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《浴血黑幫》講述了戰(zhàn)后伯明翰地區(qū)傳奇黑幫家族Peaky Blinders的故事。時間要追溯到1919年，家族成員有一大嗜好，就是將剃刀刀片縫進他們帽子的帽檐之間，這也是“剃刀黨”的名稱由來。斯里安·墨菲將飾演一名殘酷的黑幫份子Tommy Shelby ，是家族兄弟的領(lǐng)袖，嗜血無情。在那個時代，退伍軍人、革命者和罪犯，都在社會底層掙扎生存。而當(dāng)貝爾法斯特的警方負責(zé)人開始介入時，Tommy和他的黑幫勢力制造出的恐怖統(tǒng)治開始了傾斜。
長篇影評
1 ) [轉(zhuǎn)] The Big Issue: CILLIAN MURPHY INTERVIEW: “IN THIS STORY THE WORKING-CLASS LOOK SEXY”
電視劇木有評論區(qū)，那發(fā)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.
2 ) 感謝上帝讓蓋?里奇去了好萊塢，我們終于能拍點兒正經(jīng)的黑幫片了
提起英國黑幫片，總想不起里面出現(xiàn)過什么響亮的幫派。不像黑手黨，東星幫，山口組，都是有組織有紀律一致對外。英國佬喜歡講個人體驗，用個體的荒謬遭遇，諷刺人世的反復(fù)無常。是什么組織，是什么歷史，對敘述一個雋永的寓言故事來說毫不重要?？梢哉f英國佬是微觀而宏觀的，曾經(jīng)蓋?里奇的《兩桿大煙槍》和《偷搶拐騙》能讓人從大笑看到失笑，搞不好最后還會哭。羅伯特?麥基說，編劇應(yīng)該將故事拓展到人類經(jīng)歷的廣度和深度，無疑英國佬在這件事情上做得尤其好。因為他們做得太好，太聰明，以至于過快得出結(jié)論，直接跳過了構(gòu)建世界秩序的中觀結(jié)構(gòu)，譬如道德，譬如政治。所以英國佬的片子大多富有后現(xiàn)代氣質(zhì)，解構(gòu)生活一時爽，終究因透徹而虛無。
而他的好兒子，處處體現(xiàn)出下克上氣質(zhì)的美國，就特別入世，特愛拽著你大聊特聊民主自由，好像全世界只有他們懂似的。即使是黑幫片，亦不忘構(gòu)建時代大舞臺。譬如《紐約黑幫》這種披著黑幫皮裹著政治肉，講述階級矛盾消解和族群融合的社會片，才符合奧斯卡的最高精神標桿。
然后大不列顛爸爸笑了。首先，他把殺傷性武器蓋?里奇，以及一眾顏正條順的腐國好青年派去好萊塢，用最基情的故事和最迷人的反派攪亂美國佬的心智。然后，關(guān)上門拍起了最精致的時代劇。當(dāng)人們還沒從《唐頓莊園》的華服美食中清醒過來，《浴血黑幫》又為大家送上一桌充斥羊腦和糞便氣味的黑暗料理盛宴。這一次，英國佬決定好好玩一下歷史梗，讓你們看看什么叫擁有狄更斯的大國風(fēng)度。片子的風(fēng)格，當(dāng)然是照著《霧都孤兒》和《遠大前程》的路數(shù)來的：暗黑而泥濘，仿若人心。
初看此劇，差點以為自己打開方式不對。開頭就是華人貧民區(qū)的長鏡頭，雖然有點兒別扭，但也算是鬼佬片里最字正腔圓的粵語，總好過好萊塢不負責(zé)任的國粵交雜。然后妖魅的西里安?墨菲身騎黑馬翩翩登場，閃瞎雙眼。病嬌如他，總讓人想起《美國精神病人》里瘦到脫型的克里斯蒂安?貝爾，但又有一雙顧盼流波的溫柔眼睛，實在適合演體弱多情扭曲癲狂的黑化版白馬王子。他要是演《哈姆雷特》，一定第一時間捧場。然而片中他卻是一戰(zhàn)英雄和黑幫靈魂，掌控整個伯明翰暗夜里的秩序。那么瘦弱的身體能迸發(fā)出多洶涌的能量，本身就是極大的看點。
