During his Oscar acceptance speech for Best Adapted Screenplay, writer/director Cord Jefferson said “I understand that this is a risk-averse industry, I get it, but $200 million movies are also a risk. And it doesn’t always work out, but you take the risk anyway. Instead of making one $200 million movie, try making 20 $10 million movies. Or 50 $4 million movies.” Nothing embodies this sentiment more than “The Brutalist,” a massive epic akin to the likes of great American classics (take your pick, it’s there with the best of them) who’s scale and scope feel as big as studio budgets allow and was astoundingly made for less than $10 million. Electric, immersive, consistently compelling and complex, “The Brutalist” is one of the best films of the year. There’s no point in burying the lede here – cinema simply doesn’t get better than this.
A meticulously crafted immigrant story, writer/director Brady Corbet takes a sledgehammer to the American dream and the immigrant experience, diving deep into the exploitation of the working class by the rich all while exploring the drive for legacy and accomplishment. “The Brutalist” is imbued with earnest intention, many of its themes simmering beneath the surface and given all the breathing room they need to be effective. It is purposeful in its storytelling, confident in its approach, and wholly vested in its characters. It follows László Tóth (Adrien Brody) a Hungarian-Jewish architect living in Budapest who survives WWII and the holocaust and narrowing escapes post-war Europe by emigrating to America. He is forcibly removed from his wife Erzsébet Tóth (Felicity Jones) and their mute niece Zsófia (Raffey Cassidy) and must find work to bring them over safely. After some struggles, he manages to find work for wealthy industrialist Harrison Lee Van Buren (Guy Pearce)and his son Harry Lee Van Buren (Joel Alwyn) who first employ him to build a library that they despise his work on and fire him without pay. Again at rock bottom, the architect community champions the library, which in turn prompt the Van Burens to ask Toth back for an even bigger project.
This becomes his ticket to finally bring his wife and niece to America, but when they arrive they find a cruel world and a different, more broken man than they both remember. Beneath the feigned politeness of the Van Burens is a nastiness of exploitation of the working class and abuse of immigrants, and the world that seemed so welcoming at first begins to show its true colors and may end up destroying them all. Told across two parts with a 15 intermission, “The Brutalist” is a beautiful, profound, devastating journey that shatters our preconceived notions of experience and ideals of the American dream, utilizing the core of architecture as the construction and deconstruction of both the film’s themes and its characters. At 215 minutes long, not a single frame is wasted. There is nothing superfluous in “The Brutalist,” everything vital to the layered story that needs the time it needs to tell it right.
It whisks by at an alarming pace – particularly in the first act – that locks you in so completely you don’t even realize the time ticking by. The intermission creeps up on you before you know it, “The Brutalist” being so engaging and enthralling you didn’t even know you needed a break. The second act settles down a bit with the arrival of Erzsébet, but it is never less intriguing than the first. Corbet clearly isn’t make the film long because he wants to. He does it because he needs to, because that what it takes to tell Toth’s story. I am always one for trimming the fat and most films that approach or cross the two hour mark have absolutely no business doing so. But “The Brutalist” could’ve added a whole hour onto its runtime and I wouldn’t even flinch. It is a captivating historical drama that is told with such authenticity it’s hard to fathom that this is an original screenplay and not ripped from the real life history of a man who existed. And yes, I checked. László Tóth – like Lydia Tar, is not a real person. “The Brutalist” is so well crafted though it would have you believe otherwise.
For the sake of not making this review as long as the film itself, I’ll summarize some quick craft aspects that shine in “The Brutalist” before we touch on some of the standout performances. That’s easy to do because it’s all of them. Daniel Blumberg’s score is magnificent, powering the gorgeous cinematography by Laurie “Lol” Crawley that beautifully captures that staggering production design by Judy Decker. And all of it was shot in 35mm, a testament to how important capturing images with intention is to a film and how format matters. I would be remised if I didn’t comment on the vitality of filming on 35mm for a second. The overtaking of digital everything wears thin on my eyes, the constant muted color palettes with a digital overlay that removes all sense of geography or distinction from film to film is exhausting and “The Brutalist” is bolt of lightning to my movie loving senses. You just can’t make something as garish and ugly as “Red One” for $200 million and then try to convince me that using actual film is too expensive. You’re just lazy and I’m tired of it and Cord rightfully called you out on your bullshit and Brady put the nail in the coffin with a maximalist epic for minimal cost. End rant.
Brody gives one of the best performances of the year and one of the best of his career. Not that Brody was ever bad, but he comes out swinging in “The Brutalist” and reminds us all that not only is he a leading man, but he is one of the best actors of his generation. I’ll raise my hand and say that even I forgot how good he is and thanks to his work here I won’t forget again. He disappears into Toth, capturing all of the gifts and curses, successes and failures, triumphs and tribulations that come with immense talent and unquenchable ambition for greatest. He is as charming and funny as he is destructive and broken, and Brody shoulders “The Brutalist” with ease as he is onscreen for a good 95% of the film’s runtime. It’s an incredible performance, one that should net him his second Oscar that would be very well deserved.
Felicity Jones also gives some of her best work, and though she isn’t given as much to do in frame, she looms large over every single aspect of “The Brutalist” and is vital to the story. Her scenes with Brody are some of the emotionally resonate and heartbreaking the film has to offer, and though their relationship is timoltulous at the best of times given their divide and years apart, Jones’ empathy and unyielding dedication to her husband is both their downfall and saving grace. Jones delivers some of my favorite lines in “The Brutalist,” and while her character isn’t quite as developed as Brody’s, their chemistry is terrific. Guy Pearce is also phenomenal, the perfect wolf in sheep’s clothing and a commanding presence you feel drawn to every time he appears on screen. He becomes more and more monstrous as the film goes on, a testament to Pearce’s nuance of slowly but surely showing his teeth as the time goes on. Pearce has always been one of the better parts of his films even when those ones are quite bad, and it’s nice to see him return to a place and character where his talents can truly shine.
I’m tempted to give “The Brutalist” a perfect score and call it a masterpiece. It’s honestly close, and will be entered into the library of greats alongside “The Godfather” and “Citizen Kane.” It’s staggering ambition is perfectly rendered by its electrifying execution, its vastness and monumental scale and scope guided by Corbet’s confident direction and undeniable performances. My only hesitation is a slight dip in the second act, where “The Brutalist” sprawls ever so slightly out of bounds. Not in terms of content or obscenity (though pearl clutchers could probably make that argument) but rather as it nears its conclusion, it starts to lose some of its allure. It never fully wanes, and the suffering in “The Brutalist” is necessary, but comparatively the first act is stronger even when the second act is still great.
“The Brutalist” will stand the test of time and stand tall among its peers for decades to come, and will be remembered as one of the great achievements in American cinema. It is an overwhelming tour de force that will leave you transfixed and exhausted, but in the end thankful that you were able to share in such an unforgettable movie going experience.
I don’t care how many times I have to say it because it needs to be said: please see “The Brutalist” the way it was intended. In a theater, and in its 35mm format if possible. I know that may not be feasible for everyone, but if you can see it in its intended format, don’t cheat yourself by missing out and settling for a digital rendering. Or worse, watching it at home on your couch. That is a different movie altogether; “The Brutalist” is a FILM and should be seen as such whenever possible.
You can count me as a card carrying member of “The Brutalist” Hive – a brutal boy if you will – but do NOT venn diagram me with that “Babylon” hive. We are not the same.
Rating: 4.5 out of 5 Stars
“The Brutalist” is now playing in select theaters. You can watch the trailer below.
