By Jack Ransom - January 8, 2025
A 3hr 35 minute behemoth from actor turned director Brady Corbet. The Brutalist sees a visionary architect (Adrien Brody) come to America to rebuild his life, his career and his marriage after escaping post war Europe. On his own in a strange new country, he settles in Pennsylvania, where a wealthy and prominent industrialist (Guy Pearce) recognises his talent.
This is a lot to take in a singular viewing, but I know for a fact that this is the most that I have been thoroughly immersed in a film for a long time. Truly a monumental and mammoth achievement, that harkens back to not only an era of decades spanning American Epics (Sergio Leone’s masterpiece Once Upon a Time in America crossed my mind on multiple occasions), as well as the grandiose achievements of the 2000’s (There Will Be Blood and The Aviator to name a couple of features that sprung to mind after the screening), yet also undeniably feels timeless in its presentation of which encompasses a myriad of ambitious techniques.
The pre-title card/opening credits prologue genuinely gave me chills. Lazlo Toth (Brody) arrives in America accompanied by the swelling Overture (Ship) theme by Daniel Blumberg, whilst the Statue of Liberty gradually peels into view. It perfectly encapsulates Lazlo’s excitement, awe and overwhelming reaction at where he has arrived. The film is divided into two chapters (The Enigma of Arrival & The Hard Core of Beauty) and an epilogue, as well as a 15 minute intermission, which at first I was a tad sceptical about as these can sometimes halt the pacing and rhythm of a film (both Scorsese’s previous two features - The Irishman & Killers of the Flower Moon - are only 5-10 minutes shy of The Brutalist’s runtime and an intermission was not needed in either). However, here the placement of the pause fits Lazlo’s journey and allows the viewer to reflect on the first half of the picture.
It truly is a gargantuan journey, there are so many factors that move together to keep the cogs of the machine rolling. Lazlo’s tightrope optimism, quiet genius and longing for his wife and niece to return to his arms permeates the first chapter. He faces a warm welcome from his successful furniture salesman cousin Atilla (Alessandro Nivola), which unfortunately is soured, leading to a trail of poverty, opium abuse (a prominent and frequently discomforting vice for Lazlo), before a ray of hope arrives in the straight talking, wide-eyed, quick tempered and big idea filled Harrison Lee Van Buren Sr. (Pearce).
The pair begin their relationship of obsession, drive, manipulation, clashing ideas, growing paranoia and full blooded rage as they strive for their visions. Lazlo’s wife Erzebet (Felicity Jones) arrives in the second act and the pair’s relationship balances rehealing the estranged amount of time, rekindling their sexuality and coming to terms with each other’s current situations. The post-war fallout hangs heavily over the piece, themes of discrimination and suspicion linger over Lazlo and his family, with subtle and piercing lines slicing through at poignant moments.
The film was shot using VistaVision and my God, it looks stunning and has me tempted to see my inevitable second viewing in glorious 70mm. It captures the era perfectly and gives the film the look of a precious artifact. Corbet’s direction towers over the characters. The angles utilised to showcase the scale of the buildings, the lumbering progress of Lazlo’s vision is gigantic, vast landscape shots, interior locales that are packed with inhabitants are pulsating with life, whether it be a raucous party or sophisticated celebration. The monolithic scale can also be quietened down when necessary, as we peer into the minute intimate moments of affection and lust between Lazlo and Erzebet, as well as everyday family drama at the dinner table. The camera lingers on their expressions and patiently allows for every nuance of emotion to peer through. I already mentioned Daniel Blumberg’s triumphant theme, and his score rumbles across the duration with fitting prowess, power and grace.
The performances are fantastic. Adrien Brody throws himself into this performance and I will be stunned if he (and this film to be honest) aren’t victors at this year’s Academy Awards. His transformation from quietly honest, subdued, vulnerable yet sharp newcomer to this land, to a fiery, addicted, workaholic, obsessive who keeps pushing his family away, is a striking and enrapturing performance. Guy Pearce might just deliver the best performance of his career here. Buren Sr. is a fascinating cocktail enigma of greed, existential ideas, control and ambition, anytime he confronts or converses with anyone in the film it is electric. Felicity Jones acts a warm counterbalance to the aforementioned ego rising duo, she is commanding in her own way and offers a grateful, grounded and nuanced anchor to reality. Joe Alwyn is a seedy, sleazy and snake-like piece of work and both Alessandro Nivola and Isaach De Bankole offer strong performances in their supporting roles.
The Brutalist taps into a mythological ideal that is grounded in reality, yet elevated by its scope, the characters strive and quest to deliver their lofty ideas. The more I have typed out this review, the more I realise just how much this film delivers in pretty much every single aspect. The performances, pacing, cinematography, direction and balance of intimacy and palpable grandiosity. Will certainly try to see this on the big screen again.
The Brutalist releases in UK cinemas January 24
