的黑幫劇，第一季只有六集，每一集時間大概一個小時。我連續看了兩遍。這部電視劇，有下面一些地方可以說道說道的。
這首先是一部黑幫片，但其中并沒有多少黑幫火并的場面。有且僅有的幾場火并戲，與以往我們看慣了的黑幫劇，簡直是小孩過家家。但美輪美奐的音樂和畫面，讓我們在觀看的時候會忘了這一點。也許等每一集看完后，你會冒出一句，不就是幾個人打架嗎，有必要搞的這么文藝范嗎？
浴血黑幫講述的是一個戰后歸來的年輕人，如何帶領小小的家族勢力在復雜的局勢下生存與崛起的。雖然在他們的片區內，每個人都對他們噤若寒蟬，但客觀的說，他們的勢力確實很弱小。這些勢力涉及到警察代表的政府、神秘的愛爾蘭共和軍、同樣是家族勢力的李家以及擁有合法身份的，更高層次的黑幫頭目金波。
他們的勢力弱到什么程度呢，如果不是老二湯米當家，換做其他任何一個人，上面的任何一個勢力都可以輕而易舉的滅掉他們。畢竟就那么幾個人而已，甚至連還是兒童的小弟弟也在跑腿。所以，他們雖然可以偏安一隅，只管自己的片區，但這樣下去被警察滅掉或是被黑吃黑是分分鐘的事情。
那么湯米都有哪些過人之處呢？
不外乎這么幾點，心思縝密，夠狠。但從方法論上來講，我覺得最重要的一點是，不能把雞蛋放到一個籃子里，或者說，不能讓自己只有一根救命稻草。由于無意中獲得了一批政府的武器，浴血黑幫受到了警察的嚴密關注。他既沒有將其作為一個燙手山芋急于出手，也沒有在上面孤注一擲，而是權衡利弊，將其作為籌碼等著某天能排上用場。為了達到將自己的地盤擴大化，生意合法化的目的，他故意得罪李家，取得與金波合作的可能。一旦與金波聯手后，又迅速再次與李家聯合，絆倒金波。每一步都走的深思熟慮，都能將自己的利益最大化。這樣的情節，是無需要大的動作場面來支撐的。
最后再提一下，配樂實在是太贊了，光是聽聽音樂，都夠讓你把它看完。
3 ) 小失望
三星全部給音樂和基里安好了！
期望越高，失望越大——人物的背景交代太薄了！警長居然就這么放棄追捕Thomas? Thomas就這樣愛上了Grace?一個“從法國回來后就對女人不感興趣”的人? Grace就這么離開組織，不報仇了? Grace殺死了愛爾蘭的人就這么算了? 還有Thomas總是讓人捉不透，到底哪個是他的真心話，哪些是陷阱?尤其是對著Freddy。前一秒對著Polly 說要Ada 打掉孩子，后一秒又叫Freddy跟她妹妹結婚。
一直期待看警長和Thomas的正面撕破臉，并沒有！一直以為Thomas是看穿了Grace，并沒有！
最喜歡的角色是Polly。不喜歡女主角。
看到第五集真的忍不住，不過這是我看過的第一個可以不帶耳機看的床戲emmmmm……（奇怪的關注點）
還有一集，挺住。
4 ) 給兩星的原因
具備爽劇的潛質 卻拍出個便秘 槽點數不勝數 最后兩集直接拉到及格線之下
具體說的話 比如john的婚配 前一秒john還像個純情處男因為娶不到妓女而一臉愁苦 后一秒突然毫無征兆地被哥哥許配給lee家 竟然也就無傷大雅地小打小鬧一番后一笑了之 還愉快地享受其婚后生活
又比如 被人吐槽無數的警長跟女主這段畸情 一開始當女兒 還沒怎么鋪墊 也沒共同經歷什么生死 突然之間他就...求婚了？！看了眼女主呢 她似乎一點也不覺得吃驚 好家伙 吃驚的部分全留給觀眾了是吧
接著是女主的復仇 前幾集看她心事滿滿 似對IRA深仇大恨 遇到男主之后 我的天 老父親完全不要了 直言這仇我不想復了 當初的那股憤怒已經被男主的含情脈脈打消了？WHAT THE ACTUAL FUCK LADY 您仇家是IRA 跟男主有個毛關系 我懷疑你這是個假仇
最讓我感到智商受辱的是kimber與shelby之間的“大戰” 千鈞一發之際 一年輕少婦out of blue抱著嬰兒跳到戰場中央 高喊peace and love 然后就沒有然后了？！這 真的 是什么腦殘劇本
其他諸如freddie突然拿槍指著tommy 大哥崇拜父親的橋段 tommy遠比警長naive的設定 男主猜不出女主是間諜 等等 都被指出太多次了 不贅述
總之 邏輯上不連貫 人物設定隨心所欲導致完全沒有代入感導致整體敘事的垮塌是兩星的原因
5 ) 挺無聊的劇……
一部莫名其妙的劇，總體而言不是男主特有本事可以總是一副大哥樣，而是純粹為了耍帥而耍帥。
1，總體方向莫名其妙，本以為天才領導者，要不耍的大家團團轉，要不兩天才演對手戲，好似又可以看到福爾摩斯同莫里亞蒂版的天才與天才間的對決，結果除了前兩集男主智商是在線的，后面的幾段莫名其妙，最后居然變成了兩個男人的苦情戲。
