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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 ) [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.
2 ) 为什么讨厌grace
1.打着父亲的名义去做卧底，结果爱上敌人，背叛了领导
2.爱上了敌人却出卖敌人。完成找木仓的任务无可厚非，杀了tom其实都理直气壮。可她偏偏要在妹妹生产的当晚出卖妹夫。
3.口口声声真爱tom扭头就结婚了。背叛×3
4.结了婚一个电话就去见耳聋的姑妈了。背叛老公。理由是真爱。我没骗过我老公，你可别瞎说啊，甩耳光。
就是一个打着淑女 气质 有教养 伟光正 真爱 正义等等旗号，一直端着劲儿端着，但实际上干尽了所有连有点职业操守的x工作者都不屑去干的事。
这人设，已经不仅仅是下面那点事儿的问题了，是人品有问题。简而言之，就是又当又立，茶b典型。全剧只有警官那句whore，最配得上她。
如果她第一季就死了，可能还没那么讨厌。
如果她没有再婚，一直期待重温旧情，那好歹是个真重感情的人。
如果她再婚以后老老实实的，跟tom以礼相待，那还能叫从良。
如果她说完木仓的事没有出卖妹夫，或者在别的日子送妹夫进局子，又或者她完成任务深藏功与名再动心也没鼓掌。她都会是一个伟光正值得人喜爱的人物儿。
毕竟同样干传统文化意义上whore事儿的女的这剧里有的是，未婚先孕还要私奔的妹妹，出卖肉体给老头换儿子出狱的姑妈，职业就是躺着挣钱的栗子，甚至那个中国姑娘。
你就说说，有哪个能比她grace更讨人厌吧。
所以，真不是下面那点儿事儿的问题。我个人，对女性，没有荡妇羞辱的癖好。
可编剧偏偏塑造了这么个，说名媛贵女不贵，说干练潇洒女特工又不行，说单纯白花又狠毒随便的角色，真，啥也没弄好。
（仅针对grace不上升演员）
3 ) 阶级与气质
除了最后一集中帮派火拼的处理有点草率，《浴血黑帮》是一部非常好的黑帮剧。第一季只有六集，剧情紧凑。整个故事围绕那批丢失的军火展开：政府害怕军火落入共产主义者和爱尔兰共和军手中，剃刀党的托马斯想以这批军火为砝码，实现经济转型，跻身上流社会。故事的情节就是经典黑帮片中都有的：警匪之间的勾结和出卖、帮派间的连横合纵、当然还少不了爱情戏。个人认为，在剧本上达到了《教父》的水准。 但是这部剧给人的第一印象非常差，以至于5分钟不到我就把它关掉了：画面压抑，肮脏，主角发型怪异，服装也很脏乱，最让人不能容忍的是，他们说着让人听不懂的英语。————我们熟悉的英伦范儿哪里去了？那些能随意引用莎士比亚的人哪里去了？那些发型一丝不苟举止优雅的绅士哪里去了？还有那些古堡中的贵妇人和大小姐呢？ 这些都不见了，我们看到的是一战后的伯明翰：这是另一个英国，是19世纪初穷人的英国，是一个肮脏、堕落、糜烂的英国。新来的警官坎贝尔在第一次对下属训话时做了很好的描述： 婴儿被丢弃在鱼骨蛋壳之间；小姑娘们，才11岁，老男人花三便士就能随意糟蹋她们，像禽兽那样发泄欲望。堕落……父亲搞上女儿，兄弟与姐妹同床共枕，大街上满是乞丐和窃贼，街两旁却堆满了伤员，伤口腐烂 ，散发恶臭。你们的雇主，你们举手致敬的那些家伙，剃刀党，邪恶、残忍的黑帮，他们戳瞎原本明亮的眼睛，割下原本能说会道的舌头。你们比他们更卑劣，你们之中有人自战争爆发就一直在收受他们的贿赂，有人故意视而不见，你们比他们更卑劣，上帝谴责你们玷污了身上的警服。现在又多了爱尔兰共和军的芬尼亚运动成员，以及共产主义分子。他们的心更加黑暗，他们依靠这些腐败求生，如同死尸上的蛆虫一般，如果任由蛆虫成长壮大，那就最终会变成成群的苍蝇，将他们腐烂的思想，传遍全国，传向世界。 这就是英国的底层社会，它和我们熟悉的英国绅士和淑女的世界相隔绝：剧中的绝大多数画面都是阴暗的，似乎那个伯明翰的工人区从来都缺少阳光，而一旦转到上流社会的场所（肯波的豪宅，丘吉尔的包厢），整个画面就变得明亮起来。那些底层人民（包括黑帮家族）都穿着肮脏、怪异的服装，说着听不懂的地方方言（用一个词来形容的话，就是“杀马特”），这些都和上流社会那些有教养的（civilized）人区分开来。