In 1974, a hot-headed 19 year old named Michael Peterson decided he wanted to make a name for himself and so, with a homemade sawn-off shotgun and a head full of dreams he attempted to rob a post office. Swiftly apprehended and originally sentenced to seven years in jail, Peterson has subsequently been behind bars for 34 years, 30 of which have been spent in solitary confinement. During that time, Michael Petersen, the boy, faded away and 'Charles Bronson,' his superstar alter ego, took center stage. Inside the mind of Bronson - a scathing indictment of celebrity culture.
A young man who was sentenced to seven years in prison for robbing a post office ends up spending three decades in solitary confinement. During this time, his own personality is supplanted by his alter-ego, Charles Bronson.
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, &quot;My name is Charlie Bronson, and all my life I&#39;ve wanted to be famous.&quot; The auditorium appears to be empty, but later, a still unseen audience provides the approval he so desperately covets. <br/><br/>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&#39;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 &#39;Charles Bronson,&#39; his superstar alter ego, takes over. Bronson occupies any territory in which he exists by sheer, brute, force. Bronson&#39;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 &quot;most violent prisoner in Britain.&quot; <br/><br/>The film is impressively structured and edited, shot in dark tones–illustrating his theme that Bronson is &quot;an artist looking for a canvas,&quot; whose search is frequently violent, crazy, and erratic. The director is Nicolas Winding Refn, most famous for the movie &quot;Drive&quot; (2011), and his &quot;Pusher&quot; trilogy of films about Copenhagen&#39;s violent, multi-ethnic underworld. Refn himself is something of a rebel, who brings a sharp, surreal, foreign eye to the film. <br/><br/>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.<br/><br/>Enduring the egotistical ramblings of a psychopath may not sound like a particularly entertaining prospect, but &quot;Bronson&quot; delivers on all fronts. Gripping, visceral, ugly, and beautiful, &quot;Bronson&quot; is simply unforgettable.
Michael Peterson, renamed Charles Bronson by his bare-knuckle boxing manager, is &quot;Britain&#39;s most violent prisoner&quot;. He bungled a robbery of a post-office in 1974 at the age of 22, took twenty-odd pounds, and was sentenced to seven years in prison. He managed to stretch that term to life in confinement (having spent over 30 years in solitary) through a series of offences including assault, criminal damage, kidnapping, blackmail and climbing up on the roof of Broadmoor prison and lighting it on fire.<br/><br/>Nicolas Winding Refn&#39;s biopic stars Tom Hardy as the titular Bronson, a shaven-headed mustachioed dynamo, tense and stalking in circles inside cells. The film cuts between jarring, startling theatrical monologues in which Bronson directly relays his history, his desire to be famous and infamous and scenes from the man&#39;s grim, terrifying and hilarious journey through seemingly every prison cell and mental hospital in England. It&#39;s a showcase for a spectacular performance, Tom Hardy&#39;s, and he is allowed to express the full range of Bronson&#39;s very real idiosyncrasy – he is by turns menacing and engaging, capable of hair-trigger violence but never without seeming cause and never on terms favouring him. He doesn&#39;t fight a guard caught alone in a cell, he strips naked and greases himself and fights the four that enter to save their comrade. And loses. Again and again. Hardy absolutely seizes the role and invents from a unique subject an utterly unique, completely believable character and masters him in voice, poise and gesture, a breathtaking, technical performance.<br/><br/>Had he been in a film made by a director more concerned with commercial appeal, it&#39;d be the &quot;buzz&quot; performance of the year, but had that been true it would also be true that the performance itself couldn&#39;t have been as strong. Refn constructs a film whose every frame supports its central character&#39;s refusal to ascribe meaning or choice or reason to any of his actions. It&#39;s mannered and considered and as reminiscent of Kubrick&#39;s composition and sets as Bronson&#39;s call for music in exchange for a painted hostage is of Alex&#39;s love of ultraviolence and Beethoven in that director&#39;s A Clockwork Orange.<br/><br/>In making such a film, though, one in which a character whose strength and smirking power obliterates the chance or hope or possibility of there being a solution or a cause or an avoidable mistake having been made and noted, Refn has made a film that&#39;s curiously cold. We marvel at Hardy&#39;s Bronson but the relationship he builds with us and with the audience for whom he performs his vaudeville routines is one of love and admiration but completely bereft of empathy or concern. As Bronson tosses himself at the feet of angry guard after angry guard caring not at all about what happens to him or them, our awe neuters our ability to feel concern and to worry at all about what will happen to the man. Like the film, the man is impressive, colossal and utterly unmoving.
Bronson invites you to admire its protagonist as a pure, muscular embodiment of anarchy. And perhaps you will, but you may also be glad that he’s still behind bars.
Spoilers ahead!<br/><br/>The Electrician - The Walker Brothers: Charlie moves around in his cell and fights the guards. Plays until the main title card appears and then tones down.<br/><br/>Va pensiero (Chorus of Hebrew Slaves) [Nabucco, Act III] {1990 Remastered} - Coro del Teatro alla Scala, Milano, Lovro von Matacic &amp; Orchestra Del Teatro Alla Scala Di Milan: Charlie&#39;s childhood.<br/><br/>Götterdämmerung, Dritter Aufzug (Act 3), Zweite Szene [Scene 2]: Trauermusik {Orchester} - Siegfried Jerusalem &amp; Symphonieorchester des Bayerischen Rundfunks: Charlie tells the audience about prison and prisonlife.<br/><br/>It&#39;s A Sin - Pet Shop Boys: Played at the party at the mental hospital.<br/><br/>Meet Mister Callaghan (2009 Remastered) - Ray Martin: Bronson strangles the pedophile.<br/><br/>When I&#39;m a Rock &#39;N&#39; Roll Star - Tom Hardy: Charlie starts to sing as he presents real footage of a riot at Broadmoor Hospital for the criminally insane.<br/><br/>Your Silent Face - New Order: Bronson is releaed.<br/><br/>Attila: Chi dona luce al cor?.. (Atto II) - Orchestra Del Teatro Alla Scala Di Milan &amp; Riccardo Muti: Bronson goes to see Uncle Jack.<br/><br/>Digital Versicolor - Glass Candy: Heard through out the film; in the stripjoint, Charlie working as bareknuckle fighter and Closing Credits.<br/><br/>La forza del destino: La vergine degli angeli - Orchestra Del Teatro Alla Scala Di Milan &amp; Riccardo Muti: Charlie proposes, get&#39;s rejected and goes to jail again.<br/><br/>Das Rheingold: Entry of the Gods Into Valhalla - Berliner Philharmoniker &amp; Klaus Tennstedt: The prison executive walks down the hallway in slowmotion.<br/><br/>
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