By George & Josh Bate
In 2013, writer Steven Knight launched a television series titled Peaky Blinders that, in the 13 years since its release, has cemented its status as a pop culture sensation. Starring Cillian Murphy, Helen McCrory, Paul Anderson, and Sam Neill, Peaky Blinders, and the character of Tommy Shelby (Murphy), took on a life of its own, inspiring a wave of unique, shaved sides haircuts and bringing the newsboy cap back into fashion. It’s no wonder then, that the series, a combined production from both BBC and Netflix, lasted for six seasons over the span of nearly a decade. The story didn’t end there, however, as Knight and company have developed Peaky Blinders: The Immortal Man, a new film that serves as a fitting finale for one of television’s greatest characters.
The Immortal Man once again follows Cillian Murphy’s Tommy Shelby, now a recluse in a decrepit mansion outside of Birmingham, as he gets pulled back into the criminal underworld to help his son, Duke (Barry Keoghan), get back on the right path. Duke, the leader of the Peaky Blinders in his father’s absence, joins forces with allies of Nazi Germany in a scheme that will make the gang richer than they’ve ever been but, at the same time, crash the British economy and win the war for Germany. It’s a story that is higher stakes than ever for Murphy’s anti-hero, especially as he is only joined by his sister Ada (Sophie Rundle) given the absence of his brother Arthur.
The Immortal Man, while a grand finale to the story of this generation of Shelbys, features a distinct lack of the original characters from the show. At this point, Polly, Michael, Finn, and, most recently, Arthur are all gone, leaving just Tommy and Ada as the major players from the series to appear in the movie. The absence of supporting characters makes the film feel as if it’s missing something, although it’s difficult to blame Steven Knight or any of the other creatives for their absence given various actors’ deaths or off-screen troubles. Both are things outside of the creative team’s control, but there’s no doubt that their absences, in particular that of Paul Anderson, are felt very deeply throughout this story. Knight is clearly trying, and, to his credit, often succeeding at creating an atmosphere that conveys to the audience the finality of the story, which entails a streamlined collective of characters and, in turn, a mentally anguished Tommy Shelby struggling with the deaths of those close to him.
Despite these hardships, The Immortal Man pushes forward, entering the World War II era for the first time after years of slowly building up to the rise of the Nazis in the show. Moving directly into this era does wonders for this film and the broader story of Peaky Blinders; the payoff of seeing Tommy and co. in a world consumed by another world war is profound, especially after Tommy’s interactions with Mosley in the show. Having the threat of Nazi Germany as a backdrop for the characters imbues the film with higher stakes than ever as the outcome of story not only determines the future of the Shelby family but the entire world around them.
The two main players in the Nazi plot to destroy the British economy are John Beckett (Tim Roth) and the aforementioned Duke Shelby, played by Barry Keoghan. The duo join forces, with Roth playing an Englishman with loyalty to Hitler intent on having the Nazi leader “stop the bloodshed” caused by the war through economic manipulation. Duke, meanwhile, is motivated only by greed and power, determined to be a bigger and better leader of the gang than his father was. This not only marks an interesting contrast between Tommy and Duke but also is a subversion of many father-son stories told in recent years. The concept of a father coming out of the shadows to save his son from moral ruin is different from what many would expect from this story. Rather than going the safe route and having Tommy train Duke to be his successor and show him the ropes, the film takes a page out of the Star Wars sequel trilogy in focusing on a father tormented by the his son’s turn to the dark side.
The effectiveness of The Immortal Man hinges heavily on two elements: how it handles the finale of Tommy Shelby’s arc (more on that later), and the character of Duke. Regarding the latter, the film crafts a compelling and morally complex character out of Duke, a young man grappling with the legacy of and resentment his infamous family. Keoghan, despite some difficulties mastering the Birmingham accent, brings a level of believability to the role in the same way that Murphy does for Tommy, and the duo feel very much like father and son, such is the chemistry between the two.
Regarding Tommy, meanwhile, The Immortal Man is as centered on Murphy’s character as much as any Peaky Blinders story has ever been. He’s front and center in every way, and there’s really only Duke that gets substantial screen time besides him. This places a lot of pressure on Cillian Murphy, especially as the actor is tasked with portraying a version of Tommy that is more subdued and anguished. But his performance doesn’t give any indication of the pressure he is under – he is as cool, calm, and collected as ever as Tommy. It also feels as if Murphy is putting more into his turn as this character this time around, aware that this is a culmination of everything that’s come before. Without delving into spoilers, the story ends in a satisfying manner for Tommy, far more akin in quality to Breaking Bad than Game of Thrones if one is to compare this to conclusions to other beloved, long-running television shows.
Despite nailing the resolution of a show spanning nearly 40 episodes, The Immortal Man falters with a slower paced first half. Clocking in at 1 hour 54 minutes, director Tom Harper’s film is at times repetitive, especially in a first half overly dominated by scenes of Tommy brooding alone in his home before deciding to join the fight again.
Additionally, the film’s handling of Ada leaves much to be desired. Tommy’s sister plays an integral role in the series and yet is given perplexingly little to do here, a creative decision made all the more questionable given the absences of other major players from the series. While the story is primarily focused on the bon between Murphy and Keoghan’s characters, more time spent with one of the few established characters remaining would
There’s also a bold decision made by Tommy when it comes to Arthur which is bound to be divisive among fans. The idea, while interesting, is bogged down by its execution and, more specifically, the time allotted to it. For a decision so bold, it feels as if the film should have spent more time on it, but it instead becomes nothing more than a minor subplot within the grand scheme of things.
VERDICT: 7.5/10
Peaky Blinders: The Immortal Man is a satisfying finale to one of television’s greatest characters. Director Tom Harper’s movie shines brightly with a World War II-focused plot that raises the stakes higher than ever, fitting for the conclusion of a series that’s been around for 13 years. Cillian Murphy impresses with a more solemn yet captivating turn as Tommy Shelby this time around, while Barry Keoghan steps seamlessly into this rich world as his son (albeit with an iffy Brummie accent). Pacing issues and questionable handling of some legacy characters aside, the film excels both as a standalone story and a fulfilling resolution to a beloved television series. Fans will certainly want to tip their Newsboy caps to Steven Knight and company for ensuring the story of Tommy Shelby concludes in characteristically epic and emotional fashion.