說回時代背景。很多人將《浴血黑幫》和《大西洋帝國》比較，首先當(dāng)然是同一個年代。一戰(zhàn)后英美面臨新秩序的建立，不同的是，美國是由下至上的洗牌，英國則是上下交鋒的多方混戰(zhàn)。美國發(fā)了戰(zhàn)爭財，黑幫利用禁酒令促成蓬勃的黑市交易，再以財養(yǎng)政，鍛造自己的政治后盾，再黑，也是自己人黑吃黑。英國則負債累累經(jīng)濟衰敗，以伯明翰剃刀黨為首的黑幫勢力四處斂財，轟轟烈烈的工人運動余威持續(xù)至今，再加上小強一樣打不死的愛爾蘭共和軍，三股地下勢力成了沒落自由黨政府最頭疼的眼中釘。通過一次軍火盜竊事件，《浴血黑幫》將四者關(guān)系梳理細致，政府對三方的不懈打壓，黑幫和布爾什維克的若即若離，愛爾蘭共和軍的神出鬼沒，愛恨情仇在BBC最擅長的糊了鍋底灰和黃泥湯的街景里緩緩流淌。
但若只是正派，必然失去英劇原有的靈性和幽默。反黑專員邪教布道一樣的就職演講，和男主放生戰(zhàn)后創(chuàng)傷小光頭的寬厚溫情相互比照，充滿了反諷。男主對布爾什維克小領(lǐng)導(dǎo)說的那句，“我們的唯一區(qū)別，是你對窮人許諾虛假希望，而我的賽馬還有可能贏”，更是從肌底深處散發(fā)英國人最擅長的諷刺和虛無。這對初集就現(xiàn)官配走勢的好基友，果斷犧牲了妹妹，但不要緊，反正那時女人厲害著呢。男人都出門打仗了，家里是女人在管事的時代細節(jié)，充分體現(xiàn)出英劇特有的，不經(jīng)意間流露的用心和完美。
至于丘吉爾，你們別笑呀，《國王的演講》里還是“蟲尾巴”蒂莫西?斯波演的呢，相比起來劇里那位已經(jīng)十分嚴肅了。
其實上面全是廢話，就憑BGM是Nick Cave，也必須看下去吖。
而他的好兒子，處處體現(xiàn)出下克上氣質(zhì)的美國，就特別入世，特愛拽著你大聊特聊民主自由，好像全世界只有他們懂似的。即使是黑幫片，亦不忘構(gòu)建時代大舞臺。譬如《紐約黑幫》這種披著黑幫皮裹著政治肉，講述階級矛盾消解和族群融合的社會片，才符合奧斯卡的最高精神標桿。
然后大不列顛爸爸笑了。首先，他把殺傷性武器蓋?里奇，以及一眾顏正條順的腐國好青年派去好萊塢，用最基情的故事和最迷人的反派攪亂美國佬的心智。然后，關(guān)上門拍起了最精致的時代劇。當(dāng)人們還沒從《唐頓莊園》的華服美食中清醒過來，《浴血黑幫》又為大家送上一桌充斥羊腦和糞便氣味的黑暗料理盛宴。這一次，英國佬決定好好玩一下歷史梗，讓你們看看什么叫擁有狄更斯的大國風(fēng)度。片子的風(fēng)格，當(dāng)然是照著《霧都孤兒》和《遠大前程》的路數(shù)來的：暗黑而泥濘，仿若人心。
初看此劇，差點以為自己打開方式不對。開頭就是華人貧民區(qū)的長鏡頭，雖然有點兒別扭，但也算是鬼佬片里最字正腔圓的粵語，總好過好萊塢不負責(zé)任的國粵交雜。然后妖魅的西里安?墨菲身騎黑馬翩翩登場，閃瞎雙眼。病嬌如他，總讓人想起《美國精神病人》里瘦到脫型的克里斯蒂安?貝爾，但又有一雙顧盼流波的溫柔眼睛，實在適合演體弱多情扭曲癲狂的黑化版白馬王子。他要是演《哈姆雷特》，一定第一時間捧場。然而片中他卻是一戰(zhàn)英雄和黑幫靈魂，掌控整個伯明翰暗夜里的秩序。那么瘦弱的身體能迸發(fā)出多洶涌的能量，本身就是極大的看點。
說回時代背景。很多人將《浴血黑幫》和《大西洋帝國》比較，首先當(dāng)然是同一個年代。一戰(zhàn)后英美面臨新秩序的建立，不同的是，美國是由下至上的洗牌，英國則是上下交鋒的多方混戰(zhàn)。美國發(fā)了戰(zhàn)爭財，黑幫利用禁酒令促成蓬勃的黑市交易，再以財養(yǎng)政，鍛造自己的政治后盾，再黑，也是自己人黑吃黑。英國則負債累累經(jīng)濟衰敗，以伯明翰剃刀黨為首的黑幫勢力四處斂財，轟轟烈烈的工人運動余威持續(xù)至今，再加上小強一樣打不死的愛爾蘭共和軍，三股地下勢力成了沒落自由黨政府最頭疼的眼中釘。通過一次軍火盜竊事件，《浴血黑幫》將四者關(guān)系梳理細致，政府對三方的不懈打壓，黑幫和布爾什維克的若即若離，愛爾蘭共和軍的神出鬼沒，愛恨情仇在BBC最擅長的糊了鍋底灰和黃泥湯的街景里緩緩流淌。
