Epic in scope and depth, ‘The Brutalist’ is a tremendous filmmaking achievement

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Synopsis

Set in post-World War II America, The Brutalist follows Hungarian Jewish architect and Holocaust survivor László Tóth (Adrien Brody) who has just immigrated to the United States. While László has a support system for his cousin Atilla (Alessandro Nivola), being an immigrant in America comes with more hardships than he expected.

László gets the opportunity of a lifetime when he’s hired by wealthy industrialist Harrison Lee Van Buren (Guy Pearce) to build a massive community center as a tribute to his late mother. László and Harrison seem to build a close relationship over the course of the project, but as it nears completion, Harrison abuses his status and power to exploit and abuse László for his own gain.

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My thoughts

Every immigrant has their own hardships they have to overcome when coming over to the United States, some harder than others. When filmmakers examine the immigrant experience in America, they’re often stories filled with hope and promise. The characters in these stories certainly have conflicts and hurdles that get in the way of achieving their respective American dreams, but they usually come out on top in the end, finally being able to succeed just as much as the people born here.

These are often supposed to be feel-good stories, and they are! The United States of America has thrived on immigration and created wealth and opportunities for millions of those who would never have it elsewhere. It’s one of the things that makes us great as a nation and as a species, overall. The immigrant experience isn’t one size fits all, though. While it can be a story of success for millions, there are many who remain trapped in the cruel world they tried to escape in the first place.

Field of dreams

People often say, “The grass is greener on the other side,” but they don’t seem to consider all the work that goes into keeping that grass green in the first place. Like every other plant out there, grass just doesn’t grow on its own. It needs the perfect environment with just the right amount of sunlight, water, and tender, loving care (be it from humans or mother nature) to keep it lush, thriving, and soft to lay in.

The same applies to us human beings. A person can’t just be thrust into our cruel, cold world and be expected to thrive. Like our seedy brethren, we require some sort of guiding hand from the moment we sprout all the way into maturity. The history of this world has been filled with a plethora of successful men who profess to be “self-made”, acting as if simply their hard work and tenacity are what made them successful, willfully ignoring the dozens of watering cans showering them with opportunity.

That’s the entire reason humans have been immigrating for literally our entire existence: that search for that greener grass. I mean, what would be the point of leaving home then, right? In the case of László Tóth, the protagonist of The Brutalist, he’s a Hungarian Jew whose green fields have been reduced to rubble and ash from the effects of World War II. Practically everything about him has been stripped from him, so he has no choice but to come to America and start anew.

Since László has to wait at least 6 years for his wife Erzsébet and niece Zsófia to come to America, all he has from his old life during this time is his architectural aptitude. While he’s able to use these skills to attempt to make a life in America, it’s only as much as the people who hold power over him allow, such as his cousin Attila and especially Harrison Lee Van Buren. The grass in America may be greener, but when the people above you keep kinking the hose once they’re done with you, how can you keep the lawn thriving?

That doesn’t mean that there aren’t millions of success stories of immigrants being able to make a life for themselves in the States and thrive as well as any other person on this land. Their stories should not be discounted, and every immigrant experience is completely unique and valid. However, the same goes for the immigrants who weren’t as lucky. Their stories also need telling, especially when their stories show the filthier side of the coin many are too afraid to turn over.

While America has acted as the Land of the Free for millions, there are just many where it’s just another Land of Oppression, it’s just their new oppressors now speaking a different language than the ones back home. The Brutalist may primarily take place 70 years ago, but the struggles and exploitation immigrants are forced to endure to have a comfortable life ring just as true today as they have for hundreds of years. For the less fortunate, it’s nothing more than a vicious cycle, with their hope and optimism being the yin to the ruling class’s yang of lust for power and exploitation.

The art of debate

While The Brutalist is no doubt about the harsher realities of the immigrant experience that most filmmakers don’t often explore, at its core, it’s about a clash of ideals in the world of art. In particular, the dynamic between the artist and the people who finance their art. While the artist is actually creating the art, the financier is the one putting their money on the line, so who is really in control? It’s the eternal power struggle that will never be resolved.

László and Harrison have many deep and contemplative conversations on the true meaning of art and legacy in the way it relates to László’s creations. While László is the real genius behind realizing this project, he can only do so with Harrison’s money and go ahead. So, he’s in this position where he’s able to live out his dream of being an architect and start living the high life, but he’s always trapped in Harrison’s clenched fist. There’s no way out of this privilege this man provided you, and he can and will take that privilege back once you’ve served your purpose.

