Stoffentwicklung:
Steven KnightBesetzung:
Cillian Murphy, Sam Neill, Helen McCrory, Iddo Goldberg, Annabelle Wallis, Andy Nyman, Harry Kirton, Paul Anderson, Joe Cole, Natasha O'Keeffe (mehr)Streaming (1)
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England 1919: Tommy Shelby (Cillian Murphy) und seine Brüder Arthur (Paul Anderson) und John (Joe Cole) haben im Ersten Weltkrieg gekämpft. Zurück in den Slums von Birmingham sind sie bereit, sich als gefürchtete und zugleich bewunderte Gang mit Gewalt durchzusetzen. Mit Pferderennen, illegalen Wetten und Schwarzmarkthandel wollen die „Peaky Blinders" ihren Familien Reichtum und Ansehen verschaffen. (Sky)
(mehr)Kritiken (5)
A war about peace. An industrial gangster movie about Birmingham hooligans with ambitions that is not afraid to take the time to build a story, intentions of the character and the environment in order to settle the accounts in an uncompromising, stylish and often sympathetic way without genre clichés. Although the first thing you will notice is cinematography and postmodern stylization (playing games with English dialects) or the setting, it´s mainly based on living characters their magnificent cast (without exception). There is a lot to be written about Peaky Blinders, we even might go into details, from the aftermaths of the Great War to how they work with contemporary political movements, but despite all possible weak points (slow pace of the opening episodes, overuse of retarding moment by some directors, namely Otto Bathurst was not able to handle it in this respect and it's him who is responsible for the three opening episodes, in other words he does the series rather a disservice) episodes cannot be denied that they are distinctive in its dirty street way, but the dirt is unfortunately washed away in the third series when turned them into "better people". Although you might find it similar with Boardwalk Empire in many ways at first, they have little in common in fact, except for the time and genre. But they definitely do not play in each other's backyard, they follow different paths and have different pace.| S1: 4/5 | S2: 4/5 |
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My first encounter with Peaky Blinders was charming. I am a big fan of 19th-century industrial architecture, those old railway station buildings, and classic factories with their unmistakable appearance. In this series, I had the opportunity to see it come alive and fully functional. Flames were bursting, smoke was billowing, and workers were running around, and I had just been transported back in time a hundred years. The second plus was the luxurious cast led by the charismatic Cillian Murphy. My two stars are specifically for the above-mentioned. The rest of it started to get on my nerves in a short period of time, despite my high expectations based on the high ratings and praises on FilmBooster. I will start with the highly acclaimed musical aspect of the project. Let me make it clear, I consider the soundtrack great and I would gladly listen to it. Unfortunately, it fits the series about as well as a medieval Cathedral surrounded by a group of 20th-century functionalist buildings. It does not fit the stylish retro at all, the ideal would be a combination with a modern dynamic thriller. The musical component does not fit not only in terms of expression but also in terms of tempo. Secondly, in the comments, the exceptional nature of the work is often emphasized from a content perspective. Personally, I feel that the screenwriters followed instructions that were once written by Umberto Eco in his collection of essays on skeptics about how a well-selling pop culture piece made for maximizing profit should look. It is simply composed of ingredients that are easily understandable to the widest range of viewers and, moreover, made in such a cool style, like slow-motion shots, detailed shots of grim faces full of emotions, i.e., those proven and somewhat cheap tools, which the recently watched parody series Darkplace superbly and rightfully makes fun of. I don't blame Peaky Blinders for being cool. Both seasons of the American series Fargo are cool too, and the British series Luther is spot-on, and I loved them. However, what I cannot forgive Peaky Blinders for is the romanticized treatment, sentimentality, and moral relativization. It is often compared to the American series Boardwalk Empire. However, that series acts as the complete opposite of Peaky Blinders. It is analytical and, in my opinion, precisely captures the history of organized crime in the USA. It portrays its characters as charismatic and capable individuals in their own way, but it does not allow the viewer to form an emotional bond with them. On the contrary, it depicts them as incapable of building a family foundation, as megalomaniacs and human monsters. It removes any veneer from them. Peaky Blinders, on the other hand, purposefully creates a bond between the viewer and its protagonists, forcing you to root for them and sympathize with them. The American series Boardwalk Empire may not portray the guardians of order and political elites in a flattering light, but in Peaky Blinders, the members of the criminal underworld appear morally superior and more sympathetic side of the conflict. And finally, if Peaky Blinders is described as a cruel, uncompromising, and bloody spectacle, then I have the exact opposite impression of the first season. The motive of the relationship between the main character and the undercover policewoman feels like it came from a Mexican telenovela, and the character of the amoral police commissioner had to have been dug up from Victor Hugo's literary legacy. Of course, I cannot rule out that everything will turn for the better in the second season, but the final episode of the first season left me with a truly depressing impression. I have never seen a more theatrical scene of two criminal gangs clashing. Overall impression: 45% mainly for the truly successful atmosphere of the dirty working-class district of industrial England in the first half of the 20th century.
