黑帮教母第一季

全6集

主演:沙克希·坦沃,西玛·帕瓦,拉伊玛·森

类型:美剧地区:印度语言:其它年份:2021

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 剧照

黑帮教母第一季 剧照 NO.1黑帮教母第一季 剧照 NO.2黑帮教母第一季 剧照 NO.3黑帮教母第一季 剧照 NO.4黑帮教母第一季 剧照 NO.5黑帮教母第一季 剧照 NO.6黑帮教母第一季 剧照 NO.13黑帮教母第一季 剧照 NO.14黑帮教母第一季 剧照 NO.15黑帮教母第一季 剧照 NO.16黑帮教母第一季 剧照 NO.17黑帮教母第一季 剧照 NO.18黑帮教母第一季 剧照 NO.19黑帮教母第一季 剧照 NO.20

 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.

 2 ) 挺无聊的剧……

一部莫名其妙的剧,总体而言不是男主特有本事可以总是一副大哥样,而是纯粹为了耍帅而耍帅。

1,总体方向莫名其妙,本以为天才领导者,要不耍的大家团团转,要不两天才演对手戏,好似又可以看到福尔摩斯同莫里亚蒂版的天才与天才间的对决,结果除了前两集男主智商是在线的,后面的几段莫名其妙,最后居然变成了两个男人的苦情戏。

2,角色设定莫名其妙。本以为男主是个狠角色,所以有能力做独行侠,结果酒馆被两个买枪的爱尔兰分子血虐成那样又是几个意思?警察放狠话威胁汤米快点,男主角只敢拿着枪在后面抖半天,迫于形势顾全大局,我忍。 第二部独行侠见爱尔兰反抗组织头目你一个人出来发什么火呢,除了嘴巴上威胁也没什么别的本事了?

3,姐姐情趣莫名其妙,艾达老公被抓,明明是男主姐姐办事不力(心软没把妹夫驱逐出去,告密揭发设计赶他们走,明知妹妹应该打胎还要跟男主一闹),到头来还敢把气撒在男主头上,特么的你有什么资格吐口水?

4,妹妹情绪莫名其妙,自己老公被抓心里没点数么,莫名其妙怪你哥还要别人救他你才原谅?出生在这个家庭第二季还莫名其妙的以这个家庭为耻,白瞎了大家一直对她的保护。

5,男主脑回路莫名其妙,明知女主不可信,一而再再而三的问问题,还经常旁敲侧击,、哥哥靠不住所以男主什么都不会告诉他,还重用,丢枪的时候就该猜到了,居然毫不在意,上一秒在逃命下一秒睡完女主安慰哥哥,自己怎么活下来的心里不嘀咕? 一开始还以为大智若愚,眼观六路耳听八方的男主故意设的局,结果,真的挺打脸的。

6,剧情发展莫名其妙,丘吉尔说的很明白,一支枪一颗子弹都不要丢,结果少了一杆枪还天知道少了多少子弹,没事,莫名其妙的就不在乎了,这是个什么剧本啊?

7,苦情戏莫名其妙,老头子故意抖出了女主重功,意图我得不到你也别想得到,还铺垫性的我有一个想法,结果更是莫名其妙,好好一个黑吃黑,肯波良心发现给了一枪就笑呵呵的回头聊天去了,男主一枪爆头,铺垫一集的大危机1分钟结束,男主完美不在场证明,老头子一脸懵逼,神剧啊。

8,配角三观莫名其妙,警察局话最多那个我们就称之为小队长吧,一开始被说成是收人贿赂的黑警察,结果渐渐的老头子弯了,小队长居然神反转大谈正义,既然如此你第二季收什么钱啊,你不是从新领导的演讲中看到了曙光,早已讨厌透了这个腐败之地了么?

9,村民三观莫名其妙,酒保突然冒出告知男主并不生气酒吧被夺,为什么,因为我们觉得你的狠是为了保护我们,简直莫名其妙,警察局长第一集可是说这破地方3先令就可以骑一个十几岁的少女,很多人无家可归,偷窃,杀人,强奸无处不在,酒吧的酒都是几乎都是偷来的,怎么就变成了为了你们而狠?既然汤米是为了家庭,为了大家而狠,怎么第二季第一集男主姐姐又是一脸厌恶?弟弟怎么又不服扩张?哥哥怎么又一副狠相?

