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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(shí)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(jìn)他們帽子的帽檐之間，這也是“剃刀黨”的名稱由來(lái)。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(wú)情。在那個(gè)時(shí)代，退伍軍人、革命者和罪犯，都在社會(huì)底層掙扎生存。而當(dāng)貝爾法斯特的警方負(fù)責(zé)人開(kāi)始介入時(shí)，Tommy和他的黑幫勢(shì)力制造出的恐怖統(tǒng)治開(kāi)始了傾斜。
長(zhǎng)篇影評(píng)
1 ) [轉(zhuǎn)] The Big Issue: CILLIAN MURPHY INTERVIEW: “IN THIS STORY THE WORKING-CLASS LOOK SEXY”
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.
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(diǎn)兒正經(jīng)的黑幫片了
提起英國(guó)黑幫片，總想不起里面出現(xiàn)過(guò)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(jì)律一致對(duì)外。英國(guó)佬喜歡講個(gè)人體驗(yàn)，用個(gè)體的荒謬遭遇，諷刺人世的反復(fù)無(wú)常。是什么組織，是什么歷史，對(duì)敘述一個(gè)雋永的寓言故事來(lái)說(shuō)毫不重要?？梢哉f(shuō)英國(guó)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(huì)哭。羅伯特?麥基說(shuō)，編劇應(yīng)該將故事拓展到人類經(jīng)歷的廣度和深度，無(wú)疑英國(guó)佬在這件事情上做得尤其好。因?yàn)樗麄冏龅锰?，太聰明，以至于過(guò)快得出結(jié)論，直接跳過(guò)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(guó)佬的片子大多富有后現(xiàn)代氣質(zhì)，解構(gòu)生活一時(shí)爽，終究因透徹而虛無(wú)。
而他的好兒子，處處體現(xiàn)出下克上氣質(zhì)的美國(guó)，就特別入世，特愛(ài)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(shí)代大舞臺(tái)。譬如《紐約黑幫》這種披著黑幫皮裹著政治肉，講述階級(jí)矛盾消解和族群融合的社會(huì)片，才符合奧斯卡的最高精神標(biāo)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(guó)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(guó)佬的心智。然后，關(guān)上門拍起了最精致的時(shí)代劇。當(dāng)人們還沒(méi)從《唐頓莊園》的華服美食中清醒過(guò)來(lái)，《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(guó)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(guó)風(fēng)度。片子的風(fēng)格，當(dāng)然是照著《霧都孤兒》和《遠(yuǎn)大前程》的路數(shù)來(lái)的：暗黑而泥濘，仿若人心。
初看此劇，差點(diǎn)以為自己打開(kāi)方式不對(duì)。開(kāi)頭就是華人貧民區(qū)的長(zhǎng)鏡頭，雖然有點(diǎn)兒別扭，但也算是鬼佬片里最字正腔圓的粵語(yǔ)，總好過(guò)好萊塢不負(fù)責(zé)任的國(guó)粵交雜。然后妖魅的西里安?墨菲身騎黑馬翩翩登場(chǎng)，閃瞎雙眼。病嬌如他，總讓人想起《美國(guó)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(shí)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(shí)間捧場(chǎng)。然而片中他卻是一戰(zhàn)英雄和黑幫靈魂，掌控整個(gè)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(diǎn)。