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So far an excellent series. Interesting environment and time and the casting is first-rate. Cillian Murphy proudly walks the line of the anti-hero and Sam Neill commands respect. I can’t wait for their confrontation... Best series of the year by far. Cillian Murphy is a perfect (positive) swine and he gives the character of Tommy Shelby the right, iconic contours. In terms of story, no complaints, everything is running smoothly, sometimes along familiar, sometimes along altered rails. The charged ending could be a great conclusion or cliffhanger. We’ll see what side the producer’s coin lands on. Season two: The scenes with Tom Hardy are worth playing again and again. His Alfie gives the Blinders a stamp of uniqueness. A great continuation of the already excellent first season which again goes a little further. The whole show has incredible style enhanced by a top-rate soundtrack. I would go as far as to say that you won’t find a better British serial on the box right now. Season three: An incredibly hyped ride, spiced with Russians, a seductive but depraved princess (almost Joker caliber) and great music again. The precisely chosen cast runs at one hundred percent. Amazingly written. Tommy taken down a few pegs. A surprising ending. Season four: Flirting with The Godfather... Italo-Americans arrive to perform their vendetta and Tommy at last has his hands full. Certainly one of the best series, also thanks to the fantastic build-up of tension in the finale. Tom Hardy is awesome. Alfie is certainly the best and least predictable character of the entire series. It really makes you think about blindness. Season five: Steven Knight trumps himself again and again with each new season. This time round, Peaky Blinders flirts with Nazism. The political flavor of this season thickens the atmosphere adding to the brew erratic elements such as the “strong young generation" = junky clever-clogs Michael and junkie idiot Finn. First-rate acting and at the end we are treated to one cameo that I hadn’t imagined in my wildest dreams. The zenith of British drama series. Why not?
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An excellent period mafia saga based on traditional musical bangers, solid storylines and great performances, especially by Cillian Murphy, who becomes quite unforgettable.
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The fourth season truly blew me away. After the less impressive third season, the latest installment has become easily the best series I've seen in a while. The cast was not only excellent but truly otherworldly. Cillian Murphy once again ruled the show, this time alongside Tom Hardy and Adrien Brody. Brody, in the role of an Italian mobster from New York, was an incredible surprise. At first, his accent seemed forced rather than naturally adopted, but I gradually realized that such a gravelly voice really suits that type of character. Whenever he appeared on screen, entertainment was guaranteed. This time, the show also featured finely crafted action scenes that were a pleasure to watch, as well as the usual atmosphere (which is somewhat of a habit now) and, of course, well-crafted dialogues that occasionally gave me goosebumps. Hardy once again had a small amount of screen time, but he made excellent use of it. The final episode was flawless, with the scene of Hardy and Murphy on the beach meticulously detailed to the last aspect. It will be a long time before I find a series that sets and mostly maintains such a high standard. The fourth season gets 95%.
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