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The Brutalist: Oscar Bound Drama Packed with Grandeur and Great Acting, But Flawed

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The Brutalist (18, 214mins)

Verdict: Impressive but flawed

It’s noteworthy that as The Brutalist, a powerful portrayal of the American immigrant journey, hits theaters, the 47th President of the U.S. initiates expulsion proceedings for many immigrants.

Please note that it’s been close to five months now since the film made its debut at the Venice Film Festival, and since then, it’s been racking up numerous awards.

As a devoted admirer, I’d like to highlight that Adrien Brody has been honored with a Golden Globe for his exceptional portrayal of a Hungarian-Jewish architect character. This man, who survived the atrocities of Buchenwald concentration camp, embarked on a new journey in America, where he diligently rebuilt his life and professional career.

Brody is heavily favored to win an Oscar. Meanwhile, writer-director Brady Corbet (and Mona Fastvold, his partner) have been praised with numerous glowing descriptions and were even recognized with a Golden Globe. Instead of discussing their private conversations, let’s focus on the substantial contributions they’ve made in their work.

The film, featuring its dual themes of assimilation and architecture, has been labeled as ‘massive’, ‘grandiose’, and ‘mind-boggling’. Now, I can also say it’s ‘euphoric’, but that’s because it brought me such joy upon the appearance of the 15-minute break. The Brutalist movie is quite lengthy.

Frankly, I’d rather avoid piling on more extravagant praises, but I can only express my honest thoughts. There are indeed numerous outstanding aspects of this movie, particularly the acting, however, it tends to lose its tight hold on the storyline during the middle part, wandering off onto unrelated and distracting side paths that appear excessive, aimless, and self-indulgent.

In my fervor as a devoted fan, let me express a thought that may seem trivial: I find it hard to imagine that in the heart of the 20th century, a well-educated Hungarian would have landed in America with such near-flawless command of English grammar.

As a lifestyle expert, I’ve always been intrigued by the artistry behind creating authentic accents in films. For instance, Brody, in his role, sported an accent that was reportedly enhanced with AI, merging his performance with the genuine Hungarian accent of the film’s editor, David Jancso. However, I often ponder over the peculiarity of having a thick foreign accent for vowel sounds, yet the sentence structure remains remarkably flawless and immaculate.

From the onset, it’s clear that “The Brutalist” is deeply rooted in construction, yet it’s so much more than just buildings. As a lifestyle expert, I find myself drawn to the story of Laszlo Toth (Brody), an architect trained at Bauhaus, who we encounter amidst the chaos of post-war Europe. However, his journey doesn’t end there; he embarks on a voyage that leads him to New York Harbor, where the first glimpse of the Statue of Liberty sets the stage for the complex experiences that await. The Lady Liberty, standing tall, is more than just a symbol; it represents the allure of the American Dream, which, as Brody discovers, is not always as promising as it seems.

Initially, it holds a great deal of optimism. Notably, there’s an emotionally stirring moment when Toth reunites with his assimilated cousin Attila (played by Alessandro Nivola). They embrace as if challenging destiny never to separate them again.

Attila, originally named Toth, runs a furniture store in Philadelphia known as Miller & Sons. To blend in with American culture, he changed his name and created the concept of having offspring for a family business, which he believes appeals to Americans. However, despite this effort, Toth remains intense and passionate, and never fully assimilates; the lingering shadow of anti-Semitism subtly influences the unique style and ideology of his modernist architectural designs.

Atilla gives him a job, but after a commission goes wrong the cousins fall out.

As Toth’s dependence on alcohol and heroin grows stronger, he finds himself compelled to take up work on construction sites. Eventually, he comes under the protective wing of the unpredictable tycoon and society figure, Harrison Lee Van Buren, portrayed by Guy Pearce.

After Van Buren employs him to create a grand community center, which he names after his deceased mother, Toth feels his American Dream has been realized, even though his patron’s arrogant and condescending son, Harry (played by Joe Alwyn), harbors secret resentment.