說(shuō)回時(shí)代背景。很多人將《浴血黑幫》和《大西洋帝國(guó)》比較，首先當(dāng)然是同一個(gè)年代。一戰(zhàn)后英美面臨新秩序的建立，不同的是，美國(guó)是由下至上的洗牌，英國(guó)則是上下交鋒的多方混戰(zhàn)。美國(guó)發(fā)了戰(zhàn)爭(zhēng)財(cái)，黑幫利用禁酒令促成蓬勃的黑市交易，再以財(cái)養(yǎng)政，鍛造自己的政治后盾，再黑，也是自己人黑吃黑。英國(guó)則負(fù)債累累經(jīng)濟(jì)衰敗，以伯明翰剃刀黨為首的黑幫勢(shì)力四處斂財(cái)，轟轟烈烈的工人運(yùn)動(dòng)余威持續(xù)至今，再加上小強(qiáng)一樣打不死的愛(ài)爾蘭共和軍，三股地下勢(shì)力成了沒(méi)落自由黨政府最頭疼的眼中釘。通過(guò)一次軍火盜竊事件，《浴血黑幫》將四者關(guān)系梳理細(xì)致，政府對(duì)三方的不懈打壓，黑幫和布爾什維克的若即若離，愛(ài)爾蘭共和軍的神出鬼沒(méi)，愛(ài)恨情仇在BBC最擅長(zhǎng)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(duì)布爾什維克小領(lǐng)導(dǎo)說(shuō)的那句，“我們的唯一區(qū)別，是你對(duì)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(guó)人最擅長(zhǎng)的諷刺和虛無(wú)。這對(duì)初集就現(xiàn)官配走勢(shì)的好基友，果斷犧牲了妹妹，但不要緊，反正那時(shí)女人厲害著呢。男人都出門打仗了，家里是女人在管事的時(shí)代細(xì)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(guó)王的演講》里還是“蟲(chóng)尾巴”蒂莫西?斯波演的呢，相比起來(lái)劇里那位已經(jīng)十分嚴(yán)肅了。
其實(shí)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(guó)，就特別入世，特愛(ài)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(shí)代大舞臺(tái)。譬如《紐約黑幫》這種披著黑幫皮裹著政治肉，講述階級(jí)矛盾消解和族群融合的社會(huì)片，才符合奧斯卡的最高精神標(biāo)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(guó)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(guó)佬的心智。然后，關(guān)上門拍起了最精致的時(shí)代劇。當(dāng)人們還沒(méi)從《唐頓莊園》的華服美食中清醒過(guò)來(lái)，《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(guó)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(guó)風(fēng)度。片子的風(fēng)格，當(dāng)然是照著《霧都孤兒》和《遠(yuǎn)大前程》的路數(shù)來(lái)的：暗黑而泥濘，仿若人心。
初看此劇，差點(diǎn)以為自己打開(kāi)方式不對(duì)。開(kāi)頭就是華人貧民區(qū)的長(zhǎng)鏡頭，雖然有點(diǎn)兒別扭，但也算是鬼佬片里最字正腔圓的粵語(yǔ)，總好過(guò)好萊塢不負(fù)責(zé)任的國(guó)粵交雜。然后妖魅的西里安?墨菲身騎黑馬翩翩登場(chǎng)，閃瞎雙眼。病嬌如他，總讓人想起《美國(guó)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(shí)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(shí)間捧場(chǎng)。然而片中他卻是一戰(zhàn)英雄和黑幫靈魂，掌控整個(gè)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(diǎn)。
