Word: mans
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...pictures of Dr. Mehmet Oz: Medicine Man...
...Refn himself, and “Bronson” offers a much more sensible portrait of the artist than it ever does of its subject. But ambitions at auto-portraiture aside, “Bronson” is, at its heart, a deeply engaging character study that suggests this man may be more (or less) than, but never equal to, the sum of his parts...
...potentially be, Refn finds a way to constantly reinvigorate the contrast between Bronson and the world around him; he’s taken to the hole, then to the insane asylum, where he performs and sabotages himself in bombastic fashion. It’s with Peterson as a free man, however, released from prison for nearly 70 days in 1988, that the film offers up the closest thing to a sensible psychological portrait of someone who, up to that point and from that point thereafter, resembles something more akin to a force of nature than a human being. Peterson returns...
...however these broad psychoanalytic gestures can be interpreted, they provide little in the way of a satisfactory theory for why the man is the way he is. Far from lionizing him, Refn isn’t interested in reducing Bronson to an animal, a rebel or a martyr. The film’s haunting final scene is certainly a moment of revelation in relief with the story that Refn chooses to tell, but it’s less a moralization than a confirmation of suspicions. Throughout the film proper, however, Bronson remains a living paradox: a submissive sadist, a free...
...moments on the outside—where the swaggering Bronson is, for once, ill at ease—the film is at its funniest. Flushed and shaking with rage, he manages to suppress a violent outburst when his sweetheart declines his marriage proposal for another man. Believing his fighting prowess would find him fame overnight, he complains to his handler that his most recent display was underappreciated “magic”: “Magic? You just pissed on a gypsy in the middle of fucking nowhere. It’s hardly the hottest ticket in town...