2，角色設定莫名其妙。本以為男主是個狠角色，所以有能力做獨行俠，結果酒館被兩個買槍的愛爾蘭分子血虐成那樣又是幾個意思？警察放狠話威脅湯米快點，男主角只敢拿著槍在后面抖半天，迫于形勢顧全大局，我忍。 第二部獨行俠見愛爾蘭反抗組織頭目你一個人出來發什么火呢，除了嘴巴上威脅也沒什么別的本事了？
3，姐姐情趣莫名其妙，艾達老公被抓，明明是男主姐姐辦事不力（心軟沒把妹夫驅逐出去，告密揭發設計趕他們走，明知妹妹應該打胎還要跟男主一鬧），到頭來還敢把氣撒在男主頭上，特么的你有什么資格吐口水？
4，妹妹情緒莫名其妙，自己老公被抓心里沒點數么，莫名其妙怪你哥還要別人救他你才原諒？出生在這個家庭第二季還莫名其妙的以這個家庭為恥，白瞎了大家一直對她的保護。
5，男主腦回路莫名其妙，明知女主不可信，一而再再而三的問問題，還經常旁敲側擊，、哥哥靠不住所以男主什么都不會告訴他，還重用，丟槍的時候就該猜到了，居然毫不在意，上一秒在逃命下一秒睡完女主安慰哥哥，自己怎么活下來的心里不嘀咕？ 一開始還以為大智若愚，眼觀六路耳聽八方的男主故意設的局，結果，真的挺打臉的。
6，劇情發展莫名其妙，丘吉爾說的很明白，一支槍一顆子彈都不要丟，結果少了一桿槍還天知道少了多少子彈，沒事，莫名其妙的就不在乎了，這是個什么劇本啊？
7，苦情戲莫名其妙，老頭子故意抖出了女主重功，意圖我得不到你也別想得到，還鋪墊性的我有一個想法，結果更是莫名其妙，好好一個黑吃黑，肯波良心發現給了一槍就笑呵呵的回頭聊天去了，男主一槍爆頭，鋪墊一集的大危機1分鐘結束，男主完美不在場證明，老頭子一臉懵逼，神劇啊。
8，配角三觀莫名其妙，警察局話最多那個我們就稱之為小隊長吧，一開始被說成是收人賄賂的黑警察，結果漸漸的老頭子彎了，小隊長居然神反轉大談正義，既然如此你第二季收什么錢啊，你不是從新領導的演講中看到了曙光，早已討厭透了這個腐敗之地了么？
9，村民三觀莫名其妙，酒保突然冒出告知男主并不生氣酒吧被奪，為什么，因為我們覺得你的狠是為了保護我們，簡直莫名其妙，警察局長第一集可是說這破地方3先令就可以騎一個十幾歲的少女，很多人無家可歸，偷竊，殺人，強奸無處不在，酒吧的酒都是幾乎都是偷來的，怎么就變成了為了你們而狠？既然湯米是為了家庭，為了大家而狠，怎么第二季第一集男主姐姐又是一臉厭惡？弟弟怎么又不服擴張？哥哥怎么又一副狠相？
全劇總體給人感覺莫名其妙，第一季看完至少我很難堅持繼續看第二季，音樂，服裝，電影版的制作可以肯定，但是讓人印象也就像我說的，為了帥而帥的劇，也就開場插著口袋走向酒館的那幕讓人印象深刻罷了，第五季，我是沒興趣刷了。
6 ) [轉] The Big Issue: CILLIAN MURPHY INTERVIEW: “IN THIS STORY THE WORKING-CLASS LOOK SEXY”
電視劇木有評論區，那發這裡好了。。。。。
http://www.bigissue.com/features/interviews/3014/cillian-murphy-interview-story-working-class-people-look-sexy
CILLIAN MURPHY INTERVIEW: “IN THIS STORY THE WORKING-CLASS LOOK SEXY”
INTERVIEWS
LAURA KELLY SEP 18, 2013
Peaky Blinders' Cillian Murphy talks Brummies, Batman, and why he doesn't use Twitter
We have entered the third golden age of telly. Kevin Spacey hit the headlines recently using the phrase, GQ writer Brett Martin has a new book out, Difficult Men: Behind the Scenes of a Creative Revolution, on the topic and critics around the world are chattering about it.
The Wire, The Sopranos, Mad Men, Breaking Bad, Boardwalk Empire: a (mostly American) wave of ambitious dramas has shown that telly is now smarter and more ambitious than cinema.
Peaky Blinders, created by Dirty Pretty Things writer Steven Knight, is among the best of the British attempts to compete with these monolithic super shows. Playing like a Brummie Boardwalk Empire and similarly set after the first world war, it follows Cillian Murphy’s Tommy Shelby, a gang leader who’s just returned from the trenches damaged and still in possession of his gun.
In a Birmingham that was at the time a major centre of industry, he finds himself jockeying for position alongside Communists, the IRA and a particularly ruthless Northern Irish police chief (played with vigour by Sam Neill). Favourite of both Danny Boyle and Christopher Nolan, Cork boy Murphy has become a proper Hollywood celeb in the last few years, but he insists that choosing a BBC Two mini-series for his next job is not as odd as it seems. Peaky Blinders fits in just fine, he says, beside 28 Days Later, Sunshine, The Dark Knight and Inception.
Peaky Blinders is a project that has clearly captured Murphy’s imagination; he spent hours listening to archive recordings of Brummies to get the accent right, as well as thoroughly immersing himself in the period. It also allowed him to stay close to his house in north London, his wife, artist Yvonne McGuinness, and his two young sons, seven-year-old Malachy and six-year-old Carrick. It’s from the kitchen in that family home, sustained by a cup of Barry’s Tea (his favourite Irish brew), that he’s speaking to The Big Issue…
Tell us about your character in Peaky Blinders.
Tommy’s been sent home from the trenches. These men came back and they were just spat out into society without any help. Most of them had lost all time for the establishment and the authorities and the church and everything else. They were damaged men. Then they came back into a society that had been run by women for four years.
The obvious comparison is Boardwalk Empire, given the era…
I unfortunately haven’t got round to Boardwalk Empire – it’s one of my box-sets that I’ve yet to unwrap. I think it’s impossible to make a foray into the gangster genre without rubbing shoulders with the American classics, like The Godfather, Bonnie and Clyde and now Boardwalk Empire. You’ve just got to wear those references openly. What we’ve tried to do here is create something very British.
Birmingham at the time was the industrial capital of the world. It was producing more than Chicago and Detroit. Illegal bookmaking was huge all over Britain. It was run by gangs and there’d be pitched battles with guns and knives. It’s never really been investigated dramatically. Steve [Knight] had this whole block of history to play with, so it’s very rich. I think that separates it from the American stories. It’s refreshing that this is a story where working-class people look sexy and glamorous and stylish. Generally it’s the upper middle class and the aristocracy in British period dramas.
It seems like all the big Hollywood stars want to get involved in TV at the moment.
I definitely think that for writers, having the scope of six or 12 hours to tell a story must be so alluring. Also for me to be able to really investigate every corner, to shine a light into every nook and cranny of the psyche of a character is great. People have talked about it being the equivalent of the novel and I can see why that comparison fits. It is a golden age for TV. It’s clear it’s happening, so you’d be silly not to get involved. TV seems to be filling that place in cinema where clever mid-budget, independent films have been pushed out a little bit by the big franchise, tent-pole movies.
Big franchises like Batman?
Well, yeah… [laughs]. I would consider that a slightly more, um, intelligent rendering of the superhero genre.
How did you find the Brummie accent?
It’s not among the most beloved out there. The Birmingham accent and Birmingham itself hasn’t been fashionable for a while. In terms of the accent, we listened to a lot of archival tapes. My remit was to make it as authentic as possible but also as accessible as possible. Birmingham will deliver its verdict.
They can’t be too unhappy – you’ve made the place look a lot cooler than usual.
I really hope so.
The soundtrack on Peaky Blinders is really striking, featuring Nick Cave, The White Stripes and Tom Waits. As a big music fan, was that exciting?
I was thrilled. It was great to know that those guys actually watched it and liked it. There’s something about those artists – an outlaw quality – that really suits the show.
Been to any good gigs recently?
I’m going to see Bj?rk in a couple of weeks. I saw Alice Cooper in the desert in Albuquerque. He has a lot of energy for a man of his age.
Is it harder to get to as many gigs as you’d want now you have kids?
Yeah, it is kind of hard. Some things you’ll move mountains to see but, you know, you get old and at a certain point you think, God, I’m awful tired. I didn’t used to have that in my twenties.
You’re a bit unusual in the celebrity world in that you don’t use Twitter.
No, I don’t do that. I remember the pre-internet days. I remember when you just met at an agreed hour at the bus station. And if someone didn’t show up, you’d just stand there and wait. You’d give them 25 minutes. This immediacy that we expect now, it’s spilled over into film and everything. I mean, ‘spoilers’ – surely the clue is in the word? To spoil something is to ruin it.
So do you Google yourself?
You know, you’re a liar if you say you haven’t. But I really, really try not to do it because it’s bad for you. Human beings, the way we’re wired – or maybe it’s just an Irish thing – but you never believe the good stuff. You just believe the bad stuff. It can be a negative forum, the internet. I try to stay away from it as much as possible.
You may be right. I actually ran into an entire blog someone had set up dedicated to unflattering screen shots of you.
Isn’t that lovely now? What a way to spend your time and express your creativity. That’s the world of the internet.
The IRA makes an appearance in Peaky Blinders – and you’ve dealt with similar themes before in The Wind that Shakes the Barley. It’s still emotive territory – the director of new film A Belfast Story had to apologise after the film’s PR company sent a bala-clava, nails and duct tape to journalists. Is there a responsibility to have a bit of sensitivity?
Of course there is. If you’re dealing with political or social issues, you have to be mindful of the people who have lived through it. The version of the IRA we’re dealing with is almost 100 years old and it’s very different. Similarly in The Wind that Shakes the Barley, so I think it’s fair game. But [The Troubles] are always going to be rich for drama. It’s all about how you tackle it. That’s obviously an example of not a very sensitive way to promote a film, but I thought Hunger was a great example of a film that was sort of about Northern Ireland but it was also an art film.
Last time we spoke, you were telling us about being a vegetarian and a good cook… have you been watching Great British Bake Off?
No. I haven’t got into it. I’m a MasterChef fella. And I’m actually a lapsed vegetarian.
When did this happen?
About a year ago. I felt I needed some meat. I had some venison. It was amazing. My body was like, yes! My wife’s still veggie but the boys eat meat. We’re a very tolerant household. I do sometimes have to cook two dinners, though.
Did you hear that Christian Bale was apparently offered $50m to reprise the role of Batman in Man of Steel 2? [Before the role went to Ben Affleck].
I wouldn’t believe what you read about that stuff.
It’s a testament to how much of a cultural touchstone that series is that people would believe it. Are you glad to have been part of it?
Ah, yeah, I was very lucky to have been involved in it. I didn’t expect to pop up in the second two either, so that was a nice little treat.
Is there a superhero you’d like to play?
Surely they’ve nearly exhausted them...
They didn’t ask you to be Doctor Who?
No. Did that change hands?
Peter Capaldi’s taking over.
Oh, brilliant. I love him. That’ll be amazing. We don’t watch it – Doctor Who has kind of passed us by in this house. But maybe we will when Peter Capaldi’s in it.
What is next for you?
