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Bronson (2008)

R  |   |  Action, Biography, Crime  |  13 March 2009 (UK)
7.1
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Ratings: 7.1/10 from 70,443 users   Metascore: 71/100
Reviews: 134 user | 217 critic | 22 from Metacritic.com

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.

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Cast

Cast overview, first billed only:
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Gordon Brown ...
Amanda Burton ...
Mark Devenport ...
Nurse 1 (as Mark Davenport)
Paul Donnelly ...
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Jon House ...
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Holly Lucas ...
Young Man
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Prison Governor
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Storyline

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 7 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. Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

The Man. The Myth. The Celebrity.


Motion Picture Rating (MPAA)

Rated R for violent and disturbing content, graphic nudity, sexuality and language | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

13 March 2009 (UK)  »

Also Known As:

Бронсон  »

Box Office

Opening Weekend:

£258,360 (UK) (13 March 2009)

Gross:

$104,792 (USA) (25 December 2009)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Charles Bronson's shaved off his moustache and sent it to Tom Hardy so that it could be made into a loose-moustache for Hardy to wear. See more »

Goofs

(at around 15 mins) While sitting on the stairs immediately before his last incident (after saying "what you know about what I fucking want"), there is a large piece of hair/lint caught in the camera's gate, on the bottom right of the screen. These are removed digitally in post production when they happen, but was not removed in this case. See more »

Quotes

Charles Bronson: [Real Life Charles Bronson Quote] How would you feel, waking up in the morning without a window? My window is a steel grid, I 'ave to put my lips against that steel grid and suck in air, that's my morning... 'cause I got no air in my cell. I have to eat, sleep and crap in that room twenty-three hours of a twenty-four hour day. You tell me, what human being deserves that? Apart from the stinking paedophile or a child killer. I don't deserve that, I done nothing on this planet to deserve that. My ...
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Connections

Referenced in At the Movies: Episode #8.37 (2011) See more »

Soundtracks

Digital Versicolor
Written by Ida No & Johnny Jewel
Performed by Glass Candy
Published by No Jewel Musick 2007
Courtesy of Italians Do It Better Records Limited © 2008
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Frequently Asked Questions

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User Reviews

 
"Bronson"
6 April 2010 | by (United States) – See all my reviews

Can you really produce a biopic about the theatrical brutality of Britain's most dangerous prisoner and not incite comparisons to Kubrick's "A Clockwork Orange?" The trailer for Nicholas Winding Refn's "Bronson" spouts the likeness triumphantly with a quote attributed to Damien McSorley for the publication, "Zoo." Surely Kubrick is a flattering filmmaker to have your humble work compared to, though like American director Wes Anderson, who borrows all the style of the man but none of the content, "Bronson" is a film with an air of grandiosity and very little in the way of actual story. Kubrick's film, based on the novel by Anthony Burgess, has a Dickensian plot that doubles back on characters and scenarios established in the first act, leaving nothing unchanged by the end of the third. It's a comparison under which "Bronson" unfavorably suffers: well directed, impeccably performed, but completely devoid of structure.

I don't mean to undersell the above compliments, however. Tom Hardy as lowly criminal Michael Peterson and his imprisoned superstar alter ego Charles Bronson, displays a remarkable, feral intensity in the role, spitting meaty, cockney chunks of dialogue with a truly disquieting voracity. And Hardy makes a perfect match for Refn: both share a larger- than-life approach to their craft. The director's visual audacity is never more sublimely paired with Hardy's performance than during Bronson's intermittent narrations; snippets of a surreal one-man stage show for some great, unseen audience. The cutaways recall the feel of Alex's presentation following the successful administration of the ludovico technique in "Clockwork Orange." Swooping crane and sweeping dolly shots, along with some fantastic locations, also evoke Kubrick's directorial sentiments, as does the more obvious accompaniment of classical score to key sequences.

Unfortunately, the failure of "Bronson" is not only that there's very little dramatically to be done with a man who spends the better part of his life in solitary confinement, but that beyond a vague notoriety, Peterson's ultimate goal is never particularly clear. The ending of the film is startling in its abruptness given that the scene seems interchangeable with any number of the fights Bronson picks over the course of the film. It doesn't feel a particularly epic brawl, and by that point, the tedium of Bronson's outbursts, battles, and increasingly severe punishments had worn me (though it could maybe be called a statement on the nature of desensitizing cinema--in that respect a reverse "Clockwork Orange") into a sleepy passivity.

The film is nevertheless a step the right direction for the usually-schlocky and hyper- masculine Refn, but "Bronson" still wants for the substantiality that makes great films great films. It isn't likely to inspire any further meditation on its subject beyond perhaps provoking a curiosity about the man himself in those intrigued but unsatisfied with the screenplay's frugal allocation of hard data and social context. But despite the film's inability to make clear its greater thematic intent, I don't think "Bronson" is a perversely violent film or that it exists solely as a fetishistic idol to counterculture, as some will likely label it, and have labeled Kubrick's masterpiece. Its beautiful cinematography (courtesy Larry Smith, interestingly enough, the lighting cameraman for Kubick's own "Eyes Wide Shut") and stellar lead may make it a worthwhile rental next year, but as it stands, "Bronson" is a precautionary tale. It's a film that has everything going for it except the the thing that matters most: its story. And you don't need to be Stanley Kubrick to figure that out.


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