說(shuō)回時(shí)代背景。很多人將《浴血黑幫》和《大西洋帝國(guó)》比較，首先當(dāng)然是同一個(gè)年代。一戰(zhàn)后英美面臨新秩序的建立，不同的是，美國(guó)是由下至上的洗牌，英國(guó)則是上下交鋒的多方混戰(zhàn)。美國(guó)發(fā)了戰(zhàn)爭(zhēng)財(cái)，黑幫利用禁酒令促成蓬勃的黑市交易，再以財(cái)養(yǎng)政，鍛造自己的政治后盾，再黑，也是自己人黑吃黑。英國(guó)則負(fù)債累累經(jīng)濟(jì)衰敗，以伯明翰剃刀黨為首的黑幫勢(shì)力四處斂財(cái)，轟轟烈烈的工人運(yùn)動(dòng)余威持續(xù)至今，再加上小強(qiáng)一樣打不死的愛(ài)爾蘭共和軍，三股地下勢(shì)力成了沒(méi)落自由黨政府最頭疼的眼中釘。通過(guò)一次軍火盜竊事件，《浴血黑幫》將四者關(guān)系梳理細(xì)致，政府對(duì)三方的不懈打壓，黑幫和布爾什維克的若即若離，愛(ài)爾蘭共和軍的神出鬼沒(méi)，愛(ài)恨情仇在BBC最擅長(zhǎng)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(duì)布爾什維克小領(lǐng)導(dǎo)說(shuō)的那句，“我們的唯一區(qū)別，是你對(duì)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(guó)人最擅長(zhǎng)的諷刺和虛無(wú)。這對(duì)初集就現(xiàn)官配走勢(shì)的好基友，果斷犧牲了妹妹，但不要緊，反正那時(shí)女人厲害著呢。男人都出門打仗了，家里是女人在管事的時(shí)代細(xì)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(guó)王的演講》里還是“蟲(chóng)尾巴”蒂莫西?斯波演的呢，相比起來(lái)劇里那位已經(jīng)十分嚴(yán)肅了。
其實(shí)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(huì)是一部教父一樣的劇，結(jié)果我錯(cuò)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?yàn)槊米铀懒诵值苓€是喜歡妹子。hai。劇情硬傷，但是著實(shí)靚仔。拍的很好尤其是服道化場(chǎng)景等等。
接下來(lái)是細(xì)節(jié)。私藏軍火，干掉兄弟（其實(shí)沒(méi)死）和警長(zhǎng)交易，透露著一種網(wǎng)文爽文的快感，控制了一切，讓人感覺(jué)這一切是合適的。結(jié)果后來(lái)全部失控了。
警長(zhǎng)跟手下感嘆女間諜比你們?nèi)加杏?？間諜就是這么簡(jiǎn)單說(shuō)出去的嘛。類似的小地方不吐槽但有不少。本來(lái)我以為男主看得透一切包括教堂那里就知道了誰(shuí)泄密，再后來(lái)真的被賣了一次之后（抓妹夫）會(huì)知道是誰(shuí)結(jié)果一直不知道？？靠女主的愛(ài)情和警長(zhǎng)莫名其妙的同情就成功了。愛(ài)爾蘭人來(lái)的時(shí)候生死大事交給沒(méi)開(kāi)過(guò)槍的人還抱怨警察來(lái)的晚？？？全國(guó)第三大賭馬公司收下黑幫兩大卡車經(jīng)過(guò)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(cuò)誤的消息誤導(dǎo)警察或者驗(yàn)證臥底....）
綜上所述。拍攝手法和場(chǎng)景布置甩國(guó)產(chǎn)幾條街。真正的的時(shí)代感和背景不是去嶄新的橫店電影城就可以拍的出來(lái)的。
想了想這和國(guó)內(nèi)的玄幻小說(shuō)差不多定義吧可以叫做爽文，但是是瑯琊榜那種級(jí)別有劇情硬傷的好爽文（瑯琊榜這個(gè)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(shí)還是....雖然也預(yù)料之內(nèi)的反應(yīng)但可以說(shuō)已經(jīng)是后面陷入愛(ài)情tommy的極限了。
說(shuō)了這么多這部劇的作用就是讓很多只看評(píng)分決定劇水準(zhǔn)高低的朋友們一個(gè)清醒認(rèn)知的機(jī)會(huì)。劇很好，但沒(méi)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(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)团傻娜魏蚊孛埽踔寥松碜杂啥家幌拗?，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....
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)团傻娜魏蚊孛埽踔寥松碜杂啥家幌拗?，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....