但若只是正派，必然失去英劇原有的靈性和幽默。反黑專員邪教布道一樣的就職演講，和男主放生戰(zhàn)后創(chuàng)傷小光頭的寬厚溫情相互比照，充滿了反諷。男主對布爾什維克小領(lǐng)導(dǎo)說的那句，“我們的唯一區(qū)別，是你對窮人許諾虛假希望，而我的賽馬還有可能贏”，更是從肌底深處散發(fā)英國人最擅長的諷刺和虛無。這對初集就現(xiàn)官配走勢的好基友，果斷犧牲了妹妹，但不要緊，反正那時女人厲害著呢。男人都出門打仗了，家里是女人在管事的時代細節(jié)，充分體現(xiàn)出英劇特有的，不經(jīng)意間流露的用心和完美。
至于丘吉爾，你們別笑呀，《國王的演講》里還是“蟲尾巴”蒂莫西?斯波演的呢，相比起來劇里那位已經(jīng)十分嚴肅了。
其實上面全是廢話，就憑BGM是Nick Cave，也必須看下去吖。
3 ) 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(jié)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(jié)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(jié)。私藏軍火，干掉兄弟（其實沒死）和警長交易，透露著一種網(wǎng)文爽文的快感，控制了一切，讓人感覺這一切是合適的。結(jié)果后來全部失控了。
警長跟手下感嘆女間諜比你們?nèi)加杏?？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(jié)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(jīng)過了不激情的演講后被單挑干掉了.....共產(chǎn)黨員的轉(zhuǎn)變可真快....女主的本質(zhì)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(dǎo)警察或者驗證臥底....）
綜上所述。拍攝手法和場景布置甩國產(chǎn)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(nèi)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(dāng)）ps tommy后幾集智商最高的就是和結(jié)婚有關(guān)。比如試出了他弟弟想娶的妓女其實還是....雖然也預(yù)料之內(nèi)的反應(yīng)但可以說已經(jīng)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。
4 ) 我理解里的老大和臥底
.
在我的想象里，作為一個合格的黑幫老大：
1.老大的權(quán)利必須是毫不動搖的，就算是家人，在幫派里也只是自己的下屬。
2.身邊必須是明里暗里都有不少人保護的，任何出現(xiàn)在身邊的人都要被盤查到祖宗三代，任何來歷有一點不清楚的人都會被重點關(guān)注。如果不是親信根本近不了老大的身，更別說是能聽到老大談秘密了。
3.一旦出事，最先懷疑新加入的來歷不明的人。
4.上下打點，最好是上面有人?？傊坏╋L(fēng)向有變一定會及時有人通知。
5.情報網(wǎng)四通八達，勢力范圍內(nèi)一切風(fēng)吹草動他都能清楚。同時勢力范圍以外的地方也要廣撒情報網(wǎng)，對別人的地盤發(fā)生的事也得很了解。
6.每次有行動的時候準備多條方案和多條退路，防止一切意外的發(fā)生。
7.老大的愛人不能參與任何幫派活動，不能探聽幫派的任何秘密，甚至人身自由都要被限制，不能隨便一個人出門。這點應(yīng)該適用于所有高層人員。
而作為一個臥底....
