Two people matched by a dating app begin to wonder why the System is how it is, but that has repercussions.
Arthur gets a bad surprise when he visits Alfie Solomons. And when Michael lands in jail, something worse happens to his mother.
Tommy gets to know May Carleton a bit better. Meanwhile, things with Campbell and the IRA get very complicated and dangerous for Mr. Shelby.
Tommy manages to keep himself alive. He gets back to London to speak with Alfie Solomons, and later writes a letter to Winston Churchill himself.
Grace and Tommy get closer than they should, as Inspector Campbell gets jealous. Meanwhile, Arthur Sr turns up again causing a bigger rift between the brothers.
Tommy and the family rejoice at getting a legitimate betting license. Meanwhile, he also figures out Grace isn't who she claims.
When Freddie won't leave town, Tommy's got to figure out a way to settle things down. For himself, for Ada, and for the sake of their business.
Green Room. 2016. Directed & Written by Jeremy Saulnier.
Starring Anton Yelchin, Patrick Stewart, Joe Cole, Alia Shawkat, Callum Turner, David W. Thompson, Mark Webber, Macon Blair, Eric Edelstein, Michael Draper, Andy Copeland, Brent Werzner, Lj Klink, Kasey Brown, Taylor Tunes, & Imogen Poots.
Film Science/Broad Green Pictures.
Rated 14A. 95 minutes.
Jeremy Saulnier blew the majority of us away wildly with his downhome revenge flick Blue Ruin, a story that takes revenge out of the hands of men with particular sets of skills and an almost invincible superheroness before placing it in the hands of regular people, those who aren’t skilled or experienced with weapons, murder, or anything of the like. The whole thing was an exercise in spectacular acting, directing, and writing, all combining to make Saulnier’s talent undeniable.
Going with another contained, small plot, Saulnier now gives us Green Room – the story of a punk band named The Ain’t Rights, consisting of Pat (Anton Yelchin), Reece (Joe Cole), Sam (Alia Shawkat), and Tiger (Callum Turner), who end up trapped in a backwoods music venue after one of them witnesses a horrific killing and at the mercy of a gang of neo-Nazis led by the quietly explosive Darcy (Patrick Stewart). Similar to his previous directorial effort, Saulnier shows us a slice of real life. For all its wild elements, Green Room feels honest. It gives us the world of a punk band and juxtaposes their freedom/fun loving lifestyle with that of some real, serious, scary dudes whose lifestyle is anything but loving, in any way.
But perhaps my favourite element? While the friends in the band, as well as club regular Amber (Imogen Poots), all band together in unity, the supposedly strong group of white nationalists does the opposite and starts crumbling within. Amongst all the suspense and tension, in between the bloody bits of horror and the deepening criminal aspects of the screenplay, there’s a great comment on the nature of these neo-Nazi groups, how they’re only bound together by a collective feeling of being lost and that there’s nothing really keeping them glued. And that their ideology, for some, is a thin veil. Once the blood starts flowing, for some of these guys, the less committed to their ’cause’, all bets are off.
Something I love is that Saulnier is able to capture the life of the band so well. From the gig posters to the slumming on the road to the sticky situations they find themselves in. Even the little jokes amongst the band and their respective personalities all make these characters feel genuine. I’ve played in bands since I was about 13 years old. Never went on a tour, though we did travel a few times throughout the years with a couple of the different ones I was in, both singing and playing guitar, sometimes only one or the other. And the feel of this band is super honest. They remind me of myself, of people I knew while playing, of promoters and fellow musicians and the people out of the community. So when they first step into the world of the neo-Nazi group and their club it’s more than just culture shock, you feel a palpable air of danger. You feel afraid for these people. More than that they have the balls to play a song by the Dead Kennedys with a chorus that goes something like this: “Nazi punks, nazi punks, nazi punks fuck off!” So further than feeling any fear, you also get the idea that these are immature young people colliding with a world of which they have no real clue. Much like many of us would say these white nationalist types are a bunch of idiots, likely inbred and whatever else, this band doesn’t respect the fact these are serious, dangerous people. The writing of the characters and the setup of the burgeoning intensity of what they’re about to experience is what makes the film so strong immediately. Within twenty minutes you’re not simply interested in the characters, their band, as well as the creepy neo-Nazis circling around them, you also land right in the boiling pot and sitting in the hot seat with our reluctant protagonists.
