A movie titled “The Brutalist” delves into immigration, architectural feats, drug addiction, the Bauhaus art movement, the emergence of Israel as a Jewish state, and capitalism. Given its wide-ranging subjects, it’s not surprising that director and co-writer Brady Corbet has crafted an expansive three-and-a-half-hour film, complete with an intermission to effectively explore these themes and others.
In this story, Laszlo Toth, played by Adrien Brody, is the main character known as The Brutalist. Originally from Hungary, he arrives in post-war America penniless but finds refuge with his cousin Attila (Alessandro Nivola). Attila offers him a job at Miller & Sons, a furniture store, where Laszlo designs chairs that attract customers. This leads to a commission from the son of wealthy industrialist Harrison Van Buren (Guy Pearce) to redesign his library as a surprise birthday gift. However, Van Buren is furious upon returning early and finding strangers renovating his home without his approval. Later, intrigued by Laszlo’s reputation as an architect back in Hungary, Van Buren offers him a substantial sum along with the promise to bring Laszlo’s wife Erzebet (Felicity Jones) and orphaned niece Zsofia (Raffey Cassidy) to America if he designs and builds a community center in honor of his late mother.
In this project, Toth encounters something reminiscent of a camel designed by multiple people, as the endeavor progressively resembles a futile attempt due to escalating costs and delays. This initial phase, filled with challenges, forms the captivating first half of the movie, leaving viewers ample time (around 15 minutes) during an on-screen interval for contemplation, allowing them to appreciate the already stunning film.
In Part Two, the timeframe spans from 1953 to 1960, and it introduces Toth’s wife Erzebet, portrayed by Felicity Jones, an exceptional actress who bears a resemblance to Rebecca Front’s daughter yet shares a voice reminiscent of Borat’s long-lost sister. The second half delves into his predictions for drugs, often placing him in a heroin-induced fog that contrasts with his quick temper as he clashes with Van Buren and his right-hand man, among other challenges, making the completion of this multi-year construction project seem like an unattainable dream. The second part might not be as captivating as the first, but it’s still a spectacle worth witnessing, particularly in 70mm format – the marble quarry scenes are beautifully captured on film.
As a cinephile, I must say, Brady Corbet’s latest masterpiece leaves an indelible mark. The multi-layered themes in this film make it a gem that warrants a rewatch. The power struggle between Van Buren and Toth is brilliantly portrayed, with scenes that are nothing short of spectacular. Both Brody and Pearce deliver exceptional performances, making this movie a front-runner for the Best Film category. It’s challenging to envision another film contending seriously for this prestigious award.
Here’s The Brutalist trailer…..
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2025-01-23 03:23