1.履歷一定要清楚。是不是真實的先不說，一定要清楚。
2.每次泄密時要制造可信的不在場證明，不能讓任何人知道自己知道這個秘密，至少也得制造“別人泄密的可能性比我大多了”的情況。
3.一旦被臥底探出了什么，上級組織出于保護臥底的原因不能馬上行動，至少不能馬上讓幫派知道有人泄了密。當(dāng)然，除非臥底干完這票就跑ㄟ( ▔, ▔ )ㄏ
請Tommy和Grace對號入座....
在我的想象里，作為一個合格的黑幫老大：
1.老大的權(quán)利必須是毫不動搖的，就算是家人，在幫派里也只是自己的下屬。
2.身邊必須是明里暗里都有不少人保護的，任何出現(xiàn)在身邊的人都要被盤查到祖宗三代，任何來歷有一點不清楚的人都會被重點關(guān)注。如果不是親信根本近不了老大的身，更別說是能聽到老大談秘密了。
3.一旦出事，最先懷疑新加入的來歷不明的人。
4.上下打點，最好是上面有人?？傊坏╋L(fēng)向有變一定會及時有人通知。
5.情報網(wǎng)四通八達，勢力范圍內(nèi)一切風(fēng)吹草動他都能清楚。同時勢力范圍以外的地方也要廣撒情報網(wǎng)，對別人的地盤發(fā)生的事也得很了解。
6.每次有行動的時候準備多條方案和多條退路，防止一切意外的發(fā)生。
7.老大的愛人不能參與任何幫派活動，不能探聽幫派的任何秘密，甚至人身自由都要被限制，不能隨便一個人出門。這點應(yīng)該適用于所有高層人員。
而作為一個臥底....
1.履歷一定要清楚。是不是真實的先不說，一定要清楚。
2.每次泄密時要制造可信的不在場證明，不能讓任何人知道自己知道這個秘密，至少也得制造“別人泄密的可能性比我大多了”的情況。
3.一旦被臥底探出了什么，上級組織出于保護臥底的原因不能馬上行動，至少不能馬上讓幫派知道有人泄了密。當(dāng)然，除非臥底干完這票就跑ㄟ( ▔, ▔ )ㄏ
請Tommy和Grace對號入座....
5 ) 我們得到的愛，最終都要為之付出代價
關(guān)于謝爾比家族
亞瑟：一直想當(dāng)家族里的老大，其實也只是想證明自己，他不見得真的貪戀權(quán)力，他痛恨的是他的家人并不需要他，自己的存在感被弱化，這才是亞瑟最無法忍受的?？戳藖喩系跄羌鋈缓眯奶鬯?。親爹時隔十年，又騙了他一次，那種滿懷期待然后再次被遺棄的心情就別提多絕望了。一直以來，亞瑟就是個小孩，無論受到多大委屈，只要給他一顆糖，他就會破涕為笑。上次鬧別扭，湯米給了他一顆糖—送他一個酒吧。還好，這次湯米又給了他一顆糖，把公司三分之一股權(quán)交給他，同時也給了亞瑟最在乎的愛和關(guān)注，于是亞瑟又滿足了，又原地滿血復(fù)活，又恢復(fù)成那個囂張跋扈牛逼哄哄的亞瑟謝爾比了。
波莉阿姨
很堅強的一個女人，當(dāng)時整個伯明翰就是個貧民區(qū)，犯罪滋生，要生存下來談何容易。波莉一個人把幾個熊孩子拉扯大，后來當(dāng)家里的男人奔赴戰(zhàn)場為國奮戰(zhàn)的時候，她又要拿起槍來保護自己和自己的家人，維持整個家族生意的正常運作，試問那個年代，有多少的女性有這個勇氣和膽量，其中又要克服多少困難遭遇多少危險。在艾達和弗萊迪的事上，波莉是希望艾達得到幸福的，她不希望艾達重蹈自己的覆轍，懷上私生子，背負一輩子的罵名，最后還差點死于墮胎，所以她覺得應(yīng)該給弗萊迪一個機會回來和艾達團聚。后來礙于湯米的命令，波莉勸說艾達打胎，她流著眼淚勸告艾達，她已經(jīng)為了一段失敗的愛情付出了沉重的代價，再也不能像普通女人一樣擁有一個正常的家庭，但她希望艾達可以。波莉到底是女人，她做不到像湯米這么狠。但波莉又是家族里最理解湯米的人，她深知是湯米給了這個家族權(quán)力和力量，使這個家的人不用任人宰割，所以她勸艾達原諒湯米，她知道，湯米做的一切都是為了這個家，如果家人不團結(jié)，那么一切都無意義；所以她和格雷斯單獨談話，逼她離開伯明翰，使她無法再次傷害湯米。一句話，波莉就是謝爾比家的守護者，強悍如謝爾比兄弟，沒有波莉，也無法存活。