A little bit I loved – when the band and Amber decide to try fighting their way out, before they do everyone recounts their truthful Desert Island Band: Reece says Prince, Sam says Simon & Garfunkel, Tiger sticks with The Misfits (good lad), Pat still can’t answer, and Amber joins in with Madonna and Slayer. Awesome moment that was so well placed, so well written. An amazing, brief scene.
All the way through I enjoyed the cinematography, courtesy of Sean Porter. In the early scenes there are some moments of beautiful Malick-like nature shots, particularly when the band is pushing their van out of the field into which it ploughed the night before. But all the interior stuff is great, too. When we move into the various locations the band moves through on their journey there’s a dark and edgy quality that makes you feel as if you’re gradually being sucked into oblivion. Inside the white nationalist punk club there’s a fog-like, hazy atmosphere that you can almost smell and touch. It makes you feel as if you’ve walked right into hell. For instance, as The Ain’t Rights play away, rocking out, there’s a horde of white supremacists moshing, their symbols and insignia waving around like banners in the crowd, and it’s a simultaneously gorgeous and eerie sight to those few moments.
And then there’s the violence. Oh boy. I’ve seen some nasty, gory shit in my time; 4,200 films deep, about 1/3 of those horror. But Green Room‘s brand of violent, criminal horror is exciting because there are two elements at play: the band (though punks they represent pacifists who are only inclined to defend themselves against violence) v. the white supremacists (these guys use violence for fun and to subdue those they feel are threats or obviously are different than them). So what I find great is that the band, these mostly peaceful people who just want to rage onstage with their music, is put in a position where they’re forced to go a violent route in order to save themselves, and literally to save their lives. Instead of some kind of revenge-style thriller where we see a bunch of people do violence against neo-Nazis, Saulnier allows us to indulge in the revenge movie tropes without having this sort of preachy element where he’s saying “Look how these white people are better than the hateful ones” and effectively allows us to indulge in that scenario without pandering too much to the saviour in us moviegoers. Furthermore, it’s funny I’ve seen a review state that while the movie has good backwoods horror elements that are actually well executed, there’s a lack of human element within the screenplay. I found exactly the opposite. Quickly, we almost feel like the 5th member of The Ain’t Rights, and once that first act of violence (we actually only see the aftermath of that one) comes down there’s a terrible sense of watching people we care for already in a terrifying situation.
Some bloody highlights: Pat gets his arm torn apart while trying to hold the door closed in the greem room, looking like an actual wound from an ER photo; the arm break on Big Justin (Eric Edelstein) looks so nastily real before Amber opens him up like a deer, also awfully realistic. Later when the band starts escaping and they’re each subjected to different methods of violence, there are a number of gritty scenes that come down and shock you; not because of the blood or gore, but rather these moments are cloaked in darkness, the ugliness concealed just beneath. In their distinct ways every scene containing bloody action comes off with an awe all its own.
My favourite? When Daniel (Mark Webber) is behind the bar, that entire sequence is absolute insanity – that’s all I’ll say, for those who’ve not yet seen the film.
Green Room is a fantastic dose of crime-thriller mixed with backwoods horror, on top of that using minimal locations – mainly the punk club – to bring maximum suspense and tension to the forefront. There’s a great screenplay, first and foremost, which Saulnier crafts wonderfully. Though the band is the focus of everything, the disintegration of the white supremacists is key to the plot. Because, as I said in the intro, The Ain’t Rights and Amber, and Daniel later, come together as one, a unified whole; without any extremist ideology backing them, but only the desire to survive against extremists. On the opposite side are the white nationalists, led by Darcy, who are dishonest with one another, hiding secrets and true intention, and eventually they come to a point where their own ranks disintegrate because of their lack of unity. So, yes, this is an enjoyable piece of nasty horror that plays well in the world of genre film, but it also has things to say, it isn’t all about extreme violence and the ugly world of neo-Nazis.
Under everything, Green Room is a taut and exciting thriller that feels different than most of the other similar films out there. Saulnier proves once again he’s able to take something familiar, turn it into his own vision, and keep us interested in the underbelly of American culture – that one where bloodshed, violence, murder plays out in forgotten places, where human life is disposable, where the will to survive is only trumped by the gruesome passion to kill. Moreover, Saulnier exposes the brotherhood of white supremacy, not by making fun or mocking. He opens up the idea of white nationalism and its idea of brotherhood and unity by showing how easily it falls apart under pressure; where you’re only as good as your last murder, otherwise you’re only taking up space. Up against a group of punk rockers inexperienced in the ways of violence, these neo-Nazis discover music keeps people together far better than any right-wing (or ultra-left) ideology ever could. At the same time, those same rockers ultimately must become just like those violent extremists in order to make it out alive.