全剧总体给人感觉莫名其妙,第一季看完至少我很难坚持继续看第二季,音乐,服装,电影版的制作可以肯定,但是让人印象也就像我说的,为了帅而帅的剧,也就开场插着口袋走向酒馆的那幕让人印象深刻罢了,第五季,我是没兴趣刷了。

 3 ) 我理解里的老大和卧底

.
   在我的想象里,作为一个合格的黑帮老大:
1.老大的权利必须是毫不动摇的,就算是家人,在帮派里也只是自己的下属。
2.身边必须是明里暗里都有不少人保护的,任何出现在身边的人都要被盘查到祖宗三代,任何来历有一点不清楚的人都会被重点关注。如果不是亲信根本近不了老大的身,更别说是能听到老大谈秘密了。
3.一旦出事,最先怀疑新加入的来历不明的人。
4.上下打点,最好是上面有人。总之一旦风向有变一定会及时有人通知。
5.情报网四通八达,势力范围内一切风吹草动他都能清楚。同时势力范围以外的地方也要广撒情报网,对别人的地盘发生的事也得很了解。
6.每次有行动的时候准备多条方案和多条退路,防止一切意外的发生。
7.老大的爱人不能参与任何帮派活动,不能探听帮派的任何秘密,甚至人身自由都要被限制,不能随便一个人出门。这点应该适用于所有高层人员。

    而作为一个卧底....
1.履历一定要清楚。是不是真实的先不说,一定要清楚。
2.每次泄密时要制造可信的不在场证明,不能让任何人知道自己知道这个秘密,至少也得制造“别人泄密的可能性比我大多了”的情况。
3.一旦被卧底探出了什么,上级组织出于保护卧底的原因不能马上行动,至少不能马上让帮派知道有人泄了密。当然,除非卧底干完这票就跑ㄟ( ▔, ▔ )ㄏ  

    请Tommy和Grace对号入座....

 4 ) 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

 5 ) Already Broken — Grace歌声中的隐喻

第一集,Tommy和Grace的第二次见面,Tommy走进Garrison酒吧时,Grace和酒吧里的人唱的那首歌叫《The Boy I Love is Up in the Gallery》(这首歌我找了半天,因为好多地方这首歌都写错了-_-||),这首歌是写于1885年的一首经典music hall song(在剧院唱的歌,不知道中文怎么翻译)。

Gallery这里的意思不是画廊,歌剧院最便宜的座位叫gallery,这首歌表面的意思就是想象中的男友坐在歌剧院最便宜的位子。这首歌很有意思是台上台下可以合唱的,女歌手唱前四句,然后下面观众一起合唱后四句,女歌手的歌词每段都不一样,观众唱段都一样,很有剧场互动性。我把歌词放到最后。当然这首歌也隐喻了Grace和Tommy身份的阶级差异,一个出身底层的小混混,一个体面家庭的rich girl。

第二集在经典的Happy or sad这段戏里,Grace站在椅子上唱的歌名字是《Black Velvet Band 》(黑色天鹅绒发带),这是爱尔兰著名和流行的一首民歌,从北美到澳洲这首歌有多个版本,但是都讲述了同一个故事(这首歌在第四季第五集也出现了,Tommy和一个女人跳舞的时候怀念Grace,搜歌的时候其他人发现的,本人没看第四季)。

歌词大意是一个青年学徒遇到了一个系着黑色天鹅绒发带的美丽女孩,他马上就爱上了这个女孩,两个人在镇上散步时,他们遇到了一个衣着体面的路人,青年发现女孩的可疑,可女孩还是偷走了路人的金表,并把表放到了青年的衣兜里(有的版本是手上)。即使青年发现被诬陷,还是无法离开那个女孩,反而接受了这样的命运,唯一能做的就是希望女孩bad luck,因为他完全被女孩迷住了。男孩被捕第二天法官就宣判他罪名成立,被判流放殖民地7年,即使法官知道他被一个系着黑色天鹅绒发带的女孩构陷。这首歌的最后青年警告其他人,镇上的漂亮女人会把人灌醉,然后他们运到英国的殖民地去。(wiki上写的是女人遇到了一个水手,所以想除掉她的爱人,反正就是要陷害男人就是了。)

这首歌恰恰是Tommy和Grace的故事的映射,Grace带着任务来到了small Heath接近Tommy, 然后Tommy一下子就fall for her, 即使多次被Grace出卖,他也发现了Grace的可疑,但他无法控制自己的去接近她。因为这首歌讲述了女人背叛了爱他的男人的故事,所以Grace在唱歌前说But I warn you, I'll break your heart,除了本身此歌就是一个悲伤的故事外,也是隐喻了两人的心碎爱情。

第五集,Grace告诉Campbell被偷走的武器埋在坟墓里,Campbell带人去墓地挖武器的同时,Tommy走进了Garrison酒吧,Grace唱的那首歌名字是I Am Stretched On Your Grave。

I Am Stretched On Your Grave是17世纪爱尔兰无名氏的诗歌"Táim sínte ar do thuama", 被翻译成多个英文版本,最著名是版本由Frank O'Connor翻译。这首诗在1979年被爱尔兰音乐家Philip King谱曲。这是一首描述爱情的诗,男人不能承受失去最爱的痛苦,女人和他青梅竹马,从小相爱,所以他每天从早到晚躺在她的坟墓边,绝望的守着她。所以诗中有很多令人心碎的句子,像是"with you in your cold grave, I cannot sleep warm." 这首诗写的真的很美,让我觉得比Edgar Allan Poe的那首Annabel Lee还动人,爱尔兰的土地上每个人都是叶芝。

