Bronson

As I was watching the first 30 minutes of the bio flick "Bronson", I thought it had a death wish or something. It does take a while to let this movie hit you. "Bronson" is based on the true story of who is called England's most notorious prisoner, that would be Michael Peterson better known by his alias Charlie Bronson. He has been incarcerated for 36 years, and 31 in solitary confinement. He never killed anyone, just was convicted of armed robbery a few times; but it was his feisty ways in the prisons and psych wards he did time in that got him all that time. Instead of trying to breakout, Bronson wanted to stay in prison but not exactly as a Solitary Man. He relished on physically brutalizing prison guards and other cellmates, not to mention taking a few as hostages. Bronson also had an artistic side that is also highlighted in Writer-Director's Nicolas Winding Refn movie. Refn's screenplay with Brock Norman Brock did escape the rules of viewer engagement from time to time with its extreme bizarreness, but somehow it boldly & bloody worked. Kudos goes to Refn for orchestrating those power-punching scenes where Charlie B. is refn so many up. Also, I must commend his direction of the comedic scenes of observing Charlie readapting to social civilization upon being released after his first "prison tour of duty". But "Bronson" would not be a brawny feature without the tour-de-performance of Tom Hardy. This Hardy Boy sure did not lack a punch with his dead-ringer Bronson transformation. It will be hard to knock out Hardy as a surefire grand actor for years to come. It is hard to fathom that this is the same actor who played The Cleaner in "Inception", two exemplary performances but diverse in so many ways. "Bronson" is worth putting in the time for no better reason just to witness Tom Hardy's extraordinaire hard work. So pass Go and matchup with "Bronson". ***** Excellent

Saw this the other day at the Sydney Film Festival.

I didn't know much about Bronson before the film, other than what I read on Wikipedia and after walking out of the cinema, I can't say I know any more about the man other than his inability to conform and his reliance on violence and abuse to deal with most situations.

Unlike Korean movie Breathless which also screened at the festival and focused on violence but at least gave you an idea as to why the main character was so disturbed and messed up. Bronson doesn't give you any answers other than he was simply born that way, despite loving parents. His inability to deal with society starting as early as his school years.

What I did enjoy was Hardy's performance. Sure to be compared to Bana's Chopper (which I think was far better - but I am an Aussie and therefore biased) and also A Clockwork Orange. Hardy is impressive as the hulking and impulsive brute. He occasionally shows us Bronson's vulnerable side but mostly it's about the rage that drives him from one prison to another.

The prison system and Brit government are seemingly helpless to come up with solutions at dealing with Bronson's violence. The man himself also seems way beyond rehabilitation. That would be a big understatement.

I thought it was a shame that Bronson didn't get into boxing or some other type of physical sport like Rugby league when he was younger as it might have given him an outlet for his anger.

Anyways, it's ultimately pretty grim viewing but certainly packs a punch (no pun intended). I would have like to see Winding Refn offer us a little more insight into the man.

Bronson is the story of a very violent man, a man with clear mental issues that have gained him the infamous title of the most violent criminal in the UK; he is undeserving of attention on the scale this film gives him and the idea that he is somehow pleased with the film or that it has earned him "fame" is something that sat uneasy with me while watching and continues to sit uneasy with me afterwards. Morally I wondered why I came to the film and also why it was made; director Refn certainly doesn't seem bothered by this though and indeed did himself no favours by famously illegally taping the real man's comments on the film for broadcast at the premiere. So with this in mind it is hard to swallow a film that doesn't seems to have a certain apathy towards the central character – not a great choice of word perhaps but, while the film doesn't go as far as admiring Bronson, it certainly doesn't condemn him or present him in a way that will revile an audience.

Having said that though, what Refn seems to have done is created this film where Bronson tells us his own story. This allows for a soft touch (as it is his own) but also for this violently compulsive mind to create and fill the film so that he is equally a larger than life character while also being quite terrifying in his snaps and swings. The result of this approach is not a film that is to be relied on for the facts of the story but it is one that really delivers a quite dizzying film in terms of borrowed styles, impact, violence and sheer over-the top bravado. It is hard to really process because on one hand this was a problem for me but on the other it actually worked very well to produce a film that is as much a monster as its subject – and the kind part of me wants to believe that this was the point.

If it was then it is successful in some way because it is a beast of a film that comes at you violently and persistently. This is not all praise perhaps, but this is what it does. Depending on your point of view, Refn's direction either pays homage or rips off plenty of others as he throws visual styles and flairs at the screen as if he never thought he's make another film. There are countless reference points are in here if you want them, but for sure Clockwork Orange is what he is going for and I suppose in some way the sheer energy with which he goes after it is commendable. It is not his style and it doesn't make you forget the failings in substance, but it is engaging as pure style. Matching him step for step in this regard is an incredibly ballsy performance from Hardy. It is worth noting that I do not think it is great when it comes to character or intelligence but these failings are in the material, not with Hardy – he follows his director and he deserves a lot of credit for not flinching from anything. He is intense but yet flamboyant, disturbed but yet disturbing, a nice bloke but yet a hideous monster – and it is all done with 100% conviction. His Bronson is not a well-crafted character but (rightly or wrongly) he isn't meant to be and Hardy hammers home what he has been given.

Bronson is not an easy watch. For one reason it features strong violence, language and nudity that may put some off, but the much bigger reason for me was the lack of morality within the construct of the story. The lead character is allowed to tell his own story and as he twists it with his ego, so the whole film is twisted by his ego – Bronson as a man doesn't deserve this done on his behalf and it sat uneasy with me. The saving grace though is that the whole thing is excessive and full-on from the director, an approach which in turn draws an intense and bravely excessive performance from Hardy that makes this really worth watching even if it has a lot of problems in it and around it.

Tom Hardy and Nicholas Winding Refn are the stars of the show here, taking the story of 'Britain's most violent prisoner' and twisting it into an explosion of style.

Tom Hardy plays Michael Peterson who was initially incarcerated for 7 years after robbing a Post Office but this sentence turned into a 34 year stretch after numerous cases of violence in prison. Of these 34 years 30 were spent in solitary confinement. In his short period outside he assumed the fighting name of Charles Bronson after the Death Wish star. It is his alter ego which dominates the film.

Hardy is magnificent, prowling around people almost growling, a hulking, brooding, unpredictable beast who almost doesn't care what happens to him, preferring gaol where his is someone to the outside where he is no-one.

Many reviewers have been troubled by the lack of insight into the character of Bronson, however this is unsurprising as the story itself is narrated by Bronson himself, cutting back to a fantasy audience where he parades in varying levels of makeup, the star of his own show.

Refn handles this material with aplomb, filling it with tracks and pans, the occasional slice of slow motion, an interesting and varied colour palate and impeccable taste in music. Kubrick and A Clockwork Orange have been mentioned in almost every review, but there are clear influences of Bertolucci, perhaps mostly The Conformist in its detached style and use of colour.

By the time the film ends we are unsure who to feel sorry for, lost in a world of hard lines and constant violence. A very interesting film that marks out Hardy and Refn as exciting talents in modern cinema.

One thing is for certain: Bronson invites you to admire its protagonist as a pure, muscular embodiment of anarchy. And perhaps you will, but you will also be glad that he is still behind bars. The film opens with a man on stage proclaiming, "My name is Charlie Bronson, and all my life I've wanted to be famous." The auditorium appears to be empty, but later, a still unseen audience provides the approval he so desperately covets.

Born Michael Peterson (Tom Hardy), in a British suburb in 1952, he first went to prison at the age of 22 for burglarizing a post office. He stole £26.18 and received seven years for the crime, but that sentence was quickly extended as Peterson's infractions inside began to pile up: insubordination, violence, blackmail, and multiple hostage situations. Michael is gradually swallowed up by the prison system, seemingly an environment that suits him best. It is during this time that Michael Petersen, the boy, fades, and 'Charles Bronson,' his superstar alter ego, takes over. Bronson occupies any territory in which he exists by sheer, brute, force. Bronson's first and only instinct is to fight, to capture, and to win. He never makes it to phase two of planning. He has now spent more than three decades in jail, with the majority of those years in solitary confinement, and has become a tabloid sensation as the "most violent prisoner in Britain."

The film is impressively structured and edited, shot in dark tones--illustrating his theme that Bronson is "an artist looking for a canvas," whose search is frequently violent, crazy, and erratic. The director is Nicolas Winding Refn, most famous for the movie "Drive" (2011), and his "Pusher" trilogy of films about Copenhagen's violent, multi-ethnic underworld. Refn himself is something of a rebel, who brings a sharp, surreal, foreign eye to the film.

The film solely rests upon the astonishing performance from an almost unrecognizable Tom Hardy. Bronson never asks for our sympathy for his situation, but somehow, at times, he is able to do just that. Hardy brings a raw physicality to the role, leaping naked about his cell, jumping from tables, and hurling himself into half a dozen guards. Unfortunately, the film never gets under the skin of Bronson and his motivations. It omits other facets of his life including the Muslim woman he married in jail, his conversion to Islam, and the subsequent renouncement of the awards he won for his art and poetry.

Enduring the egotistical ramblings of a psychopath may not sound like a particularly entertaining prospect, but "Bronson" delivers on all fronts. Gripping, visceral, ugly, and beautiful, "Bronson" is simply unforgettable.