After Grace's death, Tommy must figure out how to move on, with his personal life, and with business.
BBC Two’s Peaky Blinders
Season 3, Episode 5
Directed by Tim Mielants
Written by Steven Knight
* For a review of Episode 4, click here.
* For a review of Episode 6, click here.
Here we are at the penultimate episode of Series 3, and with two more already confirmed series’ ahead. What a treat!
Starting out with David Bowie’s “Lazarus”, a nice sequence shows us Tommy Shelby (Cillian Murphy) at the doctor. His head bashed in. We’re given a view into his past, also seeing his present, and in between. Still, the drugs are holding him tight. Even worse now with the morphine to keep his head from bursting. What will this bring for everything ahead?
He receives a visit from Michael Gray (Finn Cole). He knows things about Father Hughes (Paddy Considine), bad things from when he was a kid. He offers to even shoot the priest himself, long as Tommy shows him how to shoot. Wonder if this is finally the big way in for Michael.
Cut to three months down the road. Tommy’s now trying to kick the morphine habit; good on ya, Tommy boy. Not sure how well that’s going to work, but who knows. Anyway, he talks about mad fever dreams on the drugs. Seeing his housemaid naked, reading from Leviticus. Amazing little moment here, the writing had me in a crack up.
Tommy and Johnny Dogs (Packy Lee) have a chat. Boss wants him to do a few things for him. Seems there comes with it 5,000 pounds, so nothing troubles Johnny much in the end. Better than that the other Shelby brothers arrive with someone who calls himself “the Wandering Jew.” Upstairs, Tommy meets with him – Alfie Solomons (Tom Hardy). The one and only. He’s come back along to tell Tommy about the funny rumours about him since the head injury, and to speak of business.
Meanwhile, Arthur (Paul Anderson), John (Joe Cole), Johnny, and Michael have their own chats. There’s trouble about for Michael, as his life is in turmoil. Yet none of them are exactly living smooth. What I love most is the chemistry these guys have together. They do seem like a big family, which is ultimately the goal of any ensemble cast; these guys are meant to be family, so their natural feeling chemistry as a group is excellent.
Arthur and Alfie have their reunion. The latter wants to bury the hatchet, all just business. Right? He extends apologies of all sorts. The Shelby brother isn’t exactly happy, though his new path to Jesus Christ urges him not to cause a scene. Quite a good scene filled with tension. Alfie’s not exactly there to make things easy. But Tommy’s got plans for how they’ll deal with the Russians, which is the reason for Alfie being there apparently.
Johnny Dogs: “Arthur, if you‘re gonna get on like dis with the Apaches they‘d fuckin‘ scalp you, b‘y.”
Headed out getting ready, Duchess and Princess Petrovna require seeing the brothers’ skin. They need to check for tattoos, et cetera, which may identify them as assassins. A hilarious scene, especially when Arthur’s not pleased. John doesn’t seem to mind, as the Russian ladies check every inch of them. Things get quite intense for Arthur in particular. That Princess is definitely one to watch. “Inside every man there is a devil,” she says ominously, looking back to Tommy.
Aunt Polly (Helen McCrory) and her son Michael are doing business, Ada (Sophie Rundle) along, too. He heads off to make a call to his lady, we find out he wants to get her an abortion. In the other room, Pol and Ada try to forge a “new kind of politics” in order to make a good life for themselves. “Welcome to the bourgeoisie,” Polly tells Ada with a sly smile. Now Ada is a member of the organization – properties and acquisitions. Also, we discover she and Ruben Oliver (Alexander Siddig) are getting incredibly close, soon likely to fall in bed together, as she makes clear to Ada. But tonight, “why should all the boys have fun?” asks Polly. The boys are certainly having fun – Arthur’s given up on sobriety, so it appears. They’re all busy drinking, getting laid or trying to, and all sorts of debauchery; there are even two men getting lustily close on the couch nearby under the radar. John gets some information off Stefan (Josef Altin), as Tommy goes with Tatiana to see some of their operation.
