Cert – 15, Run-time – 1 hour 52 minutes, Director – Tom Harper
Tommy Shelby (Cillian Murphy) leaves his seclusion to return to Birmingham to steer his son (Barry Keoghan), the new leader of the Peaky Blinders, away from a Nazi plot that could collapse Britain.
A criticism often thrown towards TV adaptations is that they feel like an extended episode rather than a full feature film. On the other hand, it’s sometimes mentioned that they can feel like a condensed series. Peaky Blinders’ feature treatment somehow manages to feel like both as Tommy Shelby (Cillian Murphy) leaves the seclusion he’s been living in for years, writing a book on his life, to don the newsboy cap and return to a bombed Birmingham (the year is 1940) in order to confront the new leader of the Peaky Blinders, his son Duke (Barry Keoghan – feeling more like he’s trying to imitate Murphy rather than give his own performance) about his part in attacks and bombings in the city. Not to mention, links to Nazi plots; represented by Tim Roth’s John Beckett who plans to assist in spreading fake banknotes throughout Britain in order to tank the economy.
It should already have been mentioned by this point that I haven’t seen any of Peaky Blinders, and was going into this blind. There’s plenty, almost a bit too much, of introduction for those unaware of the hit series, unfolding in the slower pace of the first half when Tommy is still very much isolated and trying to stay out of things. He’s had enough of that life and he’s staying out of it (until he isn’t). It’s this half that feels more like an extended episode. At the sudden turn around, an undeniably cool moment that sees the old clothing and gear come out of the shadows, the feeling of a condensed series comes through.
Supporting characters begin to crop up more, locations broaden and plans unfold in more detail. The third act certainly has some entertaining moments as action becomes more of a focus. Confrontations gain more of an edge and flair, and the tones of the film feel more direct and defined with how characters have come together in a particular moment rather than having stands playing out somewhat separately (although intentional for the narrative). A canal boat chase that evolves into a shootout is particularly enjoyable as it plays out alongside Tommy’s own journey before the big final clash – even if at times I was thinking of similarly-based events in Wallace And Gromit feature Vengeance Most Fowl.
There are a lot of characters cropping up throughout, some much more prominent than others, and some who feel as if they could be used a bit more than others, too. It doesn’t quite feel like the film is trying to get as many familiar faces in as possible alongside the possible newer figures, or as if it’s taking anything of a victory lap – in fact it avoids that rather well and instead makes for a simple feature sequel to the series that should have a good deal present to please fans. The pacing can sometimes feel as if it shifts somewhat, although mostly from the switch between the first and second halves, and generally things pass by fairly quickly and don’t feel overlong,
As a film The Immortal Man is perfectly fine. It may work better for fans and those aware of the show than those who have never seen it before, but still there seems to be something to like either way, especially when elements play out together. A solid feature sequel that has a good deal of entertaining moments, largely held in the return of Tommy Shelby.
An effective feature follow-up, The Immortal Man may work better for fans of the show than newcomers, but there’s still enough to entertain and like about the unfolding action, even if it does switch between feeling like an extended episode and condensed series.
Just A Little Bit Random 