猜你喜歡
劇照
詳細劇情
長篇影評
1 ) 階級與氣質
除了最后一集中幫派火拼的處理有點草率，《浴血黑幫》是一部非常好的黑幫劇。第一季只有六集，劇情緊湊。整個故事圍繞那批丟失的軍火展開：政府害怕軍火落入共產主義者和愛爾蘭共和軍手中，剃刀黨的托馬斯想以這批軍火為砝碼，實現(xiàn)經濟轉型，躋身上流社會。故事的情節(jié)就是經典黑幫片中都有的：警匪之間的勾結和出賣、幫派間的連橫合縱、當然還少不了愛情戲。個人認為，在劇本上達到了《教父》的水準。 但是這部劇給人的第一印象非常差，以至于5分鐘不到我就把它關掉了：畫面壓抑，骯臟，主角發(fā)型怪異，服裝也很臟亂，最讓人不能容忍的是，他們說著讓人聽不懂的英語。————我們熟悉的英倫范兒哪里去了？那些能隨意引用莎士比亞的人哪里去了？那些發(fā)型一絲不茍舉止優(yōu)雅的紳士哪里去了？還有那些古堡中的貴婦人和大小姐呢？ 這些都不見了，我們看到的是一戰(zhàn)后的伯明翰：這是另一個英國，是19世紀初窮人的英國，是一個骯臟、墮落、糜爛的英國。新來的警官坎貝爾在第一次對下屬訓話時做了很好的描述： 嬰兒被丟棄在魚骨蛋殼之間；小姑娘們，才11歲，老男人花三便士就能隨意糟蹋她們，像禽獸那樣發(fā)泄欲望。墮落……父親搞上女兒，兄弟與姐妹同床共枕，大街上滿是乞丐和竊賊，街兩旁卻堆滿了傷員，傷口腐爛 ，散發(fā)惡臭。你們的雇主，你們舉手致敬的那些家伙，剃刀黨，邪惡、殘忍的黑幫，他們戳瞎原本明亮的眼睛，割下原本能說會道的舌頭。你們比他們更卑劣，你們之中有人自戰(zhàn)爭爆發(fā)就一直在收受他們的賄賂，有人故意視而不見，你們比他們更卑劣，上帝譴責你們玷污了身上的警服?，F(xiàn)在又多了愛爾蘭共和軍的芬尼亞運動成員，以及共產主義分子。他們的心更加黑暗，他們依靠這些腐敗求生，如同死尸上的蛆蟲一般，如果任由蛆蟲成長壯大，那就最終會變成成群的蒼蠅，將他們腐爛的思想，傳遍全國，傳向世界。 這就是英國的底層社會，它和我們熟悉的英國紳士和淑女的世界相隔絕：劇中的絕大多數(shù)畫面都是陰暗的，似乎那個伯明翰的工人區(qū)從來都缺少陽光，而一旦轉到上流社會的場所（肯波的豪宅，丘吉爾的包廂），整個畫面就變得明亮起來。那些底層人民（包括黑幫家族）都穿著骯臟、怪異的服裝，說著聽不懂的地方方言（用一個詞來形容的話，就是“殺馬特”），這些都和上流社會那些有教養(yǎng)的（civilized）人區(qū)分開來。以至于酒吧老板一看到來應聘酒吧女侍的格蕾絲（警方的臥底），就拒絕了她：她太漂亮了，肯定不是屬于這個地方的（“你太…正派了，也太漂亮了，他們會把你按在墻上狠干一番的”）。 這正是英國的那種等級森嚴的社會結構的體現(xiàn)。其他國家自然也有等級，也有貧富分化，然而都不像英國這樣根深蒂固。喬治·奧威爾對此深有感觸：“英國人的（階級）烙印是打在舌頭上的?！弊鳛橐幻鐣髁x者，他關心窮人的疾苦。為了體驗窮人的生活，他曾經偽裝成酒醉的流浪漢，去辱罵一個警察，想被抓到監(jiān)獄里去嘗一嘗與窮人一起過圣誕節(jié)的滋味。但是那個警察從他醉酒后的口音，一下就聽出了這個身披借來的破爛衣服的醉鬼是一個出身伊頓公學的地道紳士，并沒有上鉤，而是善意相勸，叫他乖乖地回家去。 這種等級制不僅存在，而且能讓每個人都能意識到并且認同它。波莉阿姨對格蕾絲說：“我猜你是個富家小姐、工會主義分子、阿爾斯特志愿軍。你覺得芬尼亞運動成員、共產主義分子、低等人，他們都一個樣，都是渣滓?！痹趶氖潞戏ㄉ獾挠媱澗鸵獙崿F(xiàn)的時候，托馬斯提出聘用格蕾絲為秘書：“你有我想要的東西——氣質，重要會議時我需要儀表端莊的人”?！皻赓|”的原文是“class”，這種翻譯是非常合適的：在英國人（不論是格蕾絲還是托馬斯）的眼中，階級就意味著氣質。 再來講一個故事，去年9月19號，保守黨的黨鞭（中組部部長）在騎車離開唐寧街9號的辦公室時，被警察攔住，要求他從人行道的門出去。這個保守黨的黨鞭自然像沒有我們的首長那樣去夸獎衛(wèi)兵忠于職守，也沒有像何兵那樣報道微博上抱怨安保人員，而是破口大罵：“Best you learn your fucking place. You don‘t run this fucking government … You’re fucking plebs”?！皃leb”一詞來源于古羅馬的拉丁文，大概是王政時期羅馬貴族（patricians）造出來的蔑稱。在今天的英語中，它仍然具有從古羅馬那里繼承來的等級制的含義。
2 ) 那些年編劇寫丟了的好劇情
其實從基本的人物設定和第一集的展開情況來說，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精良的類教父式家族傳奇故事。無奈編劇大大一路發(fā)梗一路丟，丟到最后一集完全跟第一集失去了聯(lián)系。而那些本來可以成為矛盾激發(fā)點的設定，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。本來可以成為他戰(zhàn)后性格轉變的原因，與家人矛盾的激發(fā)點，和對溫情的渴望的源泉。結果竟然到了劇集中間段后就再也沒出現(xiàn)過。
比如Tommy和Freddie的關系。作為一對一起長大又出生入死過的，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足夠觀眾腦補一本三十萬字的小說了，結果編劇竟然把Freddie弱化處理到了如此不堪的程度。
再比如警署的存在感。既然故事主角已經被設定成了戰(zhàn)爭英雄。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的敵對組織就不應該是劇集刻畫出的這個不堪一擊又缺乏存在感的樣子。警署這個上司蠢成這個樣子，還公私不分到想要跟執(zhí)行任務期間的臥底保持浪漫關系......簡直_(:з」∠)_
總之編劇為了體現(xiàn)Tommy的高大全幾乎無所不用其極到了不惜放棄豐富其他角色的機會。不僅警察局的頭兒毫無魅力，甚至連敵對家族的頭領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有的蠢貨......
除開數(shù)不勝數(shù)的被編劇錯過的好劇情，本劇的漏洞和交代不清之處也絕不在少數(shù)。單以Arthur本人來說，為什么對背叛過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？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？為什么要選擇上吊這種娘炮的自殺方式？......
這樣的劇本浪費了精彩的卡司，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束于一個讓人沒什么期待的懸念。但是第二季出街之前一樣會有人敲碗等番，原因其實也很簡單。
畢竟基里安實·在·是·有·點·太·帥·了·吧。
3 ) [轉] The Big Issue: CILLIAN MURPHY INTERVIEW: “IN THIS STORY THE WORKING-CLASS LOOK SEXY”
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.
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。總之一旦風向有變一定會及時有人通知。
5.情報網四通八達，勢力范圍內一切風吹草動他都能清楚。同時勢力范圍以外的地方也要廣撒情報網，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。當然，除非臥底干完這票就跑ㄟ( ▔, ▔ )ㄏ
請Tommy和Grace對號入座....
