Movie Review: The Brutalist
I remember watching actor-turned-director, Brady Corbet’s Vox Lux in 2018 and thinking, “what a messy yet bold film”. It took a compelling opening story and drug it through a convoluted swamp of ideas. It felt pretentious but it also demanded thought and reflection, and there’s something to be said for a movie that makes you want to keep the conversation going long after the credits roll. No matter how you felt about Vox Lux, it’s Corbet’s latest entry that’s carrying the awards season buzz. The Brutalist premiered to rave reviews at Venice and secured a Silver Lion award for Corbet’s direction. From there, the film was immediately thrust into the Best Picture conversation and hasn’t looked back. Yet, for all the accolades and praise bestowed upon Corbet’s latest work, The Brutalist remains a robust and fat-filled tale that weakens with every passing minute.
Immediately following the fall of Hitler’s Germany during WWII, former architect and Holocaust survivor, László Tóth (played by Adrien Brody), emigrates to America and takes a job with his cousin. Having been separated from his wife, Erzsébet (Felicity Jones), and his niece, Zsófia, during the war, László learns of their survival and plans to bring them to the states where he hopes to secure the “American Dream”. He finds his best chance at ascension through the pocketbooks of a wealthy industrialist named Harrison Lee Van Buren (Guy Pearce), who discovers László’s architectural talents and hires him to build a monument intended to represent Harrison’s successful legacy.
Clocking in with a hefty three-and-a-half hour running time, including a built-in 15-minute intermission, The Brutalist was scripted with ambition in mind. Corbet and his partner, Norwegian filmmaker Mona Fastvold, craft a two-part story that fully understands its destination, but ends up getting lost along the way. “Part 1” opens immaculately, capturing a majestic upside-down shot of the Statue of Liberty on Ellis Island as László arrives in his new country. We follow his rather typical immigrant journey, one filled with obstacles and hard work, until he’s finally taken under the wing of a wealthy admirer named Harrison Van Buren. Despite familiar immigrant tropes and an inability to break new ground in the genre, “Part 1” shines from a technical standpoint. The Brutalist looks amazing, boasts sharp direction, and satisfies visually. Adrien Brody excels in his role and the rest of the ensemble bring their own set of strengths to the film. Unfortunately, this respectful nod to the director and his cast begins to lose favor once the movie’s built-in intermission concludes.
As “Part 2” begins, it also signifies the arrival of László’s wife and niece. Here we’re given a heavy dose of Felicity Jones. While I have historically been impressed by her work onscreen, she delivers a middling turn in The Brutalist. In Jones’ defense, this feels largely like a writing issue. Poor character development and a meandering script force her into a variety of unnatural settings that flounder as the minutes mount.
Meanwhile, the audience witnesses a mountain of stress falling on László’s shoulders as he struggles to bring his vision to life. Creative differences with others in his financier’s life and continually going over budget, leads to growing tension between the architect and the hand that feeds him. “Part 2” deeply explores this dynamic through themes of power and control. It’s captivating at times, but both choppy and messy as well. Thankfully, though, after an over-extended and souring second half, The Brutalist closes with a gratifying final scene.
Corbet should be applauded for his efforts and boldness, but it remains that his heavy-hitting swing at “the next great American epic”, is more of a swing and miss. Just like with Vox Lux, there are clear signs of greatness smattered throughout The Brutalist, yet tedium and sloppiness eventually take over. Corbet is obviously a talented visionary, but he would benefit greatly from tackling more stripped down and straightforward stories.
GRADE: 2.5 stars out of 5
