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更新时间：2024-05-20 05:19
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《浴血黑帮》讲述了战后伯明翰地区传奇黑帮家族Peaky Blinders的故事。时间要追溯到1919年，家族成员有一大嗜好，就是将剃刀刀片缝进他们帽子的帽檐之间，这也是“剃刀党”的名称由来。斯里安·墨菲将饰演一名残酷的黑帮份子Tommy Shelby ，是家族兄弟的领袖，嗜血无情。在那个时代，退伍军人、革命者和罪犯，都在社会底层挣扎生存。而当贝尔法斯特的警方负责人开始介入时，Tommy和他的黑帮势力制造出的恐怖统治开始了倾斜。
长篇影评
1 ) 核心需要的是大局观
一个王者带一帮子青铜真心累。
谢尔比家族更像莽荒大地上野蛮生长村落里的村霸，凭着一股子狠劲，在风云际会的一战，在polly阿姨的操持下，维持着地下赌马的生意，直到汤米三兄弟从站场归来。
在家人包括最有眼光的polly阿姨的各种没头脑各种不省心各种不高兴中，汤米以一己之力把整个家族事业从伯明翰做到伦敦，从地下做到地上，从喊杀喊打的黑帮头头做到影响政府决策的工党议员。
汤米从站场归来的第一个大事就是手下阴差阳错地偷了一批枪支弹药，对这个烫手的山芋，polly阿姨的第一反应是赶紧扔了，她的意思很明显：就我们这点智商（实力），要啥自行车啊？汤米老师却高瞻远瞩地看到这里面可以大做文章的空间，他利用这个机会游刃于政府警察、爱尔兰自由军以及鼓动工人罢工的那些人之间，同时还要面对李家人的蚕食以及把持赌马生意肯波帮派的全面压制。他和警督达成除掉肯波的交易，玩弄了爱尔兰自由军，结盟了李家人，最终开枪打死肯波。
所以，你看，一个事业的开拓，靠的从来不是操作层面的喊打喊杀，而是一个强有力的站高望远的核心领导，而这个领导的最重要的能力是平衡各方面的势力，从中发现机会或者创造机会。
没有这个大局观，你只能是懵懵懂懂的大哥亚瑟或者聪明有余智慧不足的姨妈polly。
2 ) 感谢上帝让盖•里奇去了好莱坞，我们终于能拍点儿正经的黑帮片了
提起英国黑帮片，总想不起里面出现过什么响亮的帮派。不像黑手党，东星帮，山口组，都是有组织有纪律一致对外。英国佬喜欢讲个人体验，用个体的荒谬遭遇，讽刺人世的反复无常。是什么组织，是什么历史，对叙述一个隽永的寓言故事来说毫不重要。可以说英国佬是微观而宏观的，曾经盖•里奇的《两杆大烟枪》和《偷抢拐骗》能让人从大笑看到失笑，搞不好最后还会哭。罗伯特•麦基说，编剧应该将故事拓展到人类经历的广度和深度，无疑英国佬在这件事情上做得尤其好。因为他们做得太好，太聪明，以至于过快得出结论，直接跳过了构建世界秩序的中观结构，譬如道德，譬如政治。所以英国佬的片子大多富有后现代气质，解构生活一时爽，终究因透彻而虚无。
而他的好儿子，处处体现出下克上气质的美国，就特别入世，特爱拽着你大聊特聊民主自由，好像全世界只有他们懂似的。即使是黑帮片，亦不忘构建时代大舞台。譬如《纽约黑帮》这种披着黑帮皮裹着政治肉，讲述阶级矛盾消解和族群融合的社会片，才符合奥斯卡的最高精神标杆。
然后大不列颠爸爸笑了。首先，他把杀伤性武器盖•里奇，以及一众颜正条顺的腐国好青年派去好莱坞，用最基情的故事和最迷人的反派搅乱美国佬的心智。然后，关上门拍起了最精致的时代剧。当人们还没从《唐顿庄园》的华服美食中清醒过来，《浴血黑帮》又为大家送上一桌充斥羊脑和粪便气味的黑暗料理盛宴。这一次，英国佬决定好好玩一下历史梗，让你们看看什么叫拥有狄更斯的大国风度。片子的风格，当然是照着《雾都孤儿》和《远大前程》的路数来的：暗黑而泥泞，仿若人心。
初看此剧，差点以为自己打开方式不对。开头就是华人贫民区的长镜头，虽然有点儿别扭，但也算是鬼佬片里最字正腔圆的粤语，总好过好莱坞不负责任的国粤交杂。然后妖魅的西里安•墨菲身骑黑马翩翩登场，闪瞎双眼。病娇如他，总让人想起《美国精神病人》里瘦到脱型的克里斯蒂安•贝尔，但又有一双顾盼流波的温柔眼睛，实在适合演体弱多情扭曲癫狂的黑化版白马王子。他要是演《哈姆雷特》，一定第一时间捧场。然而片中他却是一战英雄和黑帮灵魂，掌控整个伯明翰暗夜里的秩序。那么瘦弱的身体能迸发出多汹涌的能量，本身就是极大的看点。
说回时代背景。很多人将《浴血黑帮》和《大西洋帝国》比较，首先当然是同一个年代。一战后英美面临新秩序的建立，不同的是，美国是由下至上的洗牌，英国则是上下交锋的多方混战。美国发了战争财，黑帮利用禁酒令促成蓬勃的黑市交易，再以财养政，锻造自己的政治后盾，再黑，也是自己人黑吃黑。英国则负债累累经济衰败，以伯明翰剃刀党为首的黑帮势力四处敛财，轰轰烈烈的工人运动余威持续至今，再加上小强一样打不死的爱尔兰共和军，三股地下势力成了没落自由党政府最头疼的眼中钉。通过一次军火盗窃事件，《浴血黑帮》将四者关系梳理细致，政府对三方的不懈打压，黑帮和布尔什维克的若即若离，爱尔兰共和军的神出鬼没，爱恨情仇在BBC最擅长的糊了锅底灰和黄泥汤的街景里缓缓流淌。
但若只是正派，必然失去英剧原有的灵性和幽默。反黑专员邪教布道一样的就职演讲，和男主放生战后创伤小光头的宽厚温情相互比照，充满了反讽。男主对布尔什维克小领导说的那句，“我们的唯一区别，是你对穷人许诺虚假希望，而我的赛马还有可能赢”，更是从肌底深处散发英国人最擅长的讽刺和虚无。这对初集就现官配走势的好基友，果断牺牲了妹妹，但不要紧，反正那时女人厉害着呢。男人都出门打仗了，家里是女人在管事的时代细节，充分体现出英剧特有的，不经意间流露的用心和完美。
至于丘吉尔，你们别笑呀，《国王的演讲》里还是“虫尾巴”蒂莫西•斯波演的呢，相比起来剧里那位已经十分严肃了。
其实上面全是废话，就凭BGM是Nick Cave，也必须看下去吖。
而他的好儿子，处处体现出下克上气质的美国，就特别入世，特爱拽着你大聊特聊民主自由，好像全世界只有他们懂似的。即使是黑帮片，亦不忘构建时代大舞台。譬如《纽约黑帮》这种披着黑帮皮裹着政治肉，讲述阶级矛盾消解和族群融合的社会片，才符合奥斯卡的最高精神标杆。
然后大不列颠爸爸笑了。首先，他把杀伤性武器盖•里奇，以及一众颜正条顺的腐国好青年派去好莱坞，用最基情的故事和最迷人的反派搅乱美国佬的心智。然后，关上门拍起了最精致的时代剧。当人们还没从《唐顿庄园》的华服美食中清醒过来，《浴血黑帮》又为大家送上一桌充斥羊脑和粪便气味的黑暗料理盛宴。这一次，英国佬决定好好玩一下历史梗，让你们看看什么叫拥有狄更斯的大国风度。片子的风格，当然是照着《雾都孤儿》和《远大前程》的路数来的：暗黑而泥泞，仿若人心。
初看此剧，差点以为自己打开方式不对。开头就是华人贫民区的长镜头，虽然有点儿别扭，但也算是鬼佬片里最字正腔圆的粤语，总好过好莱坞不负责任的国粤交杂。然后妖魅的西里安•墨菲身骑黑马翩翩登场，闪瞎双眼。病娇如他，总让人想起《美国精神病人》里瘦到脱型的克里斯蒂安•贝尔，但又有一双顾盼流波的温柔眼睛，实在适合演体弱多情扭曲癫狂的黑化版白马王子。他要是演《哈姆雷特》，一定第一时间捧场。然而片中他却是一战英雄和黑帮灵魂，掌控整个伯明翰暗夜里的秩序。那么瘦弱的身体能迸发出多汹涌的能量，本身就是极大的看点。
说回时代背景。很多人将《浴血黑帮》和《大西洋帝国》比较，首先当然是同一个年代。一战后英美面临新秩序的建立，不同的是，美国是由下至上的洗牌，英国则是上下交锋的多方混战。美国发了战争财，黑帮利用禁酒令促成蓬勃的黑市交易，再以财养政，锻造自己的政治后盾，再黑，也是自己人黑吃黑。英国则负债累累经济衰败，以伯明翰剃刀党为首的黑帮势力四处敛财，轰轰烈烈的工人运动余威持续至今，再加上小强一样打不死的爱尔兰共和军，三股地下势力成了没落自由党政府最头疼的眼中钉。通过一次军火盗窃事件，《浴血黑帮》将四者关系梳理细致，政府对三方的不懈打压，黑帮和布尔什维克的若即若离，爱尔兰共和军的神出鬼没，爱恨情仇在BBC最擅长的糊了锅底灰和黄泥汤的街景里缓缓流淌。
但若只是正派，必然失去英剧原有的灵性和幽默。反黑专员邪教布道一样的就职演讲，和男主放生战后创伤小光头的宽厚温情相互比照，充满了反讽。男主对布尔什维克小领导说的那句，“我们的唯一区别，是你对穷人许诺虚假希望，而我的赛马还有可能赢”，更是从肌底深处散发英国人最擅长的讽刺和虚无。这对初集就现官配走势的好基友，果断牺牲了妹妹，但不要紧，反正那时女人厉害着呢。男人都出门打仗了，家里是女人在管事的时代细节，充分体现出英剧特有的，不经意间流露的用心和完美。
至于丘吉尔，你们别笑呀，《国王的演讲》里还是“虫尾巴”蒂莫西•斯波演的呢，相比起来剧里那位已经十分严肃了。
其实上面全是废话，就凭BGM是Nick Cave，也必须看下去吖。
3 ) BGM整理from BBC homepage
1
Nick Cave
Zanstra
Nick Cave
Martha's Dream
Nick Cave & The Bad Seeds
Red Right Hand
The White Stripes
I Think I Smell a Rat
The White Stripes
St James Infirmary Blues
Nick Cave
Queenie's Suite
Nick Cave
Song for Jesse
2
The Samphire Band
Tough Call
The Raconteurs
Blue Veins
The White Stripes
The Hardest Button to Button
Nick Cave
Proposition #1
The White Stripes
Black Math
Giacomo Puccini
Vedi la Ma Guite Lo Stendo A Tel
Giacomo Puccini
Lo Tenni La Promesca
Nick Cave & The Bad Seeds
Brother My Cup is Empty
The White Stripes
Little Room
3
The White Stripes
When I hear my name
Nick Cave & The Bad Seeds
Abbatoir Blues
4
The White Stripes
I fought Piranhas
Tom Waits
Clap hands
The Raconteurs
Broken Boy Soldier
Nick Cave and Warren Ellis
Martha's dream
5
The White Stripes
Ball and Biscuit
The White Stripes
Little Cream Soda
Nick Cave & The Bad Seeds
God is in the House
Tom Waits
Time
Nick Cave & The Bad Seeds
Bring it on
6
Dan Auerbach
The Prowl
Jack White
Love is Blindness
Nick Cave
Zanstra
Nick Cave
Martha's Dream
Nick Cave & The Bad Seeds
Red Right Hand
The White Stripes
I Think I Smell a Rat
The White Stripes
St James Infirmary Blues
Nick Cave
Queenie's Suite
Nick Cave
Song for Jesse
2
The Samphire Band
Tough Call
The Raconteurs
