By Keith Walther | Rose Law Group Reporter
Fresh off the heels of ten Oscar nominations including Best Picture, you would think this is the motion picture event of 2024, but it stumbles halfway through its overly long runtime. While it seems “The Brutalist” is based on a true story, it is completely fictional, however, it incorporates references to the real architectural style of Brutalism that was prevalent in post-war America. This is an epic drama of the immigration experience that is carried by an amazing performance from Adrien Brody with a story that derails in the second half.
Fleeing Europe in the 1940s, Jewish immigrant László Tóth (Adrien Brody) arrives at Ellis Island in New York seeking his American dream. The visionary architect had to make the journey alone, leaving his wife Erzsébet (Felicity Jones) behind to care for their niece Zsófia (Raffey Cassidy). Staying with his cousin Attila (Alessandro Nivola) in Philadelphia, László tries to make a life in America in hopes of bringing his wife and niece to this land of freedom.
When László crosses paths with the industrialist Harrison Van Buren (Guy Pearce), his dream is fast tracked, allowing for a special reunion with his wife and niece. Working alongside this wealthy client, László is enabled to explore his architectural vision with a massive project that will change the landscape in rural Pennsylvania. Unfortunately, prejudice, drugs, and power corruption threaten to consume him and his life’s work.
Written and directed by Brady Corbet, “The Brutalist” is a tale of two halves. The first half immediately hits audiences with its grandiose scope and awe-inspiring visuals that leave viewers little doubt as to why it has been receiving such positive critical acclaim. The cinematography, production design, and original score are all breathtaking, confirming the validity of those Oscar nominations in those respective categories. The visuals and music both compliment the essence of this film, illustrating the beautiful hope of endless possibilities while also depicting the brutal darkness of reality that looks to prey on unsuspecting victims.
As impressive of a job as Corbet does at capturing the stunning visuals of 1940s and 50s America, he lets the story slip away from him in the second half of the film. While he spends so much time developing the main players, he introduces subplots and side characters that end up going nowhere and fade away without explanation. These futile branch-offs from the main plot become an unnecessary exercise in tedium, dragging the pacing of the film to a brutal crawl that makes this nearly four-hour production a bore. There is a built-in fifteen-minute intermission halfway through, allowing audiences to stretch their legs and take a much-needed bathroom break, but when the second half falls apart the way that it does, it makes viewers wish the film had ended at the intermission point. The lack of proper editing Corbet employs extends to his inability to catch noticeable errors, like showing the Statue of Liberty with its post-1986 torch and flame despite being set in the 1940s. To make matters worse, AI was admittedly used during editing as a shortcut.
The remarkable acting elevates this production to mediocrity, led by Oscar winner Adrien Brody (“The Pianist”). He plays the role of Jewish immigrant/architectural genius to perfection, delving into the depths of his character to portray an authentically flawed person, whose ambition becomes second to his addiction. He even ensures his Hungarian accent is on point, speaking broken English believably, especially during scenes of passionate exchanges, which is difficult to maintain. Brody is certainly worthy of the Oscar nomination and will likely win for this portrayal.
Both co-stars Felicity Jones and Guy Pearce were also nominated for an Oscar in the categories of Best Supporting Actress and Best Supporting Actor respectively. These are also well-earned nominations with Pearce, whose character wields his wealth with power and a mentality that everyone has a price, and Jones, who bestows a sense of class despite being relegated to a wheelchair from a debilitating condition of osteoporosis. The two performances are compelling in their unique ways, exhibiting power and weakness over Brody’s character that make them both significant catalysts in the progression of the story.
2024 has become the year of overrated films with “The Substance,” “Conclave,” and now “The Brutalist” stealing Oscar nominations from truly deserving movies like “Civil War,” “Better Man,” and “Cabrini” (the best film of the year). Despite Oscar caliber performances from the cast and mesmerizing visuals, “The Brutalist” is not worth wasting a day travelling to the theater to watch. You’re better off watching the first act from the comfort of home, and then ignore the presence of the second act.
This movie earns:
