The initial trailer for ‘Peaky Blinders: The Immortal Man’ not only promises a grand finale but also a confrontation decades in the making. And in its core lies something even closer than gang wars or politics: a father and a son.
‘The Immortal Man’ releases in theaters March 6 and on Netflix March 20. And judging by the trailer, the Shelby legacy is not going to die quietly.
Birmingham Is Fighting A New War In ‘Peaky Blinders: The Immortal Man’
By the time we see Thomas Shelby (Cillian Murphy) again, he is no longer the razor-sharp kingpin who is walking around Birmingham with a plan in his pocket. The trailer portrays him as a tortured man, older, tired, and disconnected from the empire he once ruled.
“You live in a house haunted with ghosts,” a new character warns him, setting the tone for a story steeped in regret and reckoning. However, peace doesn’t last long.
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In the teaser, Ada tells Tommy that his son, Barry Keoghan, is running the Peaky Blinders like it is 1919 all over again. It’s a chilling line. His own blood is now resurrecting the past that Tommy was trying to get away from.
The last shot of the trailer, father and son standing on the other side of the Garrison bar, holding whiskey in their hands, seems to be symbolic. Two Shelbys. Two eras. One inevitable clash.
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‘The Immortal Man’, in contrast to the series finale, which left the world on the eve of World War II, leaps forward to 1940. The war is no longer threatening; it is blazing. Air raid sirens wail. The world is on fire. And Birmingham is caught in the chaos. This change of time only increases the stakes. The Shelbys are no longer fighting competitors.
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They are fighting a nation at war. It is on that background that the father-son conflict is even more explosive. Tommy used to create his empire based on the trauma of World War I.
Today, when WWII is ravaging Europe, his son seems to be willing to repeat the cycle. The father-and-son relationship is what series creator Steven Knight has called the heart of the film structure, and the trailer makes that excruciatingly obvious.
Tommy may claim, “I’m not that man anymore,” but bloodlines have a way of dragging you back. It is all tragic poetry. Tommy tried to step away. He tried to outrun his ghosts.
However, in 1940, when the bombs were dropping and history repeated itself, he must face the worst of all enemies, the version of himself reflected in his son.
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