Blue Veins
The White Stripes
The Hardest Button to Button
Nick Cave
Proposition #1
The White Stripes
Black Math
Giacomo Puccini
Vedi la Ma Guite Lo Stendo A Tel
Giacomo Puccini
Lo Tenni La Promesca
Nick Cave & The Bad Seeds
Brother My Cup is Empty
The White Stripes
Little Room
3
The White Stripes
When I hear my name
Nick Cave & The Bad Seeds
Abbatoir Blues
4
The White Stripes
I fought Piranhas
Tom Waits
Clap hands
The Raconteurs
Broken Boy Soldier
Nick Cave and Warren Ellis
Martha's dream
5
The White Stripes
Ball and Biscuit
The White Stripes
Little Cream Soda
Nick Cave & The Bad Seeds
God is in the House
Tom Waits
Time
Nick Cave & The Bad Seeds
Bring it on
6
Dan Auerbach
The Prowl
Jack White
Love is Blindness
4 ) 我真吐了
我记得这剧好几年之前我就看在高分和阵容的份儿上试着去看了，结果好像十分钟都没到就丢了。最近闲着又捡起来看，可真给我恶心坏了。
这剧凭什么九分以上啊？
写一下心路历程。
看第一集我就有点受不了了，第二集开始整个过程就变得很艰难。如果不是看在它一季就6集的份儿上，我无论如何不会看下去的。到第三集之后，实在无法忍受我开始开倍速看，通常这种事儿我是做不出来的。到最后真每一秒都是煎熬，感谢上帝现在我终于看完了。
这剧怎么敢翻译成“浴血黑帮”的啊？
我明明看了6集玛丽苏杰克苏古装言情情景剧好么。所谓的“黑帮”无非是谢尔比家不到十个人的小打小闹，至于“浴血”就是tm酒吧斗殴的水平，在开什么国际玩笑。二战时期的英国还是挺牛逼哼哼的吧，结果所谓的“传奇”黑帮就这格局，不到十个人拿着几把小手枪拿下个赌马生意就全国前三了，这真的让人无力吐槽。
聊聊角色
谢尔比家，真没一个省心货，这剧真可以改名叫谢尔比家的鸡毛蒜皮的。
1.三兄弟
老大亚瑟，脓包一个，干啥啥不行，仗着自己年纪大装b，废物选手，屁事儿成不了，不是在委屈求安慰就是在坑队友。
老二汤玛斯，堂堂主角，为了家里这点儿破事儿操碎了心，前期铺垫了很多战后的ptsd，一季看下来基本是意义不明，作为主角，事儿办得还是很利索，但是恋爱脑真的让人无语，grace在眼皮底下把所有能坑你的事儿全干了，但你就是发现不了。
老三约翰，工具人一个，没什么存在感。
2.家里的女人
大婶儿波莉，每次有人念她名字我都想到彩虹小马哈哈。一张怨妇脸，前面说了很多次她当大姐管理家族很多年，很能装，可是姐姐你给点作用好不，一季看下来作用基本就是婆婆妈妈和放放嘴炮，连点儿家事都整不明白。不要说第六集对阵时冲出来的那段儿了，真别搞笑了，编剧脑子瓦特了才能把那段儿写那么脑残。
妹妹艾达，普普通通的一个蠢女人，每次出现在画面里都让我想给她来一拳。她存在的意义就是让谢尔比家多点儿鸡毛蒜皮的破事儿，看后面几季里剧情还有她，无语子。
3.grace
玛丽苏本苏，谢尔比老大汤玛斯爱她，赌马场老大比利爱她，警察头子坎贝尔也爱她，唱歌真的soso，但是大家都听醉啦，坑谢尔比家的事儿一件都没少干，但就是不会被发现哈哈。