I’m going to shoot this Ron Howard film in September, In the Heart of the Sea. It’s the true story of the sinking of the Essex by a whale. It’s the story that Melville based Moby Dick on. I read the book in my twenties. I loved it. I mean you have to work at it, there’s a lot of going back to the appendix, but it’s a cracking, cracking book. I read it on holiday before we had kids, so I had a lot of time to lie down. I don’t have that any more.
http://www.bigissue.com/features/interviews/3014/cillian-murphy-interview-story-working-class-people-look-sexy
CILLIAN MURPHY INTERVIEW: “IN THIS STORY THE WORKING-CLASS LOOK SEXY”
INTERVIEWS
LAURA KELLY SEP 18, 2013
Peaky Blinders' Cillian Murphy talks Brummies, Batman, and why he doesn't use Twitter
We have entered the third golden age of telly. Kevin Spacey hit the headlines recently using the phrase, GQ writer Brett Martin has a new book out, Difficult Men: Behind the Scenes of a Creative Revolution, on the topic and critics around the world are chattering about it.
The Wire, The Sopranos, Mad Men, Breaking Bad, Boardwalk Empire: a (mostly American) wave of ambitious dramas has shown that telly is now smarter and more ambitious than cinema.
Peaky Blinders, created by Dirty Pretty Things writer Steven Knight, is among the best of the British attempts to compete with these monolithic super shows. Playing like a Brummie Boardwalk Empire and similarly set after the first world war, it follows Cillian Murphy’s Tommy Shelby, a gang leader who’s just returned from the trenches damaged and still in possession of his gun.
In a Birmingham that was at the time a major centre of industry, he finds himself jockeying for position alongside Communists, the IRA and a particularly ruthless Northern Irish police chief (played with vigour by Sam Neill). Favourite of both Danny Boyle and Christopher Nolan, Cork boy Murphy has become a proper Hollywood celeb in the last few years, but he insists that choosing a BBC Two mini-series for his next job is not as odd as it seems. Peaky Blinders fits in just fine, he says, beside 28 Days Later, Sunshine, The Dark Knight and Inception.
Peaky Blinders is a project that has clearly captured Murphy’s imagination; he spent hours listening to archive recordings of Brummies to get the accent right, as well as thoroughly immersing himself in the period. It also allowed him to stay close to his house in north London, his wife, artist Yvonne McGuinness, and his two young sons, seven-year-old Malachy and six-year-old Carrick. It’s from the kitchen in that family home, sustained by a cup of Barry’s Tea (his favourite Irish brew), that he’s speaking to The Big Issue…
Tell us about your character in Peaky Blinders.
Tommy’s been sent home from the trenches. These men came back and they were just spat out into society without any help. Most of them had lost all time for the establishment and the authorities and the church and everything else. They were damaged men. Then they came back into a society that had been run by women for four years.
The obvious comparison is Boardwalk Empire, given the era…
I unfortunately haven’t got round to Boardwalk Empire – it’s one of my box-sets that I’ve yet to unwrap. I think it’s impossible to make a foray into the gangster genre without rubbing shoulders with the American classics, like The Godfather, Bonnie and Clyde and now Boardwalk Empire. You’ve just got to wear those references openly. What we’ve tried to do here is create something very British.
Birmingham at the time was the industrial capital of the world. It was producing more than Chicago and Detroit. Illegal bookmaking was huge all over Britain. It was run by gangs and there’d be pitched battles with guns and knives. It’s never really been investigated dramatically. Steve [Knight] had this whole block of history to play with, so it’s very rich. I think that separates it from the American stories. It’s refreshing that this is a story where working-class people look sexy and glamorous and stylish. Generally it’s the upper middle class and the aristocracy in British period dramas.
It seems like all the big Hollywood stars want to get involved in TV at the moment.
I definitely think that for writers, having the scope of six or 12 hours to tell a story must be so alluring. Also for me to be able to really investigate every corner, to shine a light into every nook and cranny of the psyche of a character is great. People have talked about it being the equivalent of the novel and I can see why that comparison fits. It is a golden age for TV. It’s clear it’s happening, so you’d be silly not to get involved. TV seems to be filling that place in cinema where clever mid-budget, independent films have been pushed out a little bit by the big franchise, tent-pole movies.
Big franchises like Batman?
Well, yeah… [laughs]. I would consider that a slightly more, um, intelligent rendering of the superhero genre.
How did you find the Brummie accent?
It’s not among the most beloved out there. The Birmingham accent and Birmingham itself hasn’t been fashionable for a while. In terms of the accent, we listened to a lot of archival tapes. My remit was to make it as authentic as possible but also as accessible as possible. Birmingham will deliver its verdict.
They can’t be too unhappy – you’ve made the place look a lot cooler than usual.
I really hope so.