5 ) 我們得到的愛(ài)，最終都要為之付出代價(jià)
關(guān)于謝爾比家族
亞瑟：一直想當(dāng)家族里的老大，其實(shí)也只是想證明自己，他不見(jiàn)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(wú)法忍受的?？戳藖喩系跄羌鋈缓眯奶鬯ＳH爹時(shí)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(lái)，亞瑟就是個(gè)小孩，無(wú)論受到多大委屈，只要給他一顆糖，他就會(huì)破涕為笑。上次鬧別扭，湯米給了他一顆糖—送他一個(gè)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(shí)也給了亞瑟最在乎的愛(ài)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(gè)囂張跋扈牛逼哄哄的亞瑟謝爾比了。
波莉阿姨
很堅(jiān)強(qiáng)的一個(gè)女人，當(dāng)時(shí)整個(gè)伯明翰就是個(gè)貧民區(qū)，犯罪滋生，要生存下來(lái)談何容易。波莉一個(gè)人把幾個(gè)熊孩子拉扯大，后來(lái)當(dāng)家里的男人奔赴戰(zhàn)場(chǎng)為國(guó)奮戰(zhàn)的時(shí)候，她又要拿起槍來(lái)保護(hù)自己和自己的家人，維持整個(gè)家族生意的正常運(yùn)作，試問(wèn)那個(gè)年代，有多少的女性有這個(gè)勇氣和膽量，其中又要克服多少困難遭遇多少危險(xiǎn)。在艾達(dá)和弗萊迪的事上，波莉是希望艾達(dá)得到幸福的，她不希望艾達(dá)重蹈自己的覆轍，懷上私生子，背負(fù)一輩子的罵名，最后還差點(diǎn)死于墮胎，所以她覺(jué)得應(yīng)該給弗萊迪一個(gè)機(jī)會(huì)回來(lái)和艾達(dá)團(tuán)聚。后來(lái)礙于湯米的命令，波莉勸說(shuō)艾達(dá)打胎，她流著眼淚勸告艾達(dá)，她已經(jīng)為了一段失敗的愛(ài)情付出了沉重的代價(jià)，再也不能像普通女人一樣擁有一個(gè)正常的家庭，但她希望艾達(dá)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(gè)家族權(quán)力和力量，使這個(gè)家的人不用任人宰割，所以她勸艾達(dá)原諒湯米，她知道，湯米做的一切都是為了這個(gè)家，如果家人不團(tuán)結(jié)，那么一切都無(wú)意義；所以她和格雷斯單獨(dú)談話，逼她離開(kāi)伯明翰，使她無(wú)法再次傷害湯米。一句話，波莉就是謝爾比家的守護(hù)者，強(qiáng)悍如謝爾比兄弟，沒(méi)有波莉，也無(wú)法存活。
艾達(dá)和約翰
沖動(dòng)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(kāi)，雖然心里已經(jīng)罵了千遍萬(wàn)遍，但最后還是沒(méi)法撒手不管，而且約翰和艾達(dá)也是小孩，也有他們可愛(ài)的地方?？此麄円患胰说陌枳煲埠?，溫情也好，就覺(jué)得還是那一句，一家人最后還是要抱團(tuán)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(dá)一看就知道是一家人，個(gè)性都是沖動(dòng)魯莽少根筋。但是湯米不一樣，冷靜沉著又工于心計(jì)，有膽識(shí)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(shuō)謊，謝爾比家品牌，鬼扯的質(zhì)量保障 = =）。
如果沒(méi)有湯米，謝爾比家族的剃刀幫頂多算個(gè)不入流的流氓幫派，因?yàn)橛辛藴?，這個(gè)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(shì)力談判合作的底氣。