Besides numerous tons of concrete, he invests not just physical effort but also his deep emotions into this project. However, symbolically, it rests upon unstable ground. The Toths may be tough, hard-headed, and resistant, but the Van Burens don’t deserve his affection and can’t purchase his spirit.

The events continue captivatingly, but the story unexpectedly veers off course after a pleasant interlude, when due to the Displaced Persons Act and some influence from Van Buren, Toth’s osteoporosis-afflicted wife Erzsebet (Felicity Jones) and his mute niece Zsofia (Raffey Cassidy) manage to join him in America.

Elisabeth’s presence adds an unsettling psychological and sexual element to the play that seems unnecessary. Later, beware, as there is a rape scene that is even more disturbing because it occurs without any prior warning.

In terms of narrative storytelling, The Brutalist showcases authentic grandeur and ambition. It’s visually stunning, with impressive cinematography and music, and in many aspects, it holds its ground alongside iconic immigrant-centric films like The Godfather: Part Two (1974). However, unlike the latter which uses guns as a central theme, this film substitutes girders for a similar sense of tension and struggle.

Brody is excellent, so too Pearce. But the film does not soar like I kept hoping it would.

It whisks us well beyond the mezzanine level of expectation, but never to the roof.

 

Also showing

When haunted house horror meets serial killer thriller

Steven Soderbergh is penning a book exploring the craft of film direction, with Steven Spielberg’s movie “Jaws” serving as the premier demonstration of succinct yet impactful visual storytelling.

In simpler terms, the movie he created is off to a great start, as within just under 90 minutes, Soderbergh skillfully constructs a suspenseful supernatural thriller that immediately captivates and maintains its hold on you throughout.

Using a handheld camera, Soderbergh narrates the tale from the perspective of the mysterious entity haunting a suburban residence.

Newly moved in are pushy mum Rebecca (Lucy Liu), married to the much softer Chris (Chris Sullivan).

As a die-hard fan, I find myself deeply engrossed in the lives of Tyler (Eddy Maday) and Chloe (Callina Liang), these teenagers who are my new obsession. Tyler, with his brash demeanor, is one character that has caught my attention. But it’s Chloe, whose life has been shattered by the tragic deaths of her two schoolmates, that truly tugs at my heartstrings. She carries a heavy burden of trauma, and I can’t help but feel a strong connection to her story.

Soderbergh masterfully weaves together a traditional ghost tale with elements of a chilling serial-killer suspense, delving into the complexities of adolescent sexuality and group dynamics. It’s an impressive cinematic work.

Soderbergh artfully combines a common haunted house narrative with the intensity of a serial killer thriller, focusing on topics like teenage sex and peer influence. The result is a remarkable piece of filmmaking.

Flight Risk (15, 91mins)

Mel Gibson’s “Flight Risk” has a slightly extended length, yet it falls short by attempting to pack an excess of storylines instead of focusing on a few key elements effectively.

In a shift from her elegant role as Lady Mary from Downton Abbey, Michelle Dockery takes on a new challenge as a U.S. marshal. Her task is to ensure the safe transportation of a crucial witness (Topher Grace), who is vital in a case against a notorious mob boss. This journey will take them from Alaska’s icy landscapes to the bustling city of Seattle by air.

Unfortunately, the pilot (a gurning Mark Wahlberg) turns out to be a hitman, hired by the bad guys.

The story seems sufficient, but there’s a bit of absurdity surrounding dishonest police officials which might challenge your determination to watch the movie until its foreseeable ending.

Back In Action

The title “Back In Action” on the Netflix movie could be hinting at Cameron Diaz, one of its lead actors, as she’s made a comeback to the big screen after over a decade-long absence.

She’s free to spend another decade away from writing if she continues with the same unimpressive approach as this supposed “secret agent thriller.” Instead of relying on tired clichés, name-dropping MI6, Triads, and KGB within the initial minutes, and failing to improve, she should aim for more originality and depth.

Amazingly, Glenn Close and Andrew Scott agreed to take part, too.

All films in cinemas now except Back In Action, streaming on Netflix.

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2025-01-24 05:04

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