这女人真是最让我无语的、拿一个最傻逼的剧情来说吧。艾达和弗雷迪躲在城里，非常隐蔽，警察怎么都找不到。汤玛斯刚刚派grace去给艾达报信，弗雷迪就立刻暴露。那么是谁走漏了风声呢？这可难到了我们的大天才主角汤玛斯，抓破了头也没想到是这个一开始你就发现她处处都在说谎的grace啊。类似的傻逼剧情在这短短6集里发生过n次真的。
更不用提这角色其他的细节了。
4.弗雷迪
纯沙比一个。领导工人运动就是跟工人们讲讲脱口秀的水平，什么正经事儿都没干作死和上床倒是很勤快，打死也不离开伯明翰，但是革命事业也啥也没干，最开始出场的时候还以为作为和主角一起出生入死的好友，会是那种经典的双雄，结果后面真让人怀疑出生入死是不是都在床上。
5.坎贝尔警督
知名搞笑选手。每天都在被人嘲讽没去过法国参战，连自己人都看不上他。开始以为会是主角的强劲敌手，结果处处受主角掣肘，工作开展全靠grace施玛丽苏大法通风报信，编剧真的异想天开才会安排一个跟grace表白求婚的剧情，简直把这个角色的不堪和愚蠢刻画到了另一个境界。一开始就觉得他对grace的态度有点奇怪，看了五六集之后发现原来是个苦主。牛头人狂喜。
6.比利金柏
作为第一季谢尔比家的主要“对手”，一出场就摆明了是个彻头彻尾的蠢货，蠢的简单直接，完全把愚蠢两个字写在脸上。看到他的第一秒我就知道他不过是主角的经验宝宝。那还指望这个角色散发除了愚蠢以外的什么魅力呢？最后被一枪爆头，活得二逼，死的憋屈。一个看不出一点能力的人能当上地头老大，绝对是伦敦黑帮界的耻辱。
其他角色基本就不值一提了好吧。
至于服化道，这方面的制作真的挺可以。但是看了几集你就会发现这部剧真的很“情景”化，主要场景就那么几个反复折腾，这就导致虽然看起来非常精致，但总给我一种小打小闹的局限感，伯明翰真就这么大点儿吗？来来回回就是脏兮兮的街道，酒吧、据点和烂房子之类，绝大部分都是内景，外景绝不肯拉远，这种制作就是在加深这种情景剧的感受。要么是穷，要么就是钱用错地方了吧。
基利安墨菲真的很帅，这部剧没有一集不在强调这一点，他是这部剧的绝对核心，也算是这部剧里唯一有点作用的人。我知道后面还有汤姆哈迪，还有阿德里安布罗迪，还有安雅泰勒乔伊，说实话都是我很喜欢的演员，但是你剧情这个鬼样子，我真难以接受。
看了一下2013年的同期美剧
《汉尼拔》第一季、《权力的游戏》第三季、《行尸走肉》第四季……等等等等，当时还是欧美剧集的黄金时代呀。我真搞不懂为什么这剧在豆瓣评分能这么高的，看了几个比较“一针见血”的后几季的评价，我感觉我对整部剧的编剧水平也有b数了真的。
5 ) 我理解里的老大和卧底
.
在我的想象里，作为一个合格的黑帮老大：
1.老大的权利必须是毫不动摇的，就算是家人，在帮派里也只是自己的下属。
2.身边必须是明里暗里都有不少人保护的，任何出现在身边的人都要被盘查到祖宗三代，任何来历有一点不清楚的人都会被重点关注。如果不是亲信根本近不了老大的身，更别说是能听到老大谈秘密了。
3.一旦出事，最先怀疑新加入的来历不明的人。
4.上下打点，最好是上面有人。总之一旦风向有变一定会及时有人通知。
5.情报网四通八达，势力范围内一切风吹草动他都能清楚。同时势力范围以外的地方也要广撒情报网，对别人的地盘发生的事也得很了解。
6.每次有行动的时候准备多条方案和多条退路，防止一切意外的发生。
7.老大的爱人不能参与任何帮派活动，不能探听帮派的任何秘密，甚至人身自由都要被限制，不能随便一个人出门。这点应该适用于所有高层人员。
而作为一个卧底....
1.履历一定要清楚。是不是真实的先不说，一定要清楚。
2.每次泄密时要制造可信的不在场证明，不能让任何人知道自己知道这个秘密，至少也得制造“别人泄密的可能性比我大多了”的情况。
3.一旦被卧底探出了什么，上级组织出于保护卧底的原因不能马上行动，至少不能马上让帮派知道有人泄了密。当然，除非卧底干完这票就跑ㄟ( ▔, ▔ )ㄏ
请Tommy和Grace对号入座....
