Four years after the hit BBC show came to an end, the culmination of the story fans have been waiting for is finally upon us. We may have an upcoming sequel series to look forward to, but through The Immortal Man, Tommy Shelby’s story is officially complete. Cillian Murphy (Oppenheimer) reprises his iconic role for one final time, as Tommy has to return to Birmingham after years of self-exile to save his family – and his nation – as his estranged son gets embroiled in a Nazi plot. Though far from the best material we’ve had from this franchise, The Immortal Man effortlessly matches the slick style of the show whilst boasting a solid cast, intriguing storyline and a satisfying conclusion to a story that’s spanned over a decade.
Cillian Murphy Delivers One Last Masterclass as Tommy Shelby in Peaky Blinders: The Immortal Man
If anything can be relied upon from Peaky Blinders, it’s Cillian Murphy’s performance. Tommy Shelby may be the most sombre and meditative that we’ve ever seen him due to becoming quite the recluse, but that doesn’t mean Murphy fades into the shadows. Fraught with intense emotion and feeling the heartache of his life story catching up with him, Tommy is surrounded by ghosts of his past, and the cinematography often frames him like a ghost himself. Seeing his deceased love ones all around him, walking around his empty house alone, it’s a very different Tommy to the one we began this story with. However, as soon as he needs to don the suit and go back to where it all started, he’s instantly a force to be reckoned with who sinks so effortlessly into that formidable person we’ve come to love. Murphy balances all aspects of Tommy’s complex persona beautifully, and goes out on a high.
The cast surrounding him are up to the task too, including both original members and newcomers alike. This time around, Barry Keoghan (Saltburn) stars as his estranged son Duke, who certainly brings something notable to the role. Running the Peaky Blinders with more violence and upset than Tommy and his family ever did, it becomes apparent quite quickly that Tommy may need to reign him in and fix the mess he’s made. But just like his father, he has an emotional, family-oriented side, which Keoghan emits well. Tim Roth (Pulp Fiction) enters the scene as ‘villain’ Beckett, who does well with the screen-time given. As we’re used to a whole seasons worth of build-up for most of our villains within this franchise, it’s easy to feel a bit shortchanged with Beckett; we never really get to know him, his motives or what makes him tick. Therefore, theres a sense of detachment that prevents us from truly hating him or caring about his fate. This is no fault of Roth who does a good job, more the lack of screen-time and development within the script. The same can be said for Rebecca Ferguson. Expectedly, she gives a stunning performance as Kaulo, and may have some surprises up her sleeve that really shows her range, but she only gets a scene or two to showcase this. The cast are good, but due to the focus on Tommy and his son Duke, most of them are just there.
From a filmmaking standpoint, The Immortal Man works fantastically well. It feels like a natural extension of the show, bringing the same swagger, visual style and punk-fuelled soundtrack that made it so iconic and loved. Peaky Blinders has always oozed a cool, slick sense of style despite the criminal behaviour it’s built from, and that is exactly how this movie feels. The cinematography is beautiful, with the production design of a 1940’s Birmingham against the backdrop of WWII feeling realistic and lived in. The original score blends so well with the modern soundtrack to create an experiential watch – Peaky Blinders was known for its music, and it’ll go out with that same sentiment. As a finale should, there’s some really beautiful scenes that pay homage to everything that’s come before it, including characters we’ve lost, that fans are bound to enjoy. One scene in particular, featuring a beautiful slowed-down version of theme song ‘Red Right Hand’ by Nick Cave really brings this story full circle, forcing you to picture Tommy atop that horse in the first ever episode. It’s easy to label certain moments as ‘fan service’, but they pull it off so naturalistically here.
The writing is the one area in which some viewers may take issue. As well as the aforementioned problem of some of our newcomers being under-utilised and not as fleshed out as we’re used to, theres still some original characters we don’t know the fate of. The script does a good job filling us in on some, but not others, which does cause a little confusion. There’s definitely an argument for writer Steven Knight closing out all the stories that are most important, but fans may feel short-changed by the lack of closure for a character or two. Also, the plot surrounding Duke and his involvement with Beckett and a Nazi operation is just okay. There’s certainly entertainment value there, and a bit of action present for those who enjoy it, but by sharing the limelight with an introspective character study on Tommy, it never feels as fleshed out as you’d hope, often seeming like an afterthought. At two hours long, as opposed to six hours of in-depth storytelling that we’re used to, the film may be tackling a bit too much to give all areas the care and attention required.
The Immortal Man does not provide the strongest Peaky Blinders story due to the lack of time to do so, but it doesn’t necessarily need to. As a film with a main goal of closing out the story of Tommy Shelby, it does a wonderful job. Murphy sends the character out on a real high note with his terrific performance, and the trajectory of his story feels like the correct path was taken. The supporting cast are strong, the style of the show is up to scratch, and although we may leave with questions about a few minor original characters, it feels like a fitting conclusion that perfectly paves the way for a new generation.
Grade: B
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Peaky Blinders: The Immortal Man
After his estranged son gets embroiled in a Nazi plot, self-exiled gangster Tommy Shelby must return to Birmingham to save his family — and his nation.
