Bronson

The real-life story of Britain's toughest prisoner, and not a film I would choose to watch – except when it comes to the casting of the lead actor. Tom Hardy, who I've noticed cropping up more and more in recent years, gives a tour-de-force performance as a psychotic inmate and man to whom violence is a way of life. His eerie voice, hulking frame and dead eyes all combine perfectly to make him one of cinema's most memorable villains in recent years, and with most of the scenes consisting of him speaking monologues in solitary cells, the film belongs to him.

Which is good, because the story isn't up to much. It's a loose dramatisation of the life of Michael Peterson, a man who robbed a post office and ended up becoming Charles Bronson, one of the most famous convicts of all time. To be honest, the events aren't all that interesting, and in other hands the continuous brawls with prison officers could become repetitive. Thank Heaven then for the presence of Nicolas Winding Refn (VALHALLA RISING) as director. This is a guy who understands cinema and the beauty of cinema, and he makes the film intensely watchable as a result. BRONSON looks a thing of beauty, even if that beauty is stark, brutal and minimalistic.

In one of the most frightening and downright crazy lead turns of the year, Tom Hardy ignites the screen in the British independent film, Bronson. Based on the unbelievable true story and directed by Nicolas Winding Refn, the at times bizarre film tells the story of Michael Peterson, played by Hardy, who robs a post office in 1974, to only get 26 pounds out of the deal, and is sentenced to four years in prison. A four year stay has turned into a thirty-four year prison term, thirty of which has been spent in solitary confinement.

The man, which the British press calls 'the most violent prisoner in Britain," is one of the most complex, and highly disturbing characters to be depicted on screen this year. He always wanted to famous, Hardy states with such charisma at the opening of the film, but he can't sing, he can't dance, so he creates an alter ego during his time as a boxer prior to his prison sentence. Though the film is loosely based on the real man and his story, it doesn't matter, Refn treats the film with such artistic integrity and takes chances that most directors hope to accomplish in their careers. The narrative, though over-whelming at times, is unyielding in the manner in which it's told. For the most part however, Tom Hardy's gritty and aggressive performance will go down as one of the best kept secrets of 2009.

In watching the picture, the co-stars are nearly invisible as Hardy takes control of the screen and your attention. He enables the viewer to devote their time and energy with fear of severe consequences in not doing so. Hardy is an incredible talent and not sure if you'll see a more devoted actor to a character on film this year.

Refn's choice of music that fills the scenes with torment, discomfort, and sheer violence is a brilliance shown in his armor. Bronson is pure entertainment, and though it doesn't provide any moral or social significance in the acts of our lives, it's an admiral effort by British cinema.

***/****

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.

This film has much to recommend it and its reputation will probably go up in time as more people see it. It looks fantastic and the performance by Tom Hardy is compelling. There is no attempt to sentimentalise this character or depict him as a victim. The dialogue is taut and authentic and contains many lines which may, in time, become as familiar as those in say Get Carter. My favourite is "you just p***ed on a gypsy in the middle of nowhere. Its hardly the hot ticket."

My slight problem is that the film sometimes tries too hard to impress. This is most noticeable during the long (literally) operatic scenes. These scenes become especially prevalent towards the end, when Wagnerian music accompanies Bronson's drawings (with an ill-fitting cartoon sequence) and the warden slow-mo strolling down the corridor. I did not see what the music added here. In the violent climax, the music actually detracted from the physicality of the scene.

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.