5 ) 核心需要的是大局觀
一個王者帶一幫子青銅真心累。
謝爾比家族更像莽荒大地上野蠻生長村落里的村霸，憑著一股子狠勁，在風云際會的一戰(zhàn)，在polly阿姨的操持下，維持著地下賭馬的生意，直到湯米三兄弟從站場歸來。
在家人包括最有眼光的polly阿姨的各種沒頭腦各種不省心各種不高興中，湯米以一己之力把整個家族事業(yè)從伯明翰做到倫敦，從地下做到地上，從喊殺喊打的黑幫頭頭做到影響政府決策的工黨議員。
湯米從站場歸來的第一個大事就是手下陰差陽錯地偷了一批槍支彈藥，對這個燙手的山芋，polly阿姨的第一反應是趕緊扔了，她的意思很明顯：就我們這點智商（實力），要啥自行車??？湯米老師卻高瞻遠矚地看到這里面可以大做文章的空間，他利用這個機會游刃于政府警察、愛爾蘭自由軍以及鼓動工人罷工的那些人之間，同時還要面對李家人的蠶食以及把持賭馬生意肯波幫派的全面壓制。他和警督達成除掉肯波的交易，玩弄了愛爾蘭自由軍，結盟了李家人，最終開槍打死肯波。
所以，你看，一個事業(yè)的開拓，靠的從來不是操作層面的喊打喊殺，而是一個強有力的站高望遠的核心領導，而這個領導的最重要的能力是平衡各方面的勢力，從中發(fā)現(xiàn)機會或者創(chuàng)造機會。
沒有這個大局觀，你只能是懵懵懂懂的大哥亞瑟或者聰明有余智慧不足的姨媽polly。
6 ) 為什么討厭grace
1.打著父親的名義去做臥底，結果愛上敵人，背叛了領導
2.愛上了敵人卻出賣敵人。完成找木倉的任務無可厚非，殺了tom其實都理直氣壯?？伤诿妹蒙a的當晚出賣妹夫。
3.口口聲聲真愛tom扭頭就結婚了。背叛×3
4.結了婚一個電話就去見耳聾的姑媽了。背叛老公。理由是真愛。我沒騙過我老公，你可別瞎說啊，甩耳光。
就是一個打著淑女 氣質 有教養(yǎng) 偉光正 真愛 正義等等旗號，一直端著勁兒端著，但實際上干盡了所有連有點職業(yè)操守的x工作者都不屑去干的事。
這人設，已經不僅僅是下面那點事兒的問題了，是人品有問題。簡而言之，就是又當又立，茶b典型。全劇只有警官那句whore，最配得上她。
如果她第一季就死了，可能還沒那么討厭。
如果她沒有再婚，一直期待重溫舊情，那好歹是個真重感情的人。
如果她再婚以后老老實實的，跟tom以禮相待，那還能叫從良。
如果她說完木倉的事沒有出賣妹夫，或者在別的日子送妹夫進局子，又或者她完成任務深藏功與名再動心也沒鼓掌。她都會是一個偉光正值得人喜愛的人物兒。
畢竟同樣干傳統(tǒng)文化意義上whore事兒的女的這劇里有的是，未婚先孕還要私奔的妹妹，出賣肉體給老頭換兒子出獄的姑媽，職業(yè)就是躺著掙錢的栗子，甚至那個中國姑娘。
你就說說，有哪個能比她grace更討人厭吧。
所以，真不是下面那點兒事兒的問題。我個人，對女性，沒有蕩婦羞辱的癖好。
可編劇偏偏塑造了這么個，說名媛貴女不貴，說干練瀟灑女特工又不行，說單純白花又狠毒隨便的角色，真，啥也沒弄好。
（僅針對grace不上升演員）
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
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
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
我這種土鱉還是覺得這部比大西洋帝國更容易follow啊TVT
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
Cillian Murphy真的好帥?。(^o^)/~帽子，帽子，帽子真心給片兒加分?。?/p>
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~
畫面，配樂很贊，好像一幕大戲要開演了。
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）
業(yè)界良心
BBC，還有啥可說的，鏡頭、時代感、燈光、服裝、道具。
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。
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！
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??
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！
配樂張力十足！一個有好BGM的劇通常不會太差
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。
斯里安帥成這樣沒救了...
Cillian Murphy三百六十度光影大片
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。