Actor-turned-director Brady Corbet takes the historical epic route in his third film, “The Brutalist,” from A24. Corbet also co-writes the film’s script with his wife, Mona Fastvole. Clocking in at a staggering 3 1/2 hours, “The Brutalist” follows visionary architect László Toth (Adrien Brody) and his wife, Erzsébet (Felicity Jones), as they flee post-war Europe in 1947 to rebuild their legacy and witness the birth of modern America. Their lives are forever changed by a mysterious and wealthy billionaire client, Von Buren (Guy Pearce).
The supporting cast includes Joe Alwyn, who portrays Harry Lee Van Buren, the entitled and self-important young son of Harrison. Stacy Martin takes on the role of Maggie Van Buren, Harry’s twin sister. Isaach de Bankolé plays the character Gordon, a close friend of László. Alessandro Nivola represents Attila, a furniture store owner located in Philadelphia and cousin to László. Finally, Emma Laird plays the role of Audrey, the spouse of Attila.
I initially planned to see “The Brutalist” on the big screen to experience the dazzling 70mm. However, due to “adulting,” I had to settle for watching it at home. Divided into two long parts and featuring an intermission, The film explores the notion of desire, sacrifice, and following your dream in the context of a new and unfamiliar American landscape.
László, played with quiet desperation by Oscar-winner Adrian Brody, is a guy who does it all and sees his character navigate the highs and lows of the American Dream. The standard traps and triumphs occur to s László through most of the film’s first half, though Brody applauds the set.
Following an intermission, “Part 2” of the film starts to take shape in 1953; László meets Erzsébet and Zsófia at the train station and learns that Zsófia is mute because of the conditions and traumas of the war and its aftermath and that Erzsébet has osteoporosis and is a wheelchair-bound. Jones does have her moments in the latter half of the film, though.
The premise offers deep reflections on individual goals juxtaposed with moral problems, but “The Brutalist” occasionally slips into stilted storytelling. The characters are all well done but are cliché, and the movie does not move far beyond the expected plotline. László’s struggle between his dreams and the realities he confronts, as a whole, is usually dry and too mellow to enchant the listener.
Its cinematography is eye-catching, capturing the drama of László’s architectural vision as much as his ache. It’s a film designed for the big screen only cinephiles should see. Yet sometimes, the cinematography completely muddies the story, making scenes that could be profoundly emotional feel like aesthetic padding.
“The Brutalist” is an enjoyable film for fans of tales of determination and courage. Solid performances and visual beauty lift the movie but might leave the mainstream viewer unsatisfied in originality and emotion.
Final Grade: B+
“The Brutalist” opens in theaters on December 20th.