但是這樣的湯米，卻愛(ài)上了格雷斯。開(kāi)始樓主也覺(jué)得格雷斯的設(shè)定不夠好，她沒(méi)有匹敵湯米的智謀和膽識(shí)，身份偽裝的也不夠慎密，甚至沒(méi)多少存在感，但后來(lái)我開(kāi)始慢慢理解編劇這樣的設(shè)定。Peaky Blinders 不是無(wú)間道，格雷斯之于湯米也不是陳永仁之于劉建明。格雷斯對(duì)于湯米來(lái)說(shuō)是更像一個(gè)救贖而非對(duì)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(méi)來(lái)得及深入了解格雷斯時(shí)，他內(nèi)心的渴望便打亂了自己的計(jì)劃，他急切的希望將格雷斯留下，甚至主動(dòng)向她提供了一份管理賬本的工作。謹(jǐn)慎如湯米，在得知格雷斯幾次對(duì)他說(shuō)謊的情況下，卻依然將自己的信任無(wú)條件交付出去，生存的壓力，戰(zhàn)爭(zhēng)的創(chuàng)傷已經(jīng)讓他的內(nèi)心疲倦孤獨(dú)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(shuō)他聽(tīng)不到鐵楸挖墻的聲音了，就像之前在酒吧聽(tīng)著格雷斯的歌聲入睡一樣，或許格雷斯對(duì)于湯米來(lái)說(shuō)，就像太陽(yáng)一樣散發(fā)著光熱，他只想盡情享受這寶貴的溫暖和寧?kù)o，至于格雷斯神秘的過(guò)去是什么，湯米已經(jīng)不想或不敢去深究?？藏悹柧L(zhǎng)說(shuō)過(guò)“我們得到的愛(ài)，最終都要為之付出代價(jià)”，弗萊迪嘲笑過(guò)湯米根本不知道愛(ài)為何物，現(xiàn)在湯米知道了，卻要面對(duì)它其實(shí)是毒藥這個(gè)事實(shí)，這就是湯米付出的代價(jià)，或者是他運(yùn)氣差，愛(ài)上了錯(cuò)的人，但是我們又怎么知道下一個(gè)遇到的人是對(duì)的呢？在那個(gè)年代，愛(ài)幾乎就是一件稀有的奢侈品。最后格雷斯離開(kāi)了，湯米又一個(gè)人了，即使是除掉比利金波這個(gè)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(shuō)，他以后還會(huì)愛(ài)上別人的，也許他會(huì)，也許他不會(huì)，但無(wú)論如何，湯米再不可能像愛(ài)格雷斯一樣再愛(ài)上另一個(gè)人了。
亞瑟：一直想當(dāng)家族里的老大，其實(shí)也只是想證明自己，他不見(jiàn)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(wú)法忍受的?？戳藖喩系跄羌鋈缓眯奶鬯ＳH爹時(shí)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(lái)，亞瑟就是個(gè)小孩，無(wú)論受到多大委屈，只要給他一顆糖，他就會(huì)破涕為笑。上次鬧別扭，湯米給了他一顆糖—送他一個(gè)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(shí)也給了亞瑟最在乎的愛(ài)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(gè)囂張跋扈牛逼哄哄的亞瑟謝爾比了。
波莉阿姨
很堅(jiān)強(qiáng)的一個(gè)女人，當(dāng)時(shí)整個(gè)伯明翰就是個(gè)貧民區(qū)，犯罪滋生，要生存下來(lái)談何容易。波莉一個(gè)人把幾個(gè)熊孩子拉扯大，后來(lái)當(dāng)家里的男人奔赴戰(zhàn)場(chǎng)為國(guó)奮戰(zhàn)的時(shí)候，她又要拿起槍來(lái)保護(hù)自己和自己的家人，維持整個(gè)家族生意的正常運(yùn)作，試問(wèn)那個(gè)年代，有多少的女性有這個(gè)勇氣和膽量，其中又要克服多少困難遭遇多少危險(xiǎn)。在艾達(dá)和弗萊迪的事上，波莉是希望艾達(dá)得到幸福的，她不希望艾達(dá)重蹈自己的覆轍，懷上私生子，背負(fù)一輩子的罵名，最后還差點(diǎn)死于墮胎，所以她覺(jué)得應(yīng)該給弗萊迪一個(gè)機(jī)會(huì)回來(lái)和艾達(dá)團(tuán)聚。