以至于酒吧老板一看到来应聘酒吧女侍的格蕾丝（警方的卧底），就拒绝了她：她太漂亮了，肯定不是属于这个地方的（“你太…正派了，也太漂亮了，他们会把你按在墙上狠干一番的”）。 这正是英国的那种等级森严的社会结构的体现。其他国家自然也有等级，也有贫富分化，然而都不像英国这样根深蒂固。乔治·奥威尔对此深有感触：“英国人的（阶级）烙印是打在舌头上的。”作为一名社会主义者，他关心穷人的疾苦。为了体验穷人的生活，他曾经伪装成酒醉的流浪汉，去辱骂一个警察，想被抓到监狱里去尝一尝与穷人一起过圣诞节的滋味。但是那个警察从他醉酒后的口音，一下就听出了这个身披借来的破烂衣服的醉鬼是一个出身伊顿公学的地道绅士，并没有上钩，而是善意相劝，叫他乖乖地回家去。 这种等级制不仅存在，而且能让每个人都能意识到并且认同它。波莉阿姨对格蕾丝说：“我猜你是个富家小姐、工会主义分子、阿尔斯特志愿军。你觉得芬尼亚运动成员、共产主义分子、低等人，他们都一个样，都是渣滓。”在从事合法生意的计划就要实现的时候，托马斯提出聘用格蕾丝为秘书：“你有我想要的东西——气质，重要会议时我需要仪表端庄的人”。“气质”的原文是“class”，这种翻译是非常合适的：在英国人（不论是格蕾丝还是托马斯）的眼中，阶级就意味着气质。 再来讲一个故事，去年9月19号，保守党的党鞭（中组部部长）在骑车离开唐宁街9号的办公室时，被警察拦住，要求他从人行道的门出去。这个保守党的党鞭自然像没有我们的首长那样去夸奖卫兵忠于职守，也没有像何兵那样报道微博上抱怨安保人员，而是破口大骂：“Best you learn your fucking place. You don‘t run this fucking government … You’re fucking plebs”。“pleb”一词来源于古罗马的拉丁文，大概是王政时期罗马贵族（patricians）造出来的蔑称。在今天的英语中，它仍然具有从古罗马那里继承来的等级制的含义。
4 ) 那些年编剧写丢了的好剧情
从很多层面上来讲，peaky blinders都是一部不错的言情剧。虽然走向过于琼瑶了一点，但是风韵和风骨都还是有的。本片的本质基本上也由尼爷的片头曲涵盖了。导演力求达到的效果无非两点。苏。并且冷酷炫。换句话说，对于这部剧，导演并没有追求史诗效果。野心不足，（当然也可能是经费不足...），只是披着黑帮片的外衣而已。所以那些追求大西洋帝国风格走向的旁友们，你们走错片场了。（蜡烛
其实从基本的人物设定和第一集的展开情况来说，哪怕排除一切一切客观上的不利因素，本剧也完全可以拍成一个精良的类教父式家族传奇故事。无奈编剧大大一路发梗一路丢，丢到最后一集完全跟第一集失去了联系。而那些本来可以成为矛盾激发点的设定，多数都被轻描淡写甚至选择性遗忘了。
比如Tommy在前几集中着力描写的PTSD症状。本来可以成为他战后性格转变的原因，与家人矛盾的激发点，和对温情的渴望的源泉。结果竟然到了剧集中间段后就再也没出现过。
比如Tommy和Freddie的关系。作为一对一起长大又出生入死过的，成了连襟的好基友，Freddie战后成为了走在潮流尖端的共产党人，Tommy则一心想将家族生意合法化。这其中可以潜在的矛盾基本已经足够观众脑补一本三十万字的小说了，结果编剧竟然把Freddie弱化处理到了如此不堪的程度。
再比如警署的存在感。既然故事主角已经被设定成了战争英雄。警察的上司又是丘吉尔这样的乱世枭雄。那么警察这一Peaky blinders的敌对组织就不应该是剧集刻画出的这个不堪一击又缺乏存在感的样子。警署这个上司蠢成这个样子，还公私不分到想要跟执行任务期间的卧底保持浪漫关系......简直_(:з」∠)_
总之编剧为了体现Tommy的高大全几乎无所不用其极到了不惜放弃丰富其他角色的机会。不仅警察局的头儿毫无魅力，甚至连敌对家族的头领也被写成了表演型人格障碍且驭下能力低下到连收尸的小弟都没有的蠢货......
除开数不胜数的被编剧错过的好剧情，本剧的漏洞和交代不清之处也绝不在少数。单以Arthur本人来说，为什么对背叛过家族的父亲轻易交付信任？为什么在账目不清的情况下大哥没有被撤换职位？为什么Grace可以轻易以nobody的身份介入家族事务？为什么大哥心理脆弱矛盾到了可以赴死的程度却能被Tommy一句轻飘飘的承诺拉回来？为什么要选择上吊这种娘炮的自杀方式？......