The soundtrack on Peaky Blinders is really striking, featuring Nick Cave, The White Stripes and Tom Waits. As a big music fan, was that exciting?
I was thrilled. It was great to know that those guys actually watched it and liked it. There’s something about those artists – an outlaw quality – that really suits the show.
Been to any good gigs recently?
I’m going to see Bj?rk in a couple of weeks. I saw Alice Cooper in the desert in Albuquerque. He has a lot of energy for a man of his age.
Is it harder to get to as many gigs as you’d want now you have kids?
Yeah, it is kind of hard. Some things you’ll move mountains to see but, you know, you get old and at a certain point you think, God, I’m awful tired. I didn’t used to have that in my twenties.
You’re a bit unusual in the celebrity world in that you don’t use Twitter.
No, I don’t do that. I remember the pre-internet days. I remember when you just met at an agreed hour at the bus station. And if someone didn’t show up, you’d just stand there and wait. You’d give them 25 minutes. This immediacy that we expect now, it’s spilled over into film and everything. I mean, ‘spoilers’ – surely the clue is in the word? To spoil something is to ruin it.
So do you Google yourself?
You know, you’re a liar if you say you haven’t. But I really, really try not to do it because it’s bad for you. Human beings, the way we’re wired – or maybe it’s just an Irish thing – but you never believe the good stuff. You just believe the bad stuff. It can be a negative forum, the internet. I try to stay away from it as much as possible.
You may be right. I actually ran into an entire blog someone had set up dedicated to unflattering screen shots of you.
Isn’t that lovely now? What a way to spend your time and express your creativity. That’s the world of the internet.
The IRA makes an appearance in Peaky Blinders – and you’ve dealt with similar themes before in The Wind that Shakes the Barley. It’s still emotive territory – the director of new film A Belfast Story had to apologise after the film’s PR company sent a bala-clava, nails and duct tape to journalists. Is there a responsibility to have a bit of sensitivity?
Of course there is. If you’re dealing with political or social issues, you have to be mindful of the people who have lived through it. The version of the IRA we’re dealing with is almost 100 years old and it’s very different. Similarly in The Wind that Shakes the Barley, so I think it’s fair game. But [The Troubles] are always going to be rich for drama. It’s all about how you tackle it. That’s obviously an example of not a very sensitive way to promote a film, but I thought Hunger was a great example of a film that was sort of about Northern Ireland but it was also an art film.
Last time we spoke, you were telling us about being a vegetarian and a good cook… have you been watching Great British Bake Off?
No. I haven’t got into it. I’m a MasterChef fella. And I’m actually a lapsed vegetarian.
When did this happen?
About a year ago. I felt I needed some meat. I had some venison. It was amazing. My body was like, yes! My wife’s still veggie but the boys eat meat. We’re a very tolerant household. I do sometimes have to cook two dinners, though.
Did you hear that Christian Bale was apparently offered $50m to reprise the role of Batman in Man of Steel 2? [Before the role went to Ben Affleck].
I wouldn’t believe what you read about that stuff.
It’s a testament to how much of a cultural touchstone that series is that people would believe it. Are you glad to have been part of it?
Ah, yeah, I was very lucky to have been involved in it. I didn’t expect to pop up in the second two either, so that was a nice little treat.
Is there a superhero you’d like to play?
Surely they’ve nearly exhausted them...
They didn’t ask you to be Doctor Who?
No. Did that change hands?
Peter Capaldi’s taking over.
Oh, brilliant. I love him. That’ll be amazing. We don’t watch it – Doctor Who has kind of passed us by in this house. But maybe we will when Peter Capaldi’s in it.
What is next for you?
I’m going to shoot this Ron Howard film in September, In the Heart of the Sea. It’s the true story of the sinking of the Essex by a whale. It’s the story that Melville based Moby Dick on. I read the book in my twenties. I loved it. I mean you have to work at it, there’s a lot of going back to the appendix, but it’s a cracking, cracking book. I read it on holiday before we had kids, so I had a lot of time to lie down. I don’t have that any more.