艾達和約翰
沖動任性，就像在青春叛逆期的少年少女。雖然這倆也常常讓湯米焦頭爛額，但是兄弟姐妹就是這樣，最常給你惹麻煩，你推不掉，避不開，雖然心里已經(jīng)罵了千遍萬遍，但最后還是沒法撒手不管，而且約翰和艾達也是小孩，也有他們可愛的地方。看他們一家人的拌嘴也好，溫情也好，就覺得還是那一句，一家人最后還是要抱團在一起的不是。
湯米
湯米是謝爾比家唯一的另類，亞瑟約翰和艾達一看就知道是一家人，個性都是沖動魯莽少根筋。但是湯米不一樣，冷靜沉著又工于心計，有膽識有野心也有生意頭腦，還巧舌如簧，能言善道（PS.看他老爹忽悠亞瑟那番天花亂墜的屁話就知道基因不說謊，謝爾比家品牌，鬼扯的質(zhì)量保障 = =）。
如果沒有湯米，謝爾比家族的剃刀幫頂多算個不入流的流氓幫派，因為有了湯米，這個家族不但在伯明翰地區(qū)站穩(wěn)了腳，而且還有了和警察局、比利金波這些勢力談判合作的底氣。
但是這樣的湯米，卻愛上了格雷斯。開始樓主也覺得格雷斯的設(shè)定不夠好，她沒有匹敵湯米的智謀和膽識，身份偽裝的也不夠慎密，甚至沒多少存在感，但后來我開始慢慢理解編劇這樣的設(shè)定。Peaky Blinders 不是無間道，格雷斯之于湯米也不是陳永仁之于劉建明。格雷斯對于湯米來說是更像一個救贖而非對手。她外表善良正派，舉止端莊得體，身上有種平凡但溫暖的特質(zhì)，這種特質(zhì)讓格雷斯在混亂墮落的伯明翰顯得格格不入，吸引了湯米的注意，在湯米還沒來得及深入了解格雷斯時，他內(nèi)心的渴望便打亂了自己的計劃，他急切的希望將格雷斯留下，甚至主動向她提供了一份管理賬本的工作。謹慎如湯米，在得知格雷斯幾次對他說謊的情況下，卻依然將自己的信任無條件交付出去，生存的壓力，戰(zhàn)爭的創(chuàng)傷已經(jīng)讓他的內(nèi)心疲倦孤獨了太久，他太需要溫暖，哪怕只有短暫的片刻。在格雷斯家的夜晚，湯米說他聽不到鐵楸挖墻的聲音了，就像之前在酒吧聽著格雷斯的歌聲入睡一樣，或許格雷斯對于湯米來說，就像太陽一樣散發(fā)著光熱，他只想盡情享受這寶貴的溫暖和寧靜，至于格雷斯神秘的過去是什么，湯米已經(jīng)不想或不敢去深究?？藏悹柧L說過“我們得到的愛，最終都要為之付出代價”，弗萊迪嘲笑過湯米根本不知道愛為何物，現(xiàn)在湯米知道了，卻要面對它其實是毒藥這個事實，這就是湯米付出的代價，或者是他運氣差，愛上了錯的人，但是我們又怎么知道下一個遇到的人是對的呢？在那個年代，愛幾乎就是一件稀有的奢侈品。最后格雷斯離開了，湯米又一個人了，即使是除掉比利金波這個喜大普奔的日子，在酒吧里同族人們慶祝的湯米仍然顯得形單影只，看湯米最后落寞疲憊甚至有些呆滯的表情，波莉安慰他說，他以后還會愛上別人的，也許他會，也許他不會，但無論如何，湯米再不可能像愛格雷斯一樣再愛上另一個人了。
亞瑟：一直想當(dāng)家族里的老大，其實也只是想證明自己，他不見得真的貪戀權(quán)力，他痛恨的是他的家人并不需要他，自己的存在感被弱化，這才是亞瑟最無法忍受的?？戳藖喩系跄羌鋈缓眯奶鬯?。親爹時隔十年，又騙了他一次，那種滿懷期待然后再次被遺棄的心情就別提多絕望了。一直以來，亞瑟就是個小孩，無論受到多大委屈，只要給他一顆糖，他就會破涕為笑。上次鬧別扭，湯米給了他一顆糖—送他一個酒吧。還好，這次湯米又給了他一顆糖，把公司三分之一股權(quán)交給他，同時也給了亞瑟最在乎的愛和關(guān)注，于是亞瑟又滿足了，又原地滿血復(fù)活，又恢復(fù)成那個囂張跋扈牛逼哄哄的亞瑟謝爾比了。