这样的剧本浪费了精彩的卡司，牛掰的配音师和痴汉（划掉）的摄影师。让一部本可以非常精彩的剧集沦为了一部杰克苏式言情向作品。But, 虽然第一季不甚精彩的结束于一个让人没什么期待的悬念。但是第二季出街之前一样会有人敲碗等番，原因其实也很简单。
毕竟基里安实·在·是·有·点·太·帅·了·吧。
其实从基本的人物设定和第一集的展开情况来说，哪怕排除一切一切客观上的不利因素，本剧也完全可以拍成一个精良的类教父式家族传奇故事。无奈编剧大大一路发梗一路丢，丢到最后一集完全跟第一集失去了联系。而那些本来可以成为矛盾激发点的设定，多数都被轻描淡写甚至选择性遗忘了。
比如Tommy在前几集中着力描写的PTSD症状。本来可以成为他战后性格转变的原因，与家人矛盾的激发点，和对温情的渴望的源泉。结果竟然到了剧集中间段后就再也没出现过。
比如Tommy和Freddie的关系。作为一对一起长大又出生入死过的，成了连襟的好基友，Freddie战后成为了走在潮流尖端的共产党人，Tommy则一心想将家族生意合法化。这其中可以潜在的矛盾基本已经足够观众脑补一本三十万字的小说了，结果编剧竟然把Freddie弱化处理到了如此不堪的程度。
再比如警署的存在感。既然故事主角已经被设定成了战争英雄。警察的上司又是丘吉尔这样的乱世枭雄。那么警察这一Peaky blinders的敌对组织就不应该是剧集刻画出的这个不堪一击又缺乏存在感的样子。警署这个上司蠢成这个样子，还公私不分到想要跟执行任务期间的卧底保持浪漫关系......简直_(:з」∠)_
总之编剧为了体现Tommy的高大全几乎无所不用其极到了不惜放弃丰富其他角色的机会。不仅警察局的头儿毫无魅力，甚至连敌对家族的头领也被写成了表演型人格障碍且驭下能力低下到连收尸的小弟都没有的蠢货......
除开数不胜数的被编剧错过的好剧情，本剧的漏洞和交代不清之处也绝不在少数。单以Arthur本人来说，为什么对背叛过家族的父亲轻易交付信任？为什么在账目不清的情况下大哥没有被撤换职位？为什么Grace可以轻易以nobody的身份介入家族事务？为什么大哥心理脆弱矛盾到了可以赴死的程度却能被Tommy一句轻飘飘的承诺拉回来？为什么要选择上吊这种娘炮的自杀方式？......
这样的剧本浪费了精彩的卡司，牛掰的配音师和痴汉（划掉）的摄影师。让一部本可以非常精彩的剧集沦为了一部杰克苏式言情向作品。But, 虽然第一季不甚精彩的结束于一个让人没什么期待的悬念。但是第二季出街之前一样会有人敲碗等番，原因其实也很简单。
毕竟基里安实·在·是·有·点·太·帅·了·吧。
5 ) 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
6 ) 配乐超级不完整之整理
配乐赞极!!!!!每次音乐出现加上音乐起了一身鸡皮啊！！腐国怎么那么爱装逼【这是爱】
这个剧组是卧底了几个nick cave和白带的脑残粉啊~~
欢迎补充
搞了个节目单
http://music.douban.com/programme/277130
片头片尾 特别是第一集murphy骑着马路过加上诡异的音乐太带感了。
Nick Cave&the Bad Seeds-Red Right Hand
Let Love In
ep1：
9’30” 督察看完tommy资料
The White Stripes-I Think I Smell A Rat
White Blood Cells
24‘ 卧底妹子出现
Nick Cave/Warren Ellis-Song For Jesse
The Assassination of Jesse James OST
30'10" 大哥在电影院被抓
The White Stripes-St. James Infirmary Blues
The White Stripes
ep2：
4‘ 群殴lee家
The Raconteurs-Blue Veins
虾米 http://www.xiami.com/song/2144949
13’ 烧国王像
The White Stripes-The Hardest Button To Button
专辑：Elephant
24‘30“ 赌马
The White Stripes-Black Math
专辑：Elephant
43’20” tommy杀白马
Nick Cave&the Bad Seeds-Brother, My Cup Is Empty
Henry's Dream
结尾billy走后
The White Stripes-Little Room
White Blood Cells
ep3
23'35"
The White Stripes-When I Hear My Name
专辑The White Stripes
35‘35“ tommy起床
Nick Cave & the Bad Seeds-Abattoir Blues
专辑 Abattoir Blues/The Lyre of Orpheus
虾米 http://t.cn/zRZBG6z
43'15" 赛马会jazz
Ken Colyer-Cataract Rag
度娘 http://t.cn/zRZBc3O
ep4
11'10" tommy丢掉手榴弹后
The White Stripes- I Fought Piranhas
28‘40“ 拿到赌马证后
Tom Waits-Clap Hands
专辑 Rain Dogs
30’50” 阿sir们去查枪
The Raconteurs-Broken Boy Soldier
虾米 http://t.cn/zRUk5Ir
ep5
20‘40“左右 arthur被他爹骗
The White Stripes-Ball & Biscui
专辑elephant
42’ 阿sir来抓人
The White Stripes-Little Cream Soda
专辑Ichky Thump
不确定这首在哪个点，从官网来的
Nick Cave & The Bad Seeds-God is in the House
50'二货上吊【好温暖的歌，听着听着就哭了】
Tom Waits-Time
专辑Rain Dogs
54‘长镜头【太特么美好】
Nick Cave & The Bad Seeds-Bring it on
专辑Nocturama
ep6
21'40"剃刀党出发【太特么装逼了！！好喜欢！！】
Dan Auerbach-The Prowl
专辑 Keep It Hid
52‘20” 好应景的歌
Jack White German-Love is Blindness