7 ) 配樂超級不完整之整理
配樂贊極!!!!!每次音樂出現加上音樂起了一身雞皮啊！！腐國怎么那么愛裝逼【這是愛】
這個劇組是臥底了幾個nick cave和白帶的腦殘粉啊~~
歡迎補充
搞了個節目單
http://music.douban.com/programme/277130
片頭片尾 特別是第一集murphy騎著馬路過加上詭異的音樂太帶感了。
Nick Cave&the Bad Seeds-Red Right Hand
Let Love In
ep1：
9’30” 督察看完tommy資料
The White Stripes-I Think I Smell A Rat
White Blood Cells
24‘ 臥底妹子出現
Nick Cave/Warren Ellis-Song For Jesse
The Assassination of Jesse James OST
30'10" 大哥在電影院被抓
The White Stripes-St. James Infirmary Blues
The White Stripes
ep2：
4‘ 群毆lee家
The Raconteurs-Blue Veins
蝦米 http://www.xiami.com/song/2144949
13’ 燒國王像
The White Stripes-The Hardest Button To Button
專輯：Elephant
24‘30“ 賭馬
The White Stripes-Black Math
專輯：Elephant
43’20” tommy殺白馬
Nick Cave&the Bad Seeds-Brother, My Cup Is Empty
Henry's Dream
結尾billy走后
The White Stripes-Little Room
White Blood Cells
ep3
23'35"
The White Stripes-When I Hear My Name
專輯The White Stripes
35‘35“ tommy起床
Nick Cave & the Bad Seeds-Abattoir Blues
專輯 Abattoir Blues/The Lyre of Orpheus
蝦米 http://t.cn/zRZBG6z
43'15" 賽馬會jazz
Ken Colyer-Cataract Rag
度娘 http://t.cn/zRZBc3O
ep4
11'10" tommy丟掉手榴彈后
The White Stripes- I Fought Piranhas
28‘40“ 拿到賭馬證后
Tom Waits-Clap Hands
專輯 Rain Dogs
30’50” 阿sir們去查槍
The Raconteurs-Broken Boy Soldier
蝦米 http://t.cn/zRUk5Ir
ep5
20‘40“左右 arthur被他爹騙
The White Stripes-Ball & Biscui
專輯elephant
42’ 阿sir來抓人
The White Stripes-Little Cream Soda
專輯Ichky Thump
不確定這首在哪個點，從官網來的
Nick Cave & The Bad Seeds-God is in the House
50'二貨上吊【好溫暖的歌，聽著聽著就哭了】
Tom Waits-Time
專輯Rain Dogs
54‘長鏡頭【太特么美好】
Nick Cave & The Bad Seeds-Bring it on
專輯Nocturama
ep6
21'40"剃刀黨出發【太特么裝逼了！！好喜歡！！】
Dan Auerbach-The Prowl
專輯 Keep It Hid
52‘20” 好應景的歌
Jack White German-Love is Blindness
--------------------------------------------------------------------------------------
http://t.cn/zRZBt4U
蝦米PB同好妹子做的精選集
@Whitelunar
http://www.douban.com/people/SciFiLullabies/
這個劇組是臥底了幾個nick cave和白帶的腦殘粉啊~~
歡迎補充
搞了個節目單
http://music.douban.com/programme/277130
片頭片尾 特別是第一集murphy騎著馬路過加上詭異的音樂太帶感了。
Nick Cave&the Bad Seeds-Red Right Hand
Let Love In
ep1：
9’30” 督察看完tommy資料
The White Stripes-I Think I Smell A Rat
White Blood Cells
24‘ 臥底妹子出現
Nick Cave/Warren Ellis-Song For Jesse
The Assassination of Jesse James OST
30'10" 大哥在電影院被抓
The White Stripes-St. James Infirmary Blues
The White Stripes
ep2：
4‘ 群毆lee家
The Raconteurs-Blue Veins
蝦米 http://www.xiami.com/song/2144949
