The Brutalist (English) Review
Star Cast: Adrien Brody, Felicity Jones, Guy Pearce
Director: Brady Corbet
Synopsis:
The Brutalist follows László Tóth, a talented architect and Holocaust survivor, as he begins anew in the United States after World War II. Arriving in 1947, he faces a tough start, missed by his wife, Erzsébet, whom he lost to a concentration camp. With the help of his cousin Attila, he lands a job in a furniture store. When wealthy industrialist Harrison Lee Van Buren requests a library renovation, disaster strikes when Harrison dislikes the finished work and dismisses them. This leads László to work as a coal laborer. Three years later, Harrison regrets his decision and offers László another chance, hoping to reunite him with his wife and niece. However, unforeseen events soon disrupt László’s plans.
Review:
The film’s story by Brady Corbet and Mona Fastvold piques curiosity, while the screenplay has gripping moments but struