浴血黑帮第一季

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。

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.

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

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http://t.cn/zRZBt4U
虾米PB同好妹子做的精选集
@Whitelunar
http://www.douban.com/people/SciFiLullabies/