Downstairs, Alfie’s there. The Duchess and Duke (Jan Bijvoet) are there, as well. We further find out Solomons spoke Russian – he has beef with them, over her being hunted down by dogs in the snow. Yikes. He turns the other cheek, all in the name of business. But you better know not to fuck with Alfie, he doesn’t play games. He helps Tommy get an eye on how much the Russians have, and they have quite a bit of treasure.
Ruben has finished the painting of Polly. It is astonishing. She looks upon it admiring the work he’s done, how beautiful he made her look (and she’s a gorgeous lady), and the effort it took to put her form to canvas. For his part, he believes it’s his best yet. Always a charmer. Either way, she’s flattered and wants a relationship with him: “There‘ll be more Sundays,” he tells her. Finally, they consummate their love. Except she’s reminded slightly by her rape at the hands of Campbell. Luckily he is a good man and he apologizes, he’s tender with her. A beautiful love scene, as opposed to so many in shows that are crude and just all for aesthetic pleasure.
Too busy falling down the bottle, Arthur is heading off with a prostitute. At the same time, Tommy sits back with a drink, listening to Tatiana’s bullshit. Later he breaks down a bit in her arms. Is he getting too close to her for his own good? No telling, but we’re close to finding out. A freaky sequence where he imagines being with his dead wife once more.
Tommy’s got some old army buddies with him now, along with Johnny Dogs, Arthur, and the rest of the mad bastards helping the Peaky Blinders. They’ve got the plan ready, maps, blueprints, the whole lot. Boss Shelby lays everything out for them and things are about to get underway.
Snooping around, Polly finds a wedding ring in Michael’s desk. Or so she thought. Inside is actually a literal bullet with Hughes’ name on it. Then Tommy catches his aunt with it right in her hands. Of course she worries for her son. Only she doesn’t know why Michael wants to do the job. She susses it out, though nobody says anything out loud. So now Pol knows why Tommy gave the job to Michael. “By order of the Peaky Blinders” and so on. She doesn’t want that for him. Threatening to bring them all down if her son pulls the trigger. Whoa.
Great episode right before the finale. Cannot wait to see what they have in store for us in Episode 6. Lots to which we can look forward. Plus, they’ve already confirmed two more seasons. Glory be to the Peaky Blinders!
BBC Two’s Peaky Blinders
Season 3, Episode 4
Directed by Tim Mielants
Written by Steven Knight
* For a review of Episode 3, click here.
* For a review of Episode 5, click here.
The lads are out hunting. They gun down a fine buck, the whole clan out and about, from Tommy Shelby (Cillian Murphy) to Arthur (Paul Anderson) and all the rest. Love this opener, as it’s strangely ominous. And these dudes know how to ride a god damn horse.
Good Friday’s come round. Tommy gets a letter that their father is dead. A woman he was with while he died wrote them, saying he asked their forgiveness. Finn (Harry Kirton) and John (Joe Cole) are too young to really remember him. They hunt, in part, to do some honour to him. Piece of shit he was and all. Otherwise, Tom talks business about the upcoming robbery.
Meanwhile, Aunt Pol (Helen McCrory) is in the confessional. Is there one big enough to contain all her sins? Doubt it. Anyway, she chats with the reluctant father. She reveals little bits. About the murder of a policeman, Inspector Campbell. What she tells him is that she feels no regret for it. That his murder was just. And I somewhat agree with Polly.
At the Shelby organization, the women are doing a good bit of the work. Not just Polly, but Lizzie (Natasha O’Keeffe) and others, as well. Turns out, she’s sleeping with Tommy, now and then. When he feels like it. “It‘s hard to sleep bent over a desk, isn‘t it?” she laments.
At the same time, Michael Gray (Finn Cole) is slipping further into the business of his family. Tommy’s giving everybody the low down with the Lanchester Factory blueprints to boot. They’ve got big plans ahead, if only the robbery goes as planned. Set them all up for life and then some. One last job. Not everyone’s so eager, such as family friend Charlie Strong (Ned Dennehy), though everybody’s in all the same.
Now Linda (Kate Phillips) is over trying to help at the organization. Only thing is she’s too proper and prim for any of the illegal stuff. She’s fine with doing little bits and pieces around the place. Then there’s lots of talk about female empowerment, strikes on Good Friday by disenfranchised women, which sends Polly off. She and the women march downtown, visually similar to earlier when we saw Tommy and the lads ride their horses. LOVE the stylish camera work and techniques they use throughout the series, as well as again having to mention the anachronistic music. Often this might hinder a period piece. Here, it enhances the fun.
Over at his office, Tommy meets Princess Tatiana Petrovna (Gaite Jansen) to talk more business. He mentions being hurt to kill a stag. Yet would feel nothing to “put a bullet in the priest‘s face.” May be more than business on the table, apparently Tatiana comes as part of their deal. Then John rushes in quick to tell his older brother about the women gone on strike. Also, John has trouble with his wife Esme (Aimee-Ffion Edwards) who can’t keep off the cocaine while she’s pregnant. But everybody is trying their best to turn things around, in all sorts of ways.
Tommy and Tatiana end up in bed together. Of course. They get closer, chatting about their weakness, desire. More importantly, they speak of possibilities. Well, she’s a bit wild. Taking his gun and running off through the halls of his nice big house. She leads him on a little chase. Then opts for a bit of Russian Roulette, y’know, a game she used to play. This freaks him out: “And I don‘t want your mad fucking Russians brains all over me fuckin‘ walls.” What a way to follow up some old fashion lovemaking. Tatiana tries to run the house, showing Tommy what it is to be royalty, to have money and be a big shot. Except that’s not who he is, really. And still there is a part of him that likes the dark madness in her. Above all else, she encourages him to do what he wants. Not to be afraid of freedom any longer.
The Shelby brothers get together once more. More maps and plans to help them during the robbery. They’re looking for a Russian speaker, possibly finding one in a young man that’s looking to get himself a bit of cash. Lizzie and the rest of the women have formed a union. Polly’s in a bit of a hangover state, so part of her hubris is alcohol. But there’s no backing down. They have terms. Before that, Tommy discovers Arthur’s been telling his wife lots. About the robbery – not the factory, but their other one. The robbery that’s been planned undercover from the women and everyone else. So that’s not going to be good. He knows Linda finds out everything. Moreover, Tommy later talks to Linda. She knows far more than is good for health. The extent to which Arthur lets his wife in on things worries the brother in charge. What’s more is that Arthur wouldn’t be happy to find out these talks are happening behind his back, he may see that as something emasculating. Regardless, Linda wants to get away to America instead of sticking around Birmingham.
Simultaneously, Father Hughes (Paddy Considine) is finding out there may be danger coming his way. And that’s certain to set off a counteracted action on his side.
Ruben Oliver (Alexander Siddig) is still painting Polly, in all her glory. He is quite seductive and charming in his own way. Although, she does not fall for it. She is one of the strongest women on television.
Polly: “I think when men want sex they become hilarious, like a dog when you pick up a lead and he knows he‘s going for a walk.”
Tommy’s off readying to get the deed done on Father Hughes. He slyly follows the priest until getting ambushed in a toilet by a couple men. They beat Tommy badly before loading him into an ambulance. He’s carted off somewhere dark and mysterious where Father Hughes stands over him with MP Jarvis (Alex Macqueen). They want to know why Tommy tried killing the priest. Mostly he just goes in and out of consciousness, managing a “fuck you” in between. Hughes talks about passing information over to the Soviet Union, as well as expecting an apology in front of the Russians. Big threats, too. Directed towards Tom’s son. “We have people in your life,” warns Hughes.
Wow. So with all the reach of the Blinders, this priest seems to have even more. His grasp is tough and vicious. Back at the house, Tommy sacks most of the people in his employ. Can’t trust a soul any more. Worse, he has quite a concussion by the looks of it. Not doing well at all. He shows up to the Russian dinner half concussed, half blown on the cocaine. At the table with the Grand Duke and Duchess (Jan Bijvoet/Dina Korzun), he does his best to apologize with Hughes ranting on about punishment.
Saying a prayer in repentance, Tommy winces through. But everyone in attendance knows there’s something wrong. Tom rushes off to another meeting. Only he can’t manage to keep it together much longer. The concussion finally takes its toll on him. He collapses, telling Ada (Sophine Rundle) to get him to a hospital, that he has internal bleeding, a fractured skull. Then he fades away.