在我的想象里，作为一个合格的黑帮老大：
1.老大的权利必须是毫不动摇的，就算是家人，在帮派里也只是自己的下属。
2.身边必须是明里暗里都有不少人保护的，任何出现在身边的人都要被盘查到祖宗三代，任何来历有一点不清楚的人都会被重点关注。如果不是亲信根本近不了老大的身，更别说是能听到老大谈秘密了。
3.一旦出事，最先怀疑新加入的来历不明的人。
4.上下打点，最好是上面有人。总之一旦风向有变一定会及时有人通知。
5.情报网四通八达，势力范围内一切风吹草动他都能清楚。同时势力范围以外的地方也要广撒情报网，对别人的地盘发生的事也得很了解。
6.每次有行动的时候准备多条方案和多条退路，防止一切意外的发生。
7.老大的爱人不能参与任何帮派活动，不能探听帮派的任何秘密，甚至人身自由都要被限制，不能随便一个人出门。这点应该适用于所有高层人员。
而作为一个卧底....
1.履历一定要清楚。是不是真实的先不说，一定要清楚。
2.每次泄密时要制造可信的不在场证明，不能让任何人知道自己知道这个秘密，至少也得制造“别人泄密的可能性比我大多了”的情况。
3.一旦被卧底探出了什么，上级组织出于保护卧底的原因不能马上行动，至少不能马上让帮派知道有人泄了密。当然，除非卧底干完这票就跑ㄟ( ▔, ▔ )ㄏ
请Tommy和Grace对号入座....
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 Björk 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 Björk 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.
这部剧给我最深的印象就是：以型男走台的姿势演绎黑帮火并。
开头那标准粤语还以为下错片，有冇人奶。今年新剧里最好看！冷拽酷再加Nick爷的配乐逼格赞飞天了！墨菲戴帽子气场超足，摄影妥妥脑残粉，每个镜头美得内伤。伯明翰腐烂败落脏乱差气氛营造得太强，黑帮家族,布尔什维克,军方冲突有看头。美女卧底设定略弱智，跟阿sir会面智商特做鸡。蛋疼结局又要等一年
明明各方面都如此过硬的一部剧 为什么感情线如此的lame呢。。 偶像剧的threesome啊。。。//摄影师一定暗恋男主很久了吧！
只要你看下去就会发现此剧除了BGM烘托的气氛简直一无所有，我撑完第一季就永久弃了。剧情能不能再sb一点，黑帮火拼程度还不及铜锣湾古惑仔，各路人马的智商都被黑道家族爆出翔，更不要提火线了。男主一副运筹帷幄的样子结果被来历不明演技不佳的女卧底唬得团团转，我怀疑在大西洋帝国活不过两集。
Cillian Murphy真的好帅啊！\(^o^)/~帽子，帽子，帽子真心给片儿加分啊！
斯里安帅成这样没救了...
配乐张力十足！一个有好BGM的剧通常不会太差
业界良心
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
Cillian Murphy三百六十度光影大片
善于计谋，拿捏住身边所有人，却对一个明显来路不明的女人不问过往，不加防备，我不理解。对不起，我更想看拔吊无情。
高水准！除了丘吉尔选的太XX外，其他还真找不出什么吐槽点~必追英剧之一~
当年Bowie给Cillian寄了那张戴帽子的照片说这是他cos的peaky blinder，Cillian回信把扮演Tommy的帽子寄给了Bowie🎩
BBC，还有啥可说的，镜头、时代感、灯光、服装、道具。
睡完照心窝捅一刀完事儿说这都是公事但我真的爱你啊！女卧底滚犊子吧！BGM爆赞！
探长突然掏出戒指那下，Ada突然推出婴儿车那下，很狗血很狗血
我这种土鳖还是觉得这部比大西洋帝国更容易follow啊TVT
恭喜基莲遇到了这么棒的角色，睿智、果敢、狠辣有时甚至专断但绝对重情义，抹不去的心理创伤，以及摄影师的杰克苏属性，用光、角度各种讲究，对着基莲各种特写特写特写，绝赞的BGM，这一切的一切赋予了Tommy Shelby这个角色致命的魅力。还是要吼一吼基莲好美好帅，衣服好好看，被苏成渣！第二季酷爱来
画面，配乐很赞，好像一幕大戏要开演了。
这么多年第一次get到基里安到底帅在哪里+1 （看完第五集心满意足，手动再见）