浴血黑帮第一季

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.

每一集，从开头到结尾，都给我一种感觉：太特么帅了！
各种美妙而优雅的慢镜头、大特写，肮脏的街道，一个个既绅士又混蛋的角色，还有时不时给人惊喜的配乐~(Nick Cave可是大有功劳啊~)扑面而来的正统英伦风范简直帅到极点，本人已被彻底洗脑...（本来就是墨菲脑残粉好不好...）
英剧绝妙之处就在于镜头拍摄之美，几乎每一个镜头都可以停下来截出一张像油画一样精美的画面当壁纸用，所以整部剧看起来非常顺畅、舒服、养眼！
以家族为帮派，三兄弟性格各不相同，但都一样气势十足，一起出马简直帅得不敢直视！当然一看便知墨菲是主角，属于泰山崩于前而色不变的类型，那种极端沉稳、深不可测的感觉让此人魅力值爆表！
→写了写发现我只是个花痴而已，收笔。

关于谢尔比家族
亚瑟：一直想当家族里的老大，其实也只是想证明自己，他不见得真的贪恋权力，他痛恨的是他的家人并不需要他，自己的存在感被弱化，这才是亚瑟最无法忍受的。看了亚瑟上吊那集忽然好心疼他。亲爹时隔十年，又骗了他一次，那种满怀期待然后再次被遗弃的心情就别提多绝望了。一直以来，亚瑟就是个小孩，无论受到多大委屈，只要给他一颗糖，他就会破涕为笑。上次闹别扭，汤米给了他一颗糖—送他一个酒吧。还好，这次汤米又给了他一颗糖，把公司三分之一股权交给他，同时也给了亚瑟最在乎的爱和关注，于是亚瑟又满足了，又原地满血复活，又恢复成那个嚣张跋扈牛逼哄哄的亚瑟谢尔比了。

波莉阿姨
   很坚强的一个女人，当时整个伯明翰就是个贫民区，犯罪滋生，要生存下来谈何容易。波莉一个人把几个熊孩子拉扯大，后来当家里的男人奔赴战场为国奋战的时候，她又要拿起枪来保护自己和自己的家人，维持整个家族生意的正常运作，试问那个年代，有多少的女性有这个勇气和胆量，其中又要克服多少困难遭遇多少危险。在艾达和弗莱迪的事上，波莉是希望艾达得到幸福的，她不希望艾达重蹈自己的覆辙，怀上私生子，背负一辈子的骂名，最后还差点死于堕胎，所以她觉得应该给弗莱迪一个机会回来和艾达团聚。后来碍于汤米的命令，波莉劝说艾达打胎，她流着眼泪劝告艾达，她已经为了一段失败的爱情付出了沉重的代价，再也不能像普通女人一样拥有一个正常的家庭，但她希望艾达可以。波莉到底是女人，她做不到像汤米这么狠。但波莉又是家族里最理解汤米的人，她深知是汤米给了这个家族权力和力量，使这个家的人不用任人宰割，所以她劝艾达原谅汤米，她知道，汤米做的一切都是为了这个家，如果家人不团结，那么一切都无意义；所以她和格雷斯单独谈话，逼她离开伯明翰，使她无法再次伤害汤米。一句话，波莉就是谢尔比家的守护者，强悍如谢尔比兄弟，没有波莉，也无法存活。

艾达和约翰
    冲动任性，就像在青春叛逆期的少年少女。虽然这俩也常常让汤米焦头烂额，但是兄弟姐妹就是这样，最常给你惹麻烦，你推不掉，避不开，虽然心里已经骂了千遍万遍，但最后还是没法撒手不管，而且约翰和艾达也是小孩，也有他们可爱的地方。看他们一家人的拌嘴也好，温情也好，就觉得还是那一句，一家人最后还是要抱团在一起的不是。

汤米
汤米是谢尔比家唯一的另类，亚瑟约翰和艾达一看就知道是一家人，个性都是冲动鲁莽少根筋。但是汤米不一样，冷静沉着又工于心计，有胆识有野心也有生意头脑，还巧舌如簧，能言善道（PS.看他老爹忽悠亚瑟那番天花乱坠的屁话就知道基因不说谎，谢尔比家品牌，鬼扯的质量保障 = =）。
如果没有汤米，谢尔比家族的剃刀帮顶多算个不入流的流氓帮派，因为有了汤米，这个家族不但在伯明翰地区站稳了脚，而且还有了和警察局、比利金波这些势力谈判合作的底气。

但是这样的汤米，却爱上了格雷斯。开始楼主也觉得格雷斯的设定不够好，她没有匹敌汤米的智谋和胆识，身份伪装的也不够慎密，甚至没多少存在感，但后来我开始慢慢理解编剧这样的设定。Peaky Blinders 不是无间道，格雷斯之于汤米也不是陈永仁之于刘建明。格雷斯对于汤米来说是更像一个救赎而非对手。她外表善良正派，举止端庄得体，身上有种平凡但温暖的特质，这种特质让格雷斯在混乱堕落的伯明翰显得格格不入，吸引了汤米的注意，在汤米还没来得及深入了解格雷斯时，他内心的渴望便打乱了自己的计划，他急切的希望将格雷斯留下，甚至主动向她提供了一份管理账本的工作。谨慎如汤米，在得知格雷斯几次对他说谎的情况下，却依然将自己的信任无条件交付出去，生存的压力，战争的创伤已经让他的内心疲倦孤独了太久，他太需要温暖，哪怕只有短暂的片刻。在格雷斯家的夜晚，汤米说他听不到铁楸挖墙的声音了，就像之前在酒吧听着格雷斯的歌声入睡一样，或许格雷斯对于汤米来说，就像太阳一样散发着光热，他只想尽情享受这宝贵的温暖和宁静，至于格雷斯神秘的过去是什么，汤米已经不想或不敢去深究。坎贝尔警长说过“我们得到的爱，最终都要为之付出代价”，弗莱迪嘲笑过汤米根本不知道爱为何物，现在汤米知道了，却要面对它其实是毒药这个事实，这就是汤米付出的代价，或者是他运气差，爱上了错的人，但是我们又怎么知道下一个遇到的人是对的呢？在那个年代，爱几乎就是一件稀有的奢侈品。最后格雷斯离开了，汤米又一个人了，即使是除掉比利金波这个喜大普奔的日子，在酒吧里同族人们庆祝的汤米仍然显得形单影只，看汤米最后落寞疲惫甚至有些呆滞的表情，波莉安慰他说，他以后还会爱上别人的，也许他会，也许他不会，但无论如何，汤米再不可能像爱格雷斯一样再爱上另一个人了。

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。