What an excellent episode that progresses plot and character. Not only that, Tommy Shelby is proven once again to not be a completely invincible, untouchable gangster, as awesome as he is there’s no need for him to be completely God-like. So I love that this is a new move towards a more vulnerable Tommy, and Shelby organization as a whole. Excited for the next episode. Stay tuned with me, fellow lads and ladies!
BBC Two’s Peaky Blinders
Season 1, Episode 1
Directed by Otto Bathurst
Written by Steven Knight
* For a recap & review of Episode 2, click here.
When? Just after the First World War and the horror of the trenches.
Where? Birmingham, a’right.
Leader of the Peaky Blinders, a gang named for wearing razor blades in the bib of their peaked caps, Tommy Shelby (Cillian Murphy) visits Birmingham’s lower quarters. He finds a girl that “tells fortunes” and proceeds to have a spell put on his horse. He tells everybody in the nearby vicinity when the horse is racing. And to keep hushed up about what they’ve seen and heard. One immediate thing I’ve always loved is that we get Nick Cave’s “Red Right Hand” as the theme song of the series. Great addition.
There’s more than just Tom in the Shelby gang. Little Finn is smoking cigarettes, Arthur (Paul Anderson) is apparently pissed off. Then there’s John (Joe Cole). And every last one of them, well except for Finn at his young age, is putting in work. The oldest is Arthur, and he is the pissiest, too. Both in attitude and his alcoholism. Arthur ain’t happy about Tommy being down with the Chinese casting spells. More than that he feels overstepped by his younger brother. Though Tom puts it blunt: “I think. So that you don‘t have to.”
Meanwhile, Inspector Chester Campbell (Sam Neill) is on his way towards the Blinders. He’s got files all them all. At the same time, there’s some Communist-type activity happening amongst the workers in Birmingham. Freddie Thorne (Iddo Goldberg) is riling people up to strike. Imagine there’ll be some conflict along the way between the Blinders and the Communists. Right smack dab in the middle is Campbell, as well. Lots of good angles for the story to play towards. Also, it turns out Tommy and Freddie know one another from serving during World War I in the army. Fighting in the dirty trench warfare over on those fields far away from homein France. However, they’re at separate ends of the spectrum. Tommy doesn’t entertain Mr. Thorne much. But we learn from the latter about a “robbery of national significance“, which came down with word from Winston Churchill that also included a list; apparently both Tommy and Freddie are on it. Hmm.
At the same time there’s another soldier back home, Danny Whizz-Bang (Samuel Edward-Cook). He’s obviously got PTSD, Shell Shock as they called it. He doesn’t remember freaking out, yet Tom helps him out. Lots of chatter from Thorne. He’s a mouthy one, that.
Now we meet Aunt Polly (Helen McCrory). She pulls a gun on nephew John. Turns out she’s the one keeping a lid on the Shelby boys. At least John, anyway. Love that she’s this tough woman amongst a family of men. Speaking of family, the lads and their associates are having a meeting. Seems there’s a big city wide clean up. Tommy – without telling Arthur – found out from their bought officers that Inspector Campbell has made a name for himself busting up the IRA in Belfast. Now he’s headed to Birmingham, recruiting tough Irish fighters to help him beat the streets. The Blinders aren’t exactly worried, though John in his youth looks a little anxious. Still, Polly is tough, as is Tommy. For his part, Arthur’s not pleased with his younger brother. It’s as if Tom is slowly undermining him.
Through Campbell’s eyes we see Birmingham as a dirty cesspool. The streets at night are filled with the yells of the drunk, vomit, madness. A real mess that he’s looking to fix.
In a church, Tommy tells Polly about the recent robbery she knows nought about. Him and a couple of the good ole boys found a bit of heavy artillery – “all bound for Libya,” he tells her. Rather than leaving it all or tossing it, Tom stashed it away. And now there’s an Inspector out of Belfast headed to their turf. Coincidence? Doubt it.
Have to mention, I love that this is a period piece yet there’s contemporary music included. Makes for a unique feel that I find exciting. It doesn’t feel out of place, but exactly perfect somehow.
Seems that Ada Shelby (Sophie Rundle) is involved romantically with Freddie Thorne. Not something Tommy, or any of the brothers for that matter would enjoy hearing. So they meet in secret, even make love in secret wherever they can. This will absolutely cause chaos somewhere down the line. Just a matter of time.
At the local bar a woman turns up to find work as a barmaid. Her name is Grace Burgess (Annabelle Wallis), a proper Irish lass. The owner doesn’t think she’s cut out for a rough spot like that: “You‘re too pretty,” he tells her. Although she convinces him by emptying out the spittoons while singing some song from back in the Old Country.
Inspector Campbell sees only the grim in Birmingham. He hates the prostitution, the abuse, the crowded conditions, thieves, beggars, a “stinking pile” of a city. He’s ready to take the Peaky Blinders on. Sam Neill is a bad ass and this opening speech is solid. The writing is great, too. Campbell further takes on the corrupt cops, so on. No fucking quarter. He’s brought in a load of “God fearing” men to swear in for knocking heads and such.
Arthur is the first to end up meeting with Campbell. He’s taken by some men, beaten bloody. Then asked questions to which he has no answers. Because Tommy’s been doing his own thing without keeping older brother in the loop, everything’s a tad lopsided. “The only thing that interests me is the truth,” says Campbell. Arthur just can’t give up the goods. ‘Cause he doesn’t know a thing.
Now we get to witness Ms. Burgess working at the bar. She winds up coming across Tommy who makes a fairly rude comment. But the owner warns of getting too close to a Shelby, specifically that one. Later on, she calms all the fighting Irish hearts in the bar by singing a nice song, another one from back home that all the lads join in singing, too. Until Tommy Shelby arrives, then the place goes quiet. This might be the beginning of something. Simultaneously, Ada and Freddie are shacking up under everyone’s noses. Something is clearly broken in Tommy, as he can’t seem to gain back the emotion he once likely had, not after the war. While others are moving on and living life.
At the next family meeting, Arthur is getting fixed up. He brings back all the news from Campbell, about Churchill, the robbery. Things didn’t go as planned for Tommy. Worst of all Arthur wants to work with them. He’s got no clue what’s going on.
Furthermore, we come to find Tommy’s taken to smoking opium. That may stand for the lack of libido or feelings he’s had, accompanied by PTSD, the memories of war. He has flashbacks that are terrifying, even to the audience. Imagine being Tom Shelby. Even the opium can’t cut it all out fully. Christ.
The worst happens when Danny Whizz-Bang is being told to go home. By a Frenchman. Who pulls a blade. This ends up with the poor man getting stabbed, as the memories of Frenchmen with bayonets rain down on Danny. Likely, Tom or someone else is going to have to put Dan down. Because he will only suffer a worse fate if they toss him in the bin; those mental hospitals back then were beyond snake pits, they were death sentences, a lifetime of brutal madness.
Campbell is busy meeting Mr. Winston Churchill (Andy Nyman). They catch up on things. The Inspector tells him all about what he suspects thus far, as well as the way forward. Appears Campbell is a tough, hard man. Still, he gets a media warning about the papers from Churchill: “If there are bodies to be buried, dig holes. And dig them deep.” Awesome appearance of Mr. Churchill, giving us a side of him that too many rosy-eyed people would dare not entertain.
Not everyone is impressed with the way Tommy’s handling things for the Blinders. An old family friend, Charlie Strong (Ned Dennehy), warns against being too bold. It may just begin something terrible.
Charlie: “Is it another war you‘re looking for, Tommy?”
We understand now that Ms. Burgess and Mr. Campbell are both working on the same side. She’s a copper. Tommy Shelby intrigues her, and Campbell worries she might let her judgement be clouded. We also come to discover Grace’s father was murdered by the IRA. A personal connection to wanting crime, particularly that of the Irish persuasion, eradicated from their stomping grounds. Little tougher than it sounds.
The man Danny killed was an Italian, not a Frenchman. He has connections. In order to save themselves from a war, Tommy has to “dispatch” Danny on his own. As the Italians watch. “I died over there anyway, Tommy. I left my fuckin‘ brains in the mud,” Danny weeps. Such a tragic thing. To see men torn apart by war like that. Saddest part? Hasn’t changed a whole lot since. Still not enough help for veterans. At least Danny is with his buddy Tommy near the end. Though he has to toss the body in a boat, get it out of the city, so as not to alert the new coppers in the city.
Except Danny ain’t dead. Charlie’s driving the boat, filling him in on things. Now he’s headed to London for a job.
Excited to recap and review the next episode. Stay with me. This is one of my favourite series’ ever. My second time watching these now, so things are popping out I’d not noticed the first go. Love the cinematography, the grittiness of the plot and story, the characters. Love everything about it.