從很多層面上來(lái)講，peaky blinders都是一部不錯(cuò)的言情劇。雖然走向過(guò)于瓊瑤了一點(diǎn)，但是風(fēng)韻和風(fēng)骨都還是有的。本片的本質(zhì)基本上也由尼爺?shù)钠^曲涵蓋了。導(dǎo)演力求達(dá)到的效果無(wú)非兩點(diǎn)。蘇。并且冷酷炫。換句話說(shuō)，對(duì)于這部劇，導(dǎo)演并沒(méi)有追求史詩(shī)效果。野心不足，（當(dāng)然也可能是經(jīng)費(fèi)不足...），只是披著黑幫片的外衣而已。所以那些追求大西洋帝國(guó)風(fēng)格走向的旁友們，你們走錯(cuò)片場(chǎng)了。（蠟燭

        其實(shí)從基本的人物設(shè)定和第一集的展開(kāi)情況來(lái)說(shuō)，哪怕排除一切一切客觀上的不利因素，本劇也完全可以拍成一個(gè)精良的類教父式家族傳奇故事。無(wú)奈編劇大大一路發(fā)梗一路丟，丟到最后一集完全跟第一集失去了聯(lián)系。而那些本來(lái)可以成為矛盾激發(fā)點(diǎn)的設(shè)定，多數(shù)都被輕描淡寫甚至選擇性遺忘了。

         比如Tommy在前幾集中著力描寫的PTSD癥狀。本來(lái)可以成為他戰(zhàn)后性格轉(zhuǎn)變的原因，與家人矛盾的激發(fā)點(diǎn)，和對(duì)溫情的渴望的源泉。結(jié)果竟然到了劇集中間段后就再也沒(méi)出現(xiàn)過(guò)。

         比如Tommy和Freddie的關(guān)系。作為一對(duì)一起長(zhǎng)大又出生入死過(guò)的，成了連襟的好基友，F(xiàn)reddie戰(zhàn)后成為了走在潮流尖端的共產(chǎn)黨人，Tommy則一心想將家族生意合法化。這其中可以潛在的矛盾基本已經(jīng)足夠觀眾腦補(bǔ)一本三十萬(wàn)字的小說(shuō)了，結(jié)果編劇竟然把Freddie弱化處理到了如此不堪的程度。

         再比如警署的存在感。既然故事主角已經(jīng)被設(shè)定成了戰(zhàn)爭(zhēng)英雄。警察的上司又是丘吉爾這樣的亂世梟雄。那么警察這一Peaky blinders的敵對(duì)組織就不應(yīng)該是劇集刻畫出的這個(gè)不堪一擊又缺乏存在感的樣子。警署這個(gè)上司蠢成這個(gè)樣子，還公私不分到想要跟執(zhí)行任務(wù)期間的臥底保持浪漫關(guān)系......簡(jiǎn)直_(:з」∠)_

        總之編劇為了體現(xiàn)Tommy的高大全幾乎無(wú)所不用其極到了不惜放棄豐富其他角色的機(jī)會(huì)。不僅警察局的頭兒毫無(wú)魅力，甚至連敵對(duì)家族的頭領(lǐng)也被寫成了表演型人格障礙且馭下能力低下到連收尸的小弟都沒(méi)有的蠢貨......

        除開(kāi)數(shù)不勝數(shù)的被編劇錯(cuò)過(guò)的好劇情，本劇的漏洞和交代不清之處也絕不在少數(shù)。單以Arthur本人來(lái)說(shuō)，為什么對(duì)背叛過(guò)家族的父親輕易交付信任？為什么在賬目不清的情況下大哥沒(méi)有被撤換職位？為什么Grace可以輕易以nobody的身份介入家族事務(wù)？為什么大哥心理脆弱矛盾到了可以赴死的程度卻能被Tommy一句輕飄飄的承諾拉回來(lái)？為什么要選擇上吊這種娘炮的自殺方式？......
       
        這樣的劇本浪費(fèi)了精彩的卡司，牛掰的配音師和癡漢（劃掉）的攝影師。讓一部本可以非常精彩的劇集淪為了一部杰克蘇式言情向作品。But, 雖然第一季不甚精彩的結(jié)束于一個(gè)讓人沒(méi)什么期待的懸念。但是第二季出街之前一樣會(huì)有人敲碗等番，原因其實(shí)也很簡(jiǎn)單。

       畢竟基里安實(shí)·在·是·有·點(diǎn)·太·帥·了·吧。

電視劇木有評(píng)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.

.
   在我的想象里，作為一個(gè)合格的黑幫老大：
1.老大的權(quán)利必須是毫不動(dòng)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(hù)的，任何出現(xiàn)在身邊的人都要被盤查到祖宗三代，任何來(lái)歷有一點(diǎn)不清楚的人都會(huì)被重點(diǎn)關(guān)注。如果不是親信根本近不了老大的身，更別說(shuō)是能聽(tīng)到老大談秘密了。
3.一旦出事，最先懷疑新加入的來(lái)歷不明的人。
4.上下打點(diǎn)，最好是上面有人?？傊坏╋L(fēng)向有變一定會(huì)及時(shí)有人通知。
5.情報(bào)網(wǎng)四通八達(dá)，勢(shì)力范圍內(nèi)一切風(fēng)吹草動(dòng)他都能清楚。同時(shí)勢(shì)力范圍以外的地方也要廣撒情報(bào)網(wǎng)，對(duì)別人的地盤發(fā)生的事也得很了解。
6.每次有行動(dòng)的時(shí)候準(zhǔn)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(ài)人不能參與任何幫派活動(dòng)，不能探聽(tīng)?zhēng)团傻娜魏蚊孛?，甚至人身自由都要被限制，不能隨便一個(gè)人出門。這點(diǎn)應(yīng)該適用于所有高層人員。

    而作為一個(gè)臥底....
1.履歷一定要清楚。是不是真實(shí)的先不說(shuō)，一定要清楚。
2.每次泄密時(shí)要制造可信的不在場(chǎng)證明，不能讓任何人知道自己知道這個(gè)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(jí)組織出于保護(hù)臥底的原因不能馬上行動(dòng)，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(qǐng)Tommy和Grace對(duì)號(hào)入座....