‘Bono: Stories of Surrender’ Review: The U2 Legend Finds What He’s Looking for in a Captivating Film of His One-Man Show

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I’d be thrilled to watch Mick Jagger perform a solo show, reflecting on both his time with the Rolling Stones and his personal life beyond them. Known for his sharp wit and keen insights, Jagger surely possesses countless intriguing anecdotes that could leave us astonished. In some ways, Bruce Springsteen’s one-man show, “Springsteen on Broadway,” which debuted in 2017, was quite thought-provoking. This is because Springsteen used the opportunity to reveal aspects of himself that challenged his public persona – for instance, despite his numerous songs about working-class struggles, he had never actually worked in a factory.

In the cinematic adaptation of “Bono: Stories of Surrender,” which is a captivating black-and-white film based on U2’s frontman’s 2022 solo performance, we delve into Bono’s life narrative, gaining insights into his ambitions, passions, fame, philanthropy, and familial struggles. His relationship with his father, who remains a persistent challenge even after his passing, is one of those that lingers throughout one’s lifetime. Although the show is truthful and captivating, filled with confessions, music, behind-the-scenes band stories, and intriguing details, it lacks a certain raw intensity, as Bono’s conversational style, marked by loquaciousness and a tendency to overshare, resembles that of an open book rather than delivering shocking revelations.

While it’s not suggesting he’s always been this way, Bono is as evasive as any famous rock star. Over the past four decades, his artistic journey and fame have often demonstrated classic examples of rock star persona maintenance, and this show, in numerous aspects, extends that trend. The show was initially designed to promote and publicize Bono’s memoir, “Surrender: 40 Songs, One Story,” which hit the shelves in November 2022. It was during that same month, at the Beacon Theatre in New York, where Bono first unveiled the show as a loose, autobiographical journey of sound, visuals, and vivid memories.

The film “Stories of Surrender,” directed by Andrew Dominik (known for his documentaries about Nick Cave) and premiered tonight at Cannes, takes a simple one-man stage show and transforms it into a refined cinematic experience, much like Jonathan Demme did with his 1987 film “Swimming to Cambodia.” Dominik, being a master of visual effects, captures Bono on screen in a way that emphasizes shadows and highlights, giving an elegant chiaroscuro quality. The creative use of camera angles and editing adds depth to the stage, creating a stylized space of memory. Despite Bono’s efforts to avoid coming off as self-important by declaring at the outset that writing a memoir involves “a whole other level of navel-gazing,” the production still manages to maintain a cinematic charm.

In essence, we’re discussing Bono – a man whose blood carries a touch of solemnity, as is characteristic of the Irish. The show commences with him delving into his “All That Jazz” moment, which refers to his shocking heart-valve issue that could have ended his life. This performance serves as an exploration of discovering what truly matters and appreciating things overlooked in the past.

Despite being a seasoned performer, Bono, or Paul Hewson as he was born, maintains his flair for spectacle. The narrative of his early days with U2 and their global ascension is imbued with an energy that’s electrifying to witness. He’s a masterful storyteller, and although the other band members – Larry Mullen, Adam Clayton Jr., and The Edge – are symbolized by stage chairs, they emerge as vivid characters throughout the tale.

Bono attributes his passion for stardom to his father’s indifference towards him, a void that deepened with his mother’s sudden death due to an aneurysm. This heart-wrenching event was seldom mentioned by his father, who refused even to say her name.

As a dedicated fan, I can’t help but marvel at the serendipitous sequence of events that unfolded for Bono back when he was only 14. Within two short years, he had united with three schoolmates at Mount Temple Comprehensive School to create a band, a union that coincidentally took place during the same week Bono met his future wife, Ali Stewart (they wed in 1982). Some might say this was divine intervention, or simply good karma.

Bono’s musical idols were the Ramones, whose straightforward songs demonstrated that great music could be created with minimal complexity. There’s a captivating tale Bono tells that sends shivers down my spine, about a rehearsal where he brandished a single by Public Image Ltd in an attempt to inspire the other U2 members to embrace their unique identity. He then grabbed The Edge’s guitar and started playing some intense notes, only for The Edge to take his guitar back and produce a torrent of wailing sound. This chaotic symphony became “I Will Follow,” which went on to become the band’s first single, launching their distinctive sound and spiritual essence.

The lyrics for this song, penned by Bono himself, were a heartfelt tribute to his late mother, Iris, whose tragic influence lingered in his imagination with the same intensity as John Lennon’s mother, Julia, who passed away when he was 17.

Onstage with Bono, there are several musicians including Kate Ellis playing the cello, Gemma Doherty handling keyboards and vocals, and Jacknife Lee on keyboards and percussion. During the performance, we listen to beautifully simplified renditions of U2’s songs that serve more as subtle hints or nods towards the original tracks rather than large-scale performances. These versions work well in a theatrical setting. However, it should be noted: When The Edge is absent from these songs, they lose some of their distinctive intensity.

In my perspective, the tale of U2, their ascent, and their dominance, has been extensively chronicled before, through various articles, books, and notable documentaries, such as Davis Guggenheim’s “From the Sky Down,” which delves into the creation of “Achtung Baby.” However, once the band establishes itself, the narrative shifts from being the main focus. Instead, it’s Bono’s relationship with his father that takes center stage. Every week, they would meet for a drink at the same pub, often remaining silent, with Bono’s father initiating the conversation by asking the routine question: “So, anything unusual or unexpected?”

When Bono recounts his attempts to impress his father by sharing that Luciano Pavarotti, the world’s greatest singer, sought a collaboration with U2, you can sense the lingering desire to win his approval. This struggle to prove himself to his old man is evident in the journey Bono undertakes and eventually lets go of. It’s raw, unguarded, and moving. What I find profound is that Bono, in his quest to accept the imperfect nature of his father’s love, achieves a deep self-understanding.

There’s one significant scene in the show where Bono appears less self-aware than he believes. He tackles a criticism often levied against him, regarding the public image of his activism and philanthropy, which some see as a self-styled savior of the oppressed. He even poses the fundamental question: Is he merely an affluent rock star, masking as a saint who helps others? He acknowledges this to be true. He admits his “hypocrisy.” Yet, he brushes it aside, essentially arguing: So what? What truly matters, according to him, is not intentions but outcomes. In the end, Bono argues, the fact that he’s a hypocrite should not overshadow the millions of dollars he’s raised for causes like African famine relief. His hypocrisy, in his view, is secondary.

In reality, though, there’s an issue with the argument at hand. While Bono has certainly done commendable work, it’s important to acknowledge that he is also a successful and privileged rock star. The criticism of his philanthropy lies in the fact that by making “caring” more about self-expression than genuine compassion, he may have redefined what it means to care. This shift towards performative actions can dilute the essence of empathy, which can lead to confusion in motives and ultimately, less effective outcomes. After watching “Songs of Surrender,” you gain a deep understanding of Bono and feel a connection with him, but you’re left questioning whether his efforts are driven by a mission greater than self-promotion.

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2025-05-17 00:47