As a cinephile who’s seen more movies than I care to count, I must confess that “The Brutalist” has left me with a bit of a conundrum. It’s like a beautiful, intricate puzzle that, while visually stunning and brimming with talent, doesn’t quite fit together as seamlessly as one might hope.
It’s intriguing when a movie makes its debut to overwhelming acclaim, causing excitement and heightened expectations. You eagerly await the film, wondering if it truly deserves all the buzz. This experience is shared by many who have watched “The Brutalist,” a lengthy art-house film that has been labeled as a “masterpiece” by numerous passionate early viewers.
The film ‘The Brutalist’ captured my interest, featuring Academy Award winner Adrien Brody as the main character and Guy Pearce, who often goes unnoticed yet deserves more recognition, in a substantial supporting role. The story’s focus on an immigrant saga, set towards the end of World War II and continuing through various decades, piqued my curiosity. Moreover, I was intrigued by its aim to provide a fresh and captivating perspective on the post-war Jewish experience.
The various aspects of “The Brutalist” showcase its strong points, and for a while, it seemed like I might join the chorus using the term ‘masterpiece’ to describe director Brady Corbet’s work. However, as time went by, it became apparent that its greatness is frequently overshadowed by his lofty aspirations. It’s clear that “The Brutalist” shines when Corbet is in sync, which he manages for the majority of the film. Yet, there are persistent problems that he seems unable to resolve. I’ll delve deeper into those issues momentarily.
From 1947 onwards, character Brody portrays László Tóth, a Hungarian-Jewish architect and Holocaust survivor. After fleeing his homeland, he settles in the U.S., aspiring to reunite with his wife Erzsébet (Felicity Jones) and niece Zsófia (Raffey Cassidy), whom he lost contact with during Nazi raids.
Upon reaching New York City, Laszlo travels by bus to Philadelphia, where his immigrant cousin Attila (Alessandro Nivola), who manages a furniture store with his American wife Audrey (Emma Laird), welcomes and employs him. In this new city, Laszlo’s architectural abilities are tested when the children of a wealthy industrialist, Harrison Lee Van Buren (Pearce), hire him to transform their outdated study into a contemporary library. Although his remodel is impressive, the project doesn’t progress as anticipated, leading Laszlo to forge his own path.
Over time, László finds himself residing in a shelter and taking whatever employment comes his way. One day, he’s astonished by an unexpected visit from Harrison, who has recently gained attention for his innovative library design. Upon exploring more about architectural trends, Harrison stumbled upon László’s celebrated work from Budapest. Intrigued, Harrison wishes to engage László to construct a community center on his land in the quaint town of Doylestown. He promises fair compensation and allows László to reside in the estate’s guesthouse during the project. Grateful for this opportunity, László promptly begins work on the project.
1953: The building of the community center absorbs László, but a welcome relief comes when Erzsébet and Zsófia touch down in Philadelphia. Their reunion is heartwarming, yet Lászlo soon finds himself engrossed in his work once more. However, his burgeoning heroin addiction begins to prove challenging to hide. The events seem to be heading towards an unavoidable clash, but the journey there is hindered by storytelling bumps in the road. It’s almost as if Andrew and Mona Fastvold, the screenwriters, have crafted two paths of self-destruction that seldom cross.
One of the movie’s most annoying aspects is addressed here. It seems like we’re watching two distinct movies that tell separate stories. One storyline is a compelling narrative about a Jewish immigrant struggling under the harshness of his new country and the weight of his own ambition, making for an engaging feature film. The other storyline, however, is a chaotic sequence about a man’s descent into drug-induced exploration of prostitution and pornography, which feels disconnected and erratic. While there may be some tenuous links if you look closely, they are too weak to leave a lasting impression.
Regardless, the performances from Brody and Pearce never falter and both should be shoo-ins for Oscar nominations. Brody powerfully emanates a similar raw humanity as he did in “The Pianist” while Pearce convincingly balances ego and charm, right up until an out-of-the-blue action jarringly strips away anything resembling nuance. Jones doesn’t fare as well. She is handcuffed by a one-note role that leaves her frustrated and victimized despite being the most clear-eyed of the bunch.
The Brutalist” is the newest movie that challenges the idealized image of the American Dream. At its best, it’s a truly mesmerizing piece of work. With stunning visuals from cinematographer Lol Crawley, many shots will leave you in awe, even as some are remarkably sharp. Daniel Blumberg’s score is deep and impactful. However, Corbet’s ambition to create something significant sometimes works against him. Though exceptional in long sections, the narrative struggles, from conflicting storylines to a weak ending that doesn’t provide satisfying conclusions for the characters.
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2024-12-17 18:56