波莉阿姨
很堅強的一個女人，當(dāng)時整個伯明翰就是個貧民區(qū)，犯罪滋生，要生存下來談何容易。波莉一個人把幾個熊孩子拉扯大，后來當(dāng)家里的男人奔赴戰(zhàn)場為國奮戰(zhàn)的時候，她又要拿起槍來保護自己和自己的家人，維持整個家族生意的正常運作，試問那個年代，有多少的女性有這個勇氣和膽量，其中又要克服多少困難遭遇多少危險。在艾達和弗萊迪的事上，波莉是希望艾達得到幸福的，她不希望艾達重蹈自己的覆轍，懷上私生子，背負一輩子的罵名，最后還差點死于墮胎，所以她覺得應(yīng)該給弗萊迪一個機會回來和艾達團聚。后來礙于湯米的命令，波莉勸說艾達打胎，她流著眼淚勸告艾達，她已經(jīng)為了一段失敗的愛情付出了沉重的代價，再也不能像普通女人一樣擁有一個正常的家庭，但她希望艾達可以。波莉到底是女人，她做不到像湯米這么狠。但波莉又是家族里最理解湯米的人，她深知是湯米給了這個家族權(quán)力和力量，使這個家的人不用任人宰割，所以她勸艾達原諒湯米，她知道，湯米做的一切都是為了這個家，如果家人不團結(jié)，那么一切都無意義；所以她和格雷斯單獨談話，逼她離開伯明翰，使她無法再次傷害湯米。一句話，波莉就是謝爾比家的守護者，強悍如謝爾比兄弟，沒有波莉，也無法存活。
艾達和約翰
沖動任性，就像在青春叛逆期的少年少女。雖然這倆也常常讓湯米焦頭爛額，但是兄弟姐妹就是這樣，最常給你惹麻煩，你推不掉，避不開，雖然心里已經(jīng)罵了千遍萬遍，但最后還是沒法撒手不管，而且約翰和艾達也是小孩，也有他們可愛的地方。看他們一家人的拌嘴也好，溫情也好，就覺得還是那一句，一家人最后還是要抱團在一起的不是。
湯米
湯米是謝爾比家唯一的另類，亞瑟約翰和艾達一看就知道是一家人，個性都是沖動魯莽少根筋。但是湯米不一樣，冷靜沉著又工于心計，有膽識有野心也有生意頭腦，還巧舌如簧，能言善道（PS.看他老爹忽悠亞瑟那番天花亂墜的屁話就知道基因不說謊，謝爾比家品牌，鬼扯的質(zhì)量保障 = =）。
如果沒有湯米，謝爾比家族的剃刀幫頂多算個不入流的流氓幫派，因為有了湯米，這個家族不但在伯明翰地區(qū)站穩(wěn)了腳，而且還有了和警察局、比利金波這些勢力談判合作的底氣。
但是這樣的湯米，卻愛上了格雷斯。開始樓主也覺得格雷斯的設(shè)定不夠好，她沒有匹敵湯米的智謀和膽識，身份偽裝的也不夠慎密，甚至沒多少存在感，但后來我開始慢慢理解編劇這樣的設(shè)定。Peaky Blinders 不是無間道，格雷斯之于湯米也不是陳永仁之于劉建明。格雷斯對于湯米來說是更像一個救贖而非對手。她外表善良正派，舉止端莊得體，身上有種平凡但溫暖的特質(zhì)，這種特質(zhì)讓格雷斯在混亂墮落的伯明翰顯得格格不入，吸引了湯米的注意，在湯米還沒來得及深入了解格雷斯時，他內(nèi)心的渴望便打亂了自己的計劃，他急切的希望將格雷斯留下，甚至主動向她提供了一份管理賬本的工作。謹慎如湯米，在得知格雷斯幾次對他說謊的情況下，卻依然將自己的信任無條件交付出去，生存的壓力，戰(zhàn)爭的創(chuàng)傷已經(jīng)讓他的內(nèi)心疲倦孤獨了太久，他太需要溫暖，哪怕只有短暫的片刻。在格雷斯家的夜晚，湯米說他聽不到鐵楸挖墻的聲音了，就像之前在酒吧聽著格雷斯的歌聲入睡一樣，或許格雷斯對于湯米來說，就像太陽一樣散發(fā)著光熱，他只想盡情享受這寶貴的溫暖和寧靜，至于格雷斯神秘的過去是什么，湯米已經(jīng)不想或不敢去深究?？