--------------------------------------------------------------------------------------
http://t.cn/zRZBt4U
虾米PB同好妹子做的精选集
@Whitelunar
http://www.douban.com/people/SciFiLullabies/
这个剧组是卧底了几个nick cave和白带的脑残粉啊~~
欢迎补充
搞了个节目单
http://music.douban.com/programme/277130
片头片尾 特别是第一集murphy骑着马路过加上诡异的音乐太带感了。
Nick Cave&the Bad Seeds-Red Right Hand
Let Love In
ep1：
9’30” 督察看完tommy资料
The White Stripes-I Think I Smell A Rat
White Blood Cells
24‘ 卧底妹子出现
Nick Cave/Warren Ellis-Song For Jesse
The Assassination of Jesse James OST
30'10" 大哥在电影院被抓
The White Stripes-St. James Infirmary Blues
The White Stripes
ep2：
4‘ 群殴lee家
The Raconteurs-Blue Veins
虾米 http://www.xiami.com/song/2144949
13’ 烧国王像
The White Stripes-The Hardest Button To Button
专辑：Elephant
24‘30“ 赌马
The White Stripes-Black Math
专辑：Elephant
43’20” tommy杀白马
Nick Cave&the Bad Seeds-Brother, My Cup Is Empty
Henry's Dream
结尾billy走后
The White Stripes-Little Room
White Blood Cells
ep3
23'35"
The White Stripes-When I Hear My Name
专辑The White Stripes
35‘35“ tommy起床
Nick Cave & the Bad Seeds-Abattoir Blues
专辑 Abattoir Blues/The Lyre of Orpheus
虾米 http://t.cn/zRZBG6z
43'15" 赛马会jazz
Ken Colyer-Cataract Rag
度娘 http://t.cn/zRZBc3O
ep4
11'10" tommy丢掉手榴弹后
The White Stripes- I Fought Piranhas
28‘40“ 拿到赌马证后
Tom Waits-Clap Hands
专辑 Rain Dogs
30’50” 阿sir们去查枪
The Raconteurs-Broken Boy Soldier
虾米 http://t.cn/zRUk5Ir
ep5
20‘40“左右 arthur被他爹骗
The White Stripes-Ball & Biscui
专辑elephant
42’ 阿sir来抓人
The White Stripes-Little Cream Soda
专辑Ichky Thump
不确定这首在哪个点，从官网来的
Nick Cave & The Bad Seeds-God is in the House
50'二货上吊【好温暖的歌，听着听着就哭了】
Tom Waits-Time
专辑Rain Dogs
54‘长镜头【太特么美好】
Nick Cave & The Bad Seeds-Bring it on
专辑Nocturama
ep6
21'40"剃刀党出发【太特么装逼了！！好喜欢！！】
Dan Auerbach-The Prowl
专辑 Keep It Hid
52‘20” 好应景的歌
Jack White German-Love is Blindness
--------------------------------------------------------------------------------------
http://t.cn/zRZBt4U
虾米PB同好妹子做的精选集
@Whitelunar
http://www.douban.com/people/SciFiLullabies/
7 ) 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。
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~
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。
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！
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
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🎩
斯里安帅成这样没救了...
业界良心
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
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）
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
BBC，还有啥可说的，镜头、时代感、灯光、服装、道具。
Cillian Murphy三百六十度光影大片
画面，配乐很赞，好像一幕大戏要开演了。
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！
Cillian Murphy真的好帅啊！\(^o^)/~帽子，帽子，帽子真心给片儿加分啊！
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。
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
配乐张力十足！一个有好BGM的剧通常不会太差
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。