In 1940,
former gang leader-turned-politician Tommy Shelby (Cillian Murphy) is living as
a recluse and writing a memoir while haunted by past losses. His estranged son
Duke (Barry Keoghan) has taken up leadership of his gang, the Peaky Blinders,
and uses violence to intimidate the locals despite the outbreak of war. Nazi
collaborator John Beckett (Tim Roth) approaches Duke with a scheme to crash the
British economy by flooding it with counterfeit money, for which the Peaky
Blinders would be paid handsomely. A visitor with a connection to both Tommy
and Duke tries to bring the former back into the fray to reach out to the
latter, but will it be enough to prevent calamity?
During its
nearly decade-long run, Peaky Blinders was a sometimes-excellent series occasionally
hampered by pacing issues and the odd creative blunder. Stylish and soulful, it
boasted strong lead performances, but the six-episode seasons left the
storytelling feeling rushed, and it somehow managed to get a bad performance
out of the talented-but-woefully miscast Anya Taylor-Joy. Picking up the story seven
years later, The Immortal Man offers many of the same virtues and vices.
Oppenheimer may have been Murphy’s biggest
break, but Tommy Shelby arguably remains his best role. He’s able to
convincingly portray everything from steely resolve to complete devastation and
anguish, all without saying terribly much. Keoghan, replacing the younger
Conrad Khan, layers in hurt and inner conflict beneath his sneering, nihilistic
façade. Among the newer additions, Rebecca Ferguson is reliable as always even
if her character’s entry into the story seems contrived. Roth manages to make
his evil Nazi disarmingly genial though Beckett is a fairly forgettable
character, especially compared to the series’ villains.
Created by
a proud Brummie (Steven Knight), Peaky Blinders captured Birmingham’s
industrial grit and juxtaposed it with an untamed countryside. These contrasts not
only made for striking television, but they spoke to Tommy’s dual legacy: that
of a British social climber and a Romani/Traveller leader. The Immortal Man
continues and complicates this tendency. Birmingham is now bombed and battered
while the countryside is as haunted as the film’s protagonist. As with the
series, The Immortal Man benefits from a moody, well-chosen soundtrack,
including the series’ unofficial anthem (“Red Right Hand” by Nick Cave and the
Bad Seeds).
The
Immortal Man clocks
in at just under two hours, and it’s a taut, well-paced affair with sure-handed
direction courtesy of Tom Harper. Some of its beats are a bit predictable, but
given how much the film addresses themes of fate, there’s at least some context
for that. Less pardonable, however, is the disconnect between the film and the
show as several characters who should rate at least a mention are left out
completely. But just as the series struggled to fit an entire season’s worth of
storytelling into six episodes, so too does The Immortal Man find it
challenging to serve up a grand finale in about two episodes’ time.
While it
may leave fans of the show wanting more, The Immortal Man is powerfully acted
and aesthetically sharp if narratively underbaked.