后來(lái)礙于湯米的命令，波莉勸說(shuō)艾達(dá)打胎，她流著眼淚勸告艾達(dá)，她已經(jīng)為了一段失敗的愛(ài)情付出了沉重的代價(jià)，再也不能像普通女人一樣擁有一個(gè)正常的家庭，但她希望艾達(dá)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(gè)家族權(quán)力和力量，使這個(gè)家的人不用任人宰割，所以她勸艾達(dá)原諒湯米，她知道，湯米做的一切都是為了這個(gè)家，如果家人不團(tuán)結(jié)，那么一切都無(wú)意義；所以她和格雷斯單獨(dú)談話，逼她離開(kāi)伯明翰，使她無(wú)法再次傷害湯米。一句話，波莉就是謝爾比家的守護(hù)者，強(qiáng)悍如謝爾比兄弟，沒(méi)有波莉，也無(wú)法存活。
艾達(dá)和約翰
沖動(dòng)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(kāi)，雖然心里已經(jīng)罵了千遍萬(wàn)遍，但最后還是沒(méi)法撒手不管，而且約翰和艾達(dá)也是小孩，也有他們可愛(ài)的地方?？此麄円患胰说陌枳煲埠?，溫情也好，就覺(jué)得還是那一句，一家人最后還是要抱團(tuán)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(dá)一看就知道是一家人，個(gè)性都是沖動(dòng)魯莽少根筋。但是湯米不一樣，冷靜沉著又工于心計(jì)，有膽識(shí)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(shuō)謊，謝爾比家品牌，鬼扯的質(zhì)量保障 = =）。
如果沒(méi)有湯米，謝爾比家族的剃刀幫頂多算個(gè)不入流的流氓幫派，因?yàn)橛辛藴?，這個(gè)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(shì)力談判合作的底氣。
但是這樣的湯米，卻愛(ài)上了格雷斯。開(kāi)始樓主也覺(jué)得格雷斯的設(shè)定不夠好，她沒(méi)有匹敵湯米的智謀和膽識(shí)，身份偽裝的也不夠慎密，甚至沒(méi)多少存在感，但后來(lái)我開(kāi)始慢慢理解編劇這樣的設(shè)定。Peaky Blinders 不是無(wú)間道，格雷斯之于湯米也不是陳永仁之于劉建明。格雷斯對(duì)于湯米來(lái)說(shuō)是更像一個(gè)救贖而非對(duì)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(méi)來(lái)得及深入了解格雷斯時(shí)，他內(nèi)心的渴望便打亂了自己的計(jì)劃，他急切的希望將格雷斯留下，甚至主動(dòng)向她提供了一份管理賬本的工作。謹(jǐn)慎如湯米，在得知格雷斯幾次對(duì)他說(shuō)謊的情況下，卻依然將自己的信任無(wú)條件交付出去，生存的壓力，戰(zhàn)爭(zhēng)的創(chuàng)傷已經(jīng)讓他的內(nèi)心疲倦孤獨(dú)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(shuō)他聽(tīng)不到鐵楸挖墻的聲音了，就像之前在酒吧聽(tīng)著格雷斯的歌聲入睡一樣，或許格雷斯對(duì)于湯米來(lái)說(shuō)，就像太陽(yáng)一樣散發(fā)著光熱，他只想盡情享受這寶貴的溫暖和寧?kù)o，至于格雷斯神秘的過(guò)去是什么，湯米已經(jīng)不想或不敢去深究?？藏悹柧L(zhǎng)說(shuō)過(guò)“我們得到的愛(ài)，最終都要為之付出代價(jià)”，弗萊迪嘲笑過(guò)湯米根本不知道愛(ài)為何物，現(xiàn)在湯米知道了，卻要面對(duì)它其實(shí)是毒藥這個(gè)事實(shí)，這就是湯米付出的代價(jià)，或者是他運(yùn)氣差，愛(ài)上了錯(cuò)的人，但是我們又怎么知道下一個(gè)遇到的人是對(duì)的呢？在那個(gè)年代，愛(ài)幾乎就是一件稀有的奢侈品。最后格雷斯離開(kāi)了，湯米又一個(gè)人了，即使是除掉比利金波這個(gè)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(shuō)，他以后還會(huì)愛(ài)上別人的，也許他會(huì)，也許他不會(huì)，但無(wú)論如何，湯米再不可能像愛(ài)格雷斯一樣再愛(ài)上另一個(gè)人了。
