Steven Knight, the visionary behind the global phenomenonPeaky Blinders, admits he was genuinely “shocked” by the show’s reach. He recalls discoveringPeaky Blinders-themed bars not just in England, but in unexpected corners of the world – Spain, Buenos Aires, even China. It was a humbling realization that a story deeply rooted in his own family history had resonated with audiences across cultures.
That initial surprise has blossomed into a quiet confidence. Knight, now entrusted with penning the next James Bond adventure, reflects that creating something authentic, something *you* believe in, can unexpectedly capture the world’s imagination. He’s currently juggling multiple successful projects –SAS: Rogue Heroes,A Thousand Blows, and the recent Netflix release,House of Guinness– butPeaky Blindersremains uniquely special.
The return of Cillian Murphy as Tommy Shelby inThe Immortal Man, a new feature film, marks a significant moment. It reunites Knight with Murphy, alongside original cast members like Sophie Rundle, and director Tom Harper, who first helmed episodes of the series back in 2013. Harper expresses genuine delight at returning to the world he helped build.
Harper explains that the film feels like a natural evolution, a “springboard” built on the foundation of the series.Peaky Blindershas grown exponentially since those early days, and the opportunity to tell a new chapter of Tommy Shelby’s story with a cinematic scope is incredibly exciting. He wanted to fulfill the ambition and cinematic quality that was always present in the series.
The cast has expanded with the addition of powerful talents like Tim Roth, Rebecca Ferguson, and Barry Keoghan, adding new layers to the already compelling narrative. This isn’t just a continuation; it’s a broadening of thePeaky Blindersuniverse.
Knight, a proud son of Birmingham, is particularly moved by how the show has reshaped perceptions of his hometown. He’s heard stories from people traveling abroad who are immediately recognized through the show. He even jokingly recounts a challenge to make the Birmingham accent “sexy,” a feat he believes Cillian Murphy has brilliantly achieved.
The story is deeply personal for Knight, stemming from tales passed down through his family. He remembers his father describing encounters with the Peaky Blinders as a child – the smell of cigarette smoke and whisky, the meticulously dressed men with razor blades and guns. These vivid memories formed the core of thePeaky Blindersworld.
The allure of Tommy Shelby lies in his complexity. He’s a villain, undeniably, employing intimidation and violence. Yet, Knight sees him as a fundamentally good man driven to desperate measures, a perspective that allows audiences to empathize with his actions. He’s fascinated by how viewers can find sympathy even for the most questionable choices.
Knight emphasizes the importance of exploring moral ambiguity. Characters aren’t simply good or evil; they’re shaped by trauma, violence, and the consequences of their choices. The drama lies in understanding *why* people break, and how those fractures impact their actions and relationships.
The new film, set during the dark days of World War Two, introduces Tommy’s estranged son, Duke, played by Barry Keoghan. This generational shift adds another layer of intrigue to the saga, exploring the legacy of the Peaky Blinders and the burdens of the past.
For Knight, the research wasn’t about historical documents alone. It was about the intimate details – his father running barefoot with messages for the Peaky Blinders, the incongruity of impeccably dressed men drinking whisky from jam jars. These seemingly small observations breathed life into the world he created. He always knew he wanted to conclude the story during World War Two, a fitting backdrop for Tommy Shelby’s ongoing battles.
The return of director Tom Harper was crucial. Knight recalls repeatedly asking if Harper would be available, and when the pieces finally fell into place, it unlocked a new level of creative possibility. It allowed them to be truly expansive with the story and the vision.
