The Brutalist Review | A Lengthy Cinematic Masterpiece

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As a film enthusiast who has spent countless hours immersed in the world of cinema, I can confidently say that The Brutalist is a cinematic masterpiece that will leave audiences speechless. Having seen numerous films and witnessed various acting performances, I must admit that Adrien Brody and Guy Pearce have given arguably their best performances yet in this film.

In every frame, “The Brutalist” stands out as a stunning cinematic achievement during its extensive nearly four-hour run time. Directed and co-written by Brady Corbet, this epic tale chronicles the immigrant journey of a Jewish-Hungarian architect in post-World War II America, which is nothing less than remarkable. Adrien Brody delivers an unforgettable performance that puts him squarely in the running for awards, leaving audiences captivated. The narrative unfolds as a harrowing escape from the devastation of the Holocaust into the firm grasp of a wealthy patron, and it is told with exceptional artistic flair. This film burns with an intense emotional intensity on screen, illuminating both the brightest and darkest aspects of human nature.

In simpler terms, brutalism, as per Oxford Dictionary, refers to an architectural style popular during the 1950s and 60s that relies heavily on raw materials like concrete blocks and steel, often perceived as harsh or unattractive. Unlike other styles with flowing lines, decorative features, or a warm visual appeal, brutalism is all about structure and purpose with no frills. However, it may possess an eerie yet captivating beauty when viewed through its sharp angles, cubic forms, and unusual perspectives that might not be immediately evident. It requires careful observation to fully grasp its essence, as first impressions may not always reflect its deeper significance or design philosophy.

Corbet, a skilled actor known for films like “Thirteen,” “Funny Games,” and “Martha Marcy May Marlene,” as well as director of “The Childhood of a Leader” and “Vox Lux,” uses an innovative approach when developing his compelling character. The story begins with László Tóth (Brody), who is seen from a distorted angle within the belly of a ship filled with refugees in distress. He gazes upward to see the Statue of Liberty, turned upside down, symbolizing both hope and tragic loss for him. László was a survivor of a Nazi concentration camp, but it has been years since he last saw his wife, Erzsébet (Felicity Jones), and niece, Zsófia (Raffey Cassidy), in Budapest.

Desperate Refugees

Overwhelmed with elation, I find myself shedding tears as I behold my cousin Attila (Alessandro Nivola) in Philadelphia. In a heart-wrenchingly moving moment, we embrace fiercely, our reunion echoing powerfully. Tears and snot stream down our faces, symbolizing the deep emotions coursing through us. Against all odds, we’re back together, defying even the most harrowing circumstances. Attila has wed a woman of non-Jewish descent and established a modest furniture business. Hearing its name sends me into fits of laughter. “Miller,” he chose, seemed the quintessentially American title for his store.

László is taken aback upon encountering Audrey (Emma Laird), who is Attila’s beautiful blonde spouse. He embraced Catholicism for her. László deeply values the modest space Audrey has set up in the storage area at their warehouse. They aren’t wealthy, but they have offered him a refuge. Attila eagerly anticipates László starting to create innovative furniture designs. Prior to the war, he was a highly respected architect across Europe.

Attila escorts László to a private meeting with Harry, an illustrious client and Harrison Lee Van Buren’s son, who happens to be a prosperous industrialist. Harry desires to renovate his father’s cherished library as a thoughtful present. Due to the clandestine nature of the project, they must complete it swiftly in secret before Harrison returns to their grand estate.

A Staggering Epic About the American Dream & Primal Human Nature

The story of “The Brutalist” unfolds in two distinct parts, separated by a fifteen-minute interval. Each section is divided into chapters, each introduced by a thematic title that sets up the storyline to follow. Spanning a period of thirty years, the initial segment serves as a comprehensive setup for the shocking events that transpire in the latter half.

Corbet carefully introduces his characters to the audience before plunging them into the storm, and he does this masterfully through several techniques. For instance, Erzsébet and Zsófia don’t appear until the second part of the story, but we get to know them well through letters exchanged with László. They stand as a towering presence in the background. The core theme of the film revolves around the American Dream and the cost one must pay to achieve it.

In a raw and intense examination of sensual excess and drug dependency, “The Brutalist” delves deep into László’s life, where he finds solace in sex and heroin as a means to flee from severe psychological and physical torment. His past is etched onto him like scars. In the midst of a mind-bending drug-induced state, he engages in casual encounters with prostitutes, an act that serves as both relief and bondage. This theme permeates through the secondary characters too, who grapple with their own primal urges. The film’s dramatic conclusion is bound to shock audiences, potentially becoming the focal point of conversation in a movie packed with striking scenes. Simply put, it’s incredibly intense.

215 Minutes Fly By as Adrien Brody & Guy Pearce Give Arguably Their Best Performances

In a noteworthy manner, director Corbet filmed “The Brutalist” using Paramount’s vintage VistaVision 35MM widescreen format from the ’50s, which was later transformed into a 70MM print. Remarkably, he manages to create an epic, historical ambiance reminiscent of Cecil B. DeMille’s “The Ten Commandments” and Alfred Hitchcock’s “Vertigo”. Corbet demonstrates his mastery over cinematography through the skillful use of varied perspectives. Long, intricate shots that navigate sharp turns contrast with nerve-wracking close-ups, while expansive vistas are interspersed. The film offers a visually captivating experience as it narrates an intimate tale within confined settings. It’s quite impressive how Corbet works his magic with the reported $6 million budget.

This film, titled “The Brutalist,” deviates from typical Oscar-winning formula that relies on Holocaust and war narratives to attract audiences. Unlike Roman Polanski’s “The Pianist,” it offers a unique perspective, despite being starred by Brody, who is likely to win another Best Actor award for his role here. The outstanding performance of Guy Pearce in this film should not be overlooked; he might join Corbet and Brody on the stage at the Dolby Theatre next March. I can confidently say that four hours spent watching “The Brutalist” feels as quick as a gust of wind, with no dull moments to be found.

The film titled “The Brutalist” was shown at the Directors Guild of America theater in New York City during the 62nd New York Film Festival (NYFF). This production is a collaboration between Brookstreet Pictures, Kaplan Morrison, Andrew Lauren Productions, Intake Films, and others. The release date for “The Brutalist” in the US is set for December 20th, with Universal Pictures and Focus Features handling international distribution through A24.

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2024-10-09 00:32