6 ) 久聞大名，大失所望！
第一季前兩集不錯(cuò)，從老大與警察頭子會(huì)面決定交易后，邏輯崩壞，bug到處都是，只能快進(jìn)拉完?？吹侥莾簯蛞话愕暮趲突鹌矗€插入一段母愛(ài)演講，感到演員演得那么認(rèn)真確實(shí)是能裝啊！特別是女臥底是無(wú)敵存在，這么多漏洞，還殺了愛(ài)爾蘭共和軍頭目，居然就是沒(méi)被發(fā)現(xiàn)，我一直在期待最后反轉(zhuǎn)，老大其實(shí)是在利用女臥底，不過(guò)事實(shí)證明我想多了！本來(lái)準(zhǔn)備看完后面的，翻了一下評(píng)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啊！
恭喜基蓮遇到了這么棒的角色，睿智、果敢、狠辣有時(shí)甚至專斷但絕對(duì)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(duì)著基蓮各種特寫(xiě)特寫(xiě)特寫(xiě)，絕贊的BGM，這一切的一切賦予了Tommy Shelby這個(gè)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(ài)來(lái)
睡完照心窩捅一刀完事兒說(shuō)這都是公事但我真的愛(ài)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(tái)的姿勢(shì)演繹黑幫火并。
一開(kāi)頭就是粵語(yǔ) 必須講句 是我看這麼多英美劇里最標(biāo)準(zhǔn)的發(fā)音了
畫(huà)面，配樂(lè)很贊，好像一幕大戲要開(kāi)演了。
Cillian Murphy三百六十度光影大片
開(kāi)頭那標(biāo)準(zhǔn)粵語(yǔ)還以為下錯(cuò)片，有冇人奶。今年新劇里最好看！冷拽酷再加Nick爺?shù)呐錁?lè)逼格贊飛天了！墨菲戴帽子氣場(chǎng)超足，攝影妥妥腦殘粉，每個(gè)鏡頭美得內(nèi)傷。伯明翰腐爛敗落臟亂差氣氛營(yíng)造得太強(qiáng)，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(huì)面智商特做雞。蛋疼結(jié)局又要等一年
斯里安帥成這樣沒(méi)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(dòng)再見(jiàn)）
探長(zhǎng)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(lè)張力十足！一個(gè)有好BGM的劇通常不會(huì)太差
明明各方面都如此過(guò)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(shuō)的，鏡頭、時(shí)代感、燈光、服裝、道具。
高水準(zhǔn)！除了丘吉爾選的太XX外，其他還真找不出什么吐槽點(diǎn)~必追英劇之一~
善于計(jì)謀，拿捏住身邊所有人，卻對(duì)一個(gè)明顯來(lái)路不明的女人不問(wèn)過(guò)往，不加防備，我不理解。對(duì)不起，我更想看拔吊無(wú)情。
只要你看下去就會(huì)發(fā)現(xiàn)此劇除了BGM烘托的氣氛簡(jiǎn)直一無(wú)所有，我撐完第一季就永久棄了。劇情能不能再sb一點(diǎn)，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(yùn)籌帷幄的樣子結(jié)果被來(lái)歷不明演技不佳的女臥底唬得團(tuán)團(tuán)轉(zhuǎn)，我懷疑在大西洋帝國(guó)活不過(guò)兩集。
當(dāng)年Bowie給Cillian寄了那張戴帽子的照片說(shuō)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(jué)得這部比大西洋帝國(guó)更容易follow啊TVT