For four years, fans have patiently awaited the day that the beloved Peaky Blinders would return to their screens. Finally, the wait is over, with the Birmingham gang returning not only to TV screens as before but also taking over the big screen. If you are waiting to watch the film when it drops on Netflix later this month, I would urge you to go and experience the excitement an atmosphere in the cinema !
The opening of the film focalises upon the literally haunted Tommy Shelby, sheltered away, allowing chaos to ensue on the streets of Birmingham as his son Duke runs riot. Actor Barry Keoghan perfectly realises Duke, the young boy putting on a bravado, who is in reality just lost and scared. The Supernatural elements of the film’s first act encapsulate Tommy’s psychological experiences beautifully, his dealing with unfathomable amounts of loss and trauma being conveyed by him physically shutting himself in with the spirits. I also enjoyed how the supernatural elements of the film reflect the reality of how many individuals turned to spiritualism to cope with the grief felt world wide after the second world war that the film situates itself around. The anticipation for Tommy to return to his home and to stop the fascist Beckett (played by the iconic Tim Roth) in his plot in aiding the Nazi regime and using Duke to help this end, is perfectly built. By the time Tommy dons his iconic flat cap and returns to bring order as Fontaines D. C’s ‘A Hero’s Death’, foreboding yet energetic, plays in the background, I knew that the fun was only just beginning.
A key element that played a large role in my enjoyment of this film was the score by Antony Genn and Martin Slattery accompanied by Grain Chatten, Carlos O’Connel and Tom Coll (members of the legendary, aforementioned, band Fontaines D.C). The new original songs from Grian Chatten including ‘Puppet’ accompanied the scenes and the tone of the film perfectly. Amy Taylor’s new song (Amy of Amyl and the sniffers) elevates the high energy introduction to Barry Keoghan’s Duke to a whole new level and Nick Cave’s new recording of ‘Red Right Hand’ is enough to excite any fan of the series. A stand out moment for me was when Grian Chatten’s cover of ‘Angel’ by Massive Attack is experimentally overlayed during a scene at the climax of the film, it echoes around Tommy as he is shot in a moment of high tension and psychological warfare, tightly framed, with fast paced editing showing flashing images of red giving insight into the inner torment that Tommy is experiencing. What stood out to me about this scene as note worthy is the level of experimentation within its visuals and sound, atypical of an action packed, blockbuster.
Another element that I admire in general surrounding the Peaky Blinder’s series is its tactful exploration of so many important themes. Being a new fan to the show, I wasn’t sure what to expect going into the first episode. Judging from what I had heard, I expected a prioritisation of action over any serious concern about character. I was entirely wrong, each character in this show is masterfully written displaying true complexities. Tommy Shelby’s struggles within this film continue to demonstrate the effects that war had on so many, and his son’s behaviour demonstrates the complexity of the father son relationship (as explored earlier in the show with Arthur Shelby and his father). Tommy’s final utterance of ‘In the Bleak Mid-Winter’ was enough to bring tear to any fan’s eyes, this title of the popular Christina Rosetti poem calling back to moments of its use throughout the series to symbolise significant loss but also humble acceptance.
The film ends with the redemption of Duke Shelby and rumour suggests that a spin-off of the series with him as the focal point is incoming. Personally, I’m not entirely sure if Keoghan’s Duke is likeable enough, even after his character development within this film, to capture hearts in the same way as his father but I will be eager to see if I am proved wrong.