The Brutalist is a 3-and-a-half-hour period piece about an architect immigrating to America and working for a rich man who exploits him at every possible turn. That’s definitely not an easy sell, so it’s no surprise that director Brady Corbet had such a tough time getting the movie off the ground. With a budget of less than $10 million, fully bringing this project to realization was an immense undertaking for everybody involved, and that effort is visible in every single frame.

A film about an architect in the mid-20th century may not exactly sound “epic” on paper, but The Brutalist is an epic through and through. Corbet and his co-writer Mona Fastvold meticulously crafted a sprawling tale that takes place over 13 years of László’s life in America, telling a richly detailed story on the immigrant experience while mixing in themes of art and legacy. The construction of Harrison’s community center is the ideal backdrop to explore these themes and show the passage of time.

Corbet and cinematographer Lol Crawley’s decision to shoot the film in Vistavision, a 35mm film format last used in 1964 for Mary Poppins, definitely added to the classical epic scope they were going for. Every wide shot of the gorgeous vistas surrounded by massive cranes, steel girders, and structures towering over our characters is simply stunning. Although it was shot in Budapest, the vast landscapes of rolling green fields surrounded by budding skyscrapers vividly echo America’s rise into industrialized dominance.

For a film that runs 215 minutes (with a 15-minute intermission), it actually went by pretty quickly. While there may be a moment or two where some of the conversation scenes run a bit too long, I was captivated by László’s journey the entire time. The screenplay is carefully structured and paced, and when combined with Dávid Jancsó’s rhythmic editing and Daniel Blumberg’s hauntingly grandiose score, The Brutalist grips you from beginning to end. Nearly every single minute is fully earned and justified.

Clashing titans

Probably the most impressive thing of all is that László Tóth wasn’t a real person, but he’s such a rich, detailed character that it feels like you’re watching a story about somebody who actually existed. It often made me think of Cate Blanchett in Todd Field’s Tár. Corbet and Fastvold weren’t able to find an architect whose story matched László’s, so they just decided to create him from scratch. Even if László is a fictional creation for this story, there’s something about him that feels wholly authentic and real.

Of course, László Tóth couldn’t truly come to life without an actor to portray him and Adrien Brody was the perfect choice. Not only do his distinct physical features give László this enigmatic quality, but the range in his eye expressions and body language show he’s a tortured genius who is surrounded by angels and demons. When László is at his best, he stands tall and confident with a gleam in his eyes, but at his worst, his shoulders are slouched and his eyes are empty.

I’ve never been a fan of Guy Pearce. Like, ever. I don’t know what it is about him. A lot of people seem to love his work, but there’s always been something about his performances that seemed off to me. I don’t know if it’s exactly his odd line delivery or facial expressions that put me off, but I’ve just never gelled with his performances like others have. Well, consider me a fan of Guy Pearce now, because he absolutely steals the show here.

Brody’s performance is undoubtedly the soul of the film, but Pearce’s is the driving force. The peculiar cadence in his line delivery gave Harrison a certain kind of personality where you can see how he’s been able to manipulate others and become so successful over time. He’s such a slimy, contemptible monster, but with a strange alluring charm and charisma. It’s the epitome of a magnetic performance: he draws the entire cast and crew into his presence that looms large over everything.

If Brody’s performance was the soul and Pearce’s the force, then Felicity Jones’ Erzsébet is most definitely the heart of the story. She’s the one thing that keeps László going despite all his suffering, bringing out the best in him and quelling the worst. Her sweet, authentic tenderness is a warm contrast to the cold world and characters around her. Jones shows that Erzsébet is constantly observing and aware of her situation, displaying a capable, intelligent woman who will stand up for herself and others.

Final verdict

Like László constantly running into money and logistical issues when completing his project, I’ll bet Corbet felt a kinship with him while making The Brutalist. Lightly budgeted and seven years in the making, there were probably many times when Corbet, his cast, and crew felt like they were in over their heads and wondered if this entire undertaking had been worth it or not.

Well, it seems like it’s certainly all been worth it in the end, especially as The Brutalist has just won 3 Golden Globe awards and is poised to collect more accolades down the 2025 awards circuit. Will it win Best Picture at the Oscars? It’s too early to say at this point. Perhaps the awards don’t really matter at all to Corbet and his crew, though. The fact they completed this epic endeavor at all is enough of a justification for celebration.

To quote László’s niece Zsófia at the end of the film, “No matter what others try and sell you, it is the destination, not the journey.” I can’t think of a better way to encapsulate The Brutalist and Corbert’s experience making it. No matter what he went through or what comes of the film in the future, he made it to his destination, and that’s all that matters.