藏悹柧L說過“我們得到的愛，最終都要為之付出代價”，弗萊迪嘲笑過湯米根本不知道愛為何物，現(xiàn)在湯米知道了，卻要面對它其實是毒藥這個事實，這就是湯米付出的代價，或者是他運氣差，愛上了錯的人，但是我們又怎么知道下一個遇到的人是對的呢？在那個年代，愛幾乎就是一件稀有的奢侈品。最后格雷斯離開了，湯米又一個人了，即使是除掉比利金波這個喜大普奔的日子，在酒吧里同族人們慶祝的湯米仍然顯得形單影只，看湯米最后落寞疲憊甚至有些呆滯的表情，波莉安慰他說，他以后還會愛上別人的，也許他會，也許他不會，但無論如何，湯米再不可能像愛格雷斯一樣再愛上另一個人了。
6 ) 久聞大名，大失所望！
第一季前兩集不錯，從老大與警察頭子會面決定交易后，邏輯崩壞，bug到處都是，只能快進拉完?？吹侥莾簯蛞话愕暮趲突鹌?，還插入一段母愛演講，感到演員演得那么認真確實是能裝??！特別是女臥底是無敵存在，這么多漏洞，還殺了愛爾蘭共和軍頭目，居然就是沒被發(fā)現(xiàn)，我一直在期待最后反轉(zhuǎn)，老大其實是在利用女臥底，不過事實證明我想多了！本來準備看完后面的，翻了一下評論，還是棄劇了！
Cillian Murphy真的好帥?。(^o^)/~帽子，帽子，帽子真心給片兒加分??！
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(chuàng)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
睡完照心窩捅一刀完事兒說這都是公事但我真的愛你??！女臥底滾犢子吧！BGM爆贊！
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。
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(fā)音了
畫面，配樂很贊，好像一幕大戲要開演了。
Cillian Murphy三百六十度光影大片
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?shù)呐錁繁聘褓濓w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(nèi)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?jīng)_突有看頭。美女臥底設(shè)定略弱智，跟阿sir會面智商特做雞。蛋疼結(jié)局又要等一年
斯里安帥成這樣沒救了...
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
配樂張力十足！一個有好BGM的劇通常不會太差
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！
業(yè)界良心
BBC，還有啥可說的，鏡頭、時代感、燈光、服裝、道具。
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~
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。
只要你看下去就會發(fā)現(xiàn)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(jié)果被來歷不明演技不佳的女臥底唬得團團轉(zhuǎn)，我懷疑在大西洋帝國活不過兩集。
當(dāng)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??
我這種土鱉還是覺得這部比大西洋帝國更容易follow啊TVT