13’ 燒國王像
The White Stripes-The Hardest Button To Button
專輯：Elephant
24‘30“ 賭馬
The White Stripes-Black Math
專輯：Elephant
43’20” tommy殺白馬
Nick Cave&the Bad Seeds-Brother, My Cup Is Empty
Henry's Dream
結尾billy走后
The White Stripes-Little Room
White Blood Cells
ep3
23'35"
The White Stripes-When I Hear My Name
專輯The White Stripes
35‘35“ tommy起床
Nick Cave & the Bad Seeds-Abattoir Blues
專輯 Abattoir Blues/The Lyre of Orpheus
蝦米 http://t.cn/zRZBG6z
43'15" 賽馬會jazz
Ken Colyer-Cataract Rag
度娘 http://t.cn/zRZBc3O
ep4
11'10" tommy丟掉手榴彈后
The White Stripes- I Fought Piranhas
28‘40“ 拿到賭馬證后
Tom Waits-Clap Hands
專輯 Rain Dogs
30’50” 阿sir們去查槍
The Raconteurs-Broken Boy Soldier
蝦米 http://t.cn/zRUk5Ir
ep5
20‘40“左右 arthur被他爹騙
The White Stripes-Ball & Biscui
專輯elephant
42’ 阿sir來抓人
The White Stripes-Little Cream Soda
專輯Ichky Thump
不確定這首在哪個點，從官網來的
Nick Cave & The Bad Seeds-God is in the House
50'二貨上吊【好溫暖的歌，聽著聽著就哭了】
Tom Waits-Time
專輯Rain Dogs
54‘長鏡頭【太特么美好】
Nick Cave & The Bad Seeds-Bring it on
專輯Nocturama
ep6
21'40"剃刀黨出發【太特么裝逼了！！好喜歡！！】
Dan Auerbach-The Prowl
專輯 Keep It Hid
52‘20” 好應景的歌
Jack White German-Love is Blindness
--------------------------------------------------------------------------------------
http://t.cn/zRZBt4U
蝦米PB同好妹子做的精選集
@Whitelunar
http://www.douban.com/people/SciFiLullabies/
睡完照心窩捅一刀完事兒說這都是公事但我真的愛你啊！女臥底滾犢子吧！BGM爆贊！
一開頭就是粵語 必須講句 是我看這麼多英美劇里最標準的發音了
只要你看下去就會發現此劇除了BGM烘托的氣氛簡直一無所有，我撐完第一季就永久棄了。劇情能不能再sb一點，黑幫火拼程度還不及銅鑼灣古惑仔，各路人馬的智商都被黑道家族爆出翔，更不要提火線了。男主一副運籌帷幄的樣子結果被來歷不明演技不佳的女臥底唬得團團轉，我懷疑在大西洋帝國活不過兩集。
明明各方面都如此過硬的一部劇 為什么感情線如此的lame呢。。 偶像劇的threesome啊。。。//攝影師一定暗戀男主很久了吧！
這部劇給我最深的印象就是：以型男走臺的姿勢演繹黑幫火并。
高水準！除了丘吉爾選的太XX外，其他還真找不出什么吐槽點~必追英劇之一~
我這種土鱉還是覺得這部比大西洋帝國更容易follow啊TVT
配樂張力十足！一個有好BGM的劇通常不會太差
善于計謀，拿捏住身邊所有人，卻對一個明顯來路不明的女人不問過往，不加防備，我不理解。對不起，我更想看拔吊無情。
這么多年第一次get到基里安到底帥在哪里+1 （看完第五集心滿意足，手動再見）
探長突然掏出戒指那下，Ada突然推出嬰兒車那下，很狗血很狗血
BBC，還有啥可說的，鏡頭、時代感、燈光、服裝、道具。
Cillian Murphy三百六十度光影大片
斯里安帥成這樣沒救了...
Cillian Murphy真的好帥啊！\(^o^)/~帽子，帽子，帽子真心給片兒加分啊！
畫面，配樂很贊，好像一幕大戲要開演了。
業界良心
當年Bowie給Cillian寄了那張戴帽子的照片說這是他cos的peaky blinder，Cillian回信把扮演Tommy的帽子寄給了Bowie??
開頭那標準粵語還以為下錯片，有冇人奶。今年新劇里最好看！冷拽酷再加Nick爺的配樂逼格贊飛天了！墨菲戴帽子氣場超足，攝影妥妥腦殘粉，每個鏡頭美得內傷。伯明翰腐爛敗落臟亂差氣氛營造得太強，黑幫家族,布爾什維克,軍方沖突有看頭。美女臥底設定略弱智，跟阿sir會面智商特做雞。蛋疼結局又要等一年
恭喜基蓮遇到了這么棒的角色，睿智、果敢、狠辣有時甚至專斷但絕對重情義，抹不去的心理創傷，以及攝影師的杰克蘇屬性，用光、角度各種講究，對著基蓮各種特寫特寫特寫，絕贊的BGM，這一切的一切賦予了Tommy Shelby這個角色致命的魅力。還是要吼一吼基蓮好美好帥，衣服好好看，被蘇成渣！第二季酷愛來