这首诗讲述的事男人在坟墓前的心碎和守护,既和Campbell掘墓的相呼应,又暗示了Tommy和Grace必定悲剧性的结局,Tommy也像诗中人一样一直躺在Grace墓旁,等待与她再次想见。

这两天回看Tommy和Grace的cut,发现编剧第一季真的用心在写这段爱情,每首歌都代表着两人的关系和发展,细腻和温柔,虽然黑帮版的罗密欧和朱丽叶有些夸张了,可这戏很多很多经典的台词和片段都是两人爱情或与两人有关,我说一下并没有很多人提起把片段吧,Tommy烧掉了Grace寄给他的所有信,却还是不能停止想念她;一个没有回应的电话,Grace就能知道打电话的人是Tommy;Polly让Tommy忘记Grace,Tommy回答forget about who;舞会上Grace那最后的一句damn you, Tommy Shelby。别说Tommy,我都心碎了。

我不认为Grace代表着Tommy对上流社会的向往,其实剧情里对Grace身份的直接影响几乎没有涉及,戏里Grace只是Tommy唯一的爱,I found you, you found me,we are same。不管彼此是什么身份,他们都会相爱。Grace是Tommy人性中最美好,最人性的,掩埋最深的一部分,也许这太过理想,和失去了这些人性和理想,人和机器又有什么区别呢。

-----------------------------------------------附录-----------------------------------------------------------------------

The Boy I Love is Up in the Gallery

I'm a young girl, and have just come over,

Over from the country where they do things big,

And amongst the boys I've got a lover,

And since I've got a lover, why I don't care a fig.

The boy I love is up in the gallery,

The boy I love is looking now at me,

There he is, can't you see, waving his handkerchief,

As merry as a robin that sings on a tree.

---------------------------------------------------------------------------------------------

I Am Stretched On Your Grave

I am stretched on your grave And I'll lie here forever If your hands were in mine I'd be sure they would not sever My apple tree, my brightness, It's time we were together For I smell of the Earth And I'm worn by the weather.

When my family think That I'm safely in my bed Oh from morn 'til night I am stretched out at your head Calling out onto the earth With tears hot and wild For the loss of a girl That I loved as a child.

Do you remember the night Oh the night when we were lost In the shade of the blackthorn And the touch of the frost? Oh, and thanks be to Jesus We did all that was right And your maidenhead still Is your pillar of light.

Oh, the priests and the friars They approach me in dread Oh for I love you still Oh my wife, and you're dead I still will be your shelter Through rain and through storm And with you in your cold grave I cannot sleep warm

So I am stretched on your grave And I'll lie here forever If your hands were in mine I'd be sure they would not sever My apple tree, my brightness, It's time we were together For I smell of the Earth And I'm worn by the weather.

 6 ) 核心需要的是大局观

一个王者带一帮子青铜真心累。

谢尔比家族更像莽荒大地上野蛮生长村落里的村霸,凭着一股子狠劲,在风云际会的一战,在polly阿姨的操持下,维持着地下赌马的生意,直到汤米三兄弟从站场归来。

在家人包括最有眼光的polly阿姨的各种没头脑各种不省心各种不高兴中,汤米以一己之力把整个家族事业从伯明翰做到伦敦,从地下做到地上,从喊杀喊打的黑帮头头做到影响政府决策的工党议员。

汤米从站场归来的第一个大事就是手下阴差阳错地偷了一批枪支弹药,对这个烫手的山芋,polly阿姨的第一反应是赶紧扔了,她的意思很明显:就我们这点智商(实力),要啥自行车啊?汤米老师却高瞻远瞩地看到这里面可以大做文章的空间,他利用这个机会游刃于政府警察、爱尔兰自由军以及鼓动工人罢工的那些人之间,同时还要面对李家人的蚕食以及把持赌马生意肯波帮派的全面压制。他和警督达成除掉肯波的交易,玩弄了爱尔兰自由军,结盟了李家人,最终开枪打死肯波。

所以,你看,一个事业的开拓,靠的从来不是操作层面的喊打喊杀,而是一个强有力的站高望远的核心领导,而这个领导的最重要的能力是平衡各方面的势力,从中发现机会或者创造机会。

没有这个大局观,你只能是懵懵懂懂的大哥亚瑟或者聪明有余智慧不足的姨妈polly。

 短评

配乐张力十足!一个有好BGM的剧通常不会太差

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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

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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)

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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

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BBC,还有啥可说的,镜头、时代感、灯光、服装、道具。

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Cillian Murphy真的好帅啊!\(^o^)/~帽子,帽子,帽子真心给片儿加分啊!

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Cillian Murphy三百六十度光影大片

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画面,配乐很赞,好像一幕大戏要开演了。

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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

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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~

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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!

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业界良心

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我这种土鳖还是觉得这部比大西洋帝国更容易follow啊TVT

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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🎩

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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。

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斯里安帅成这样没救了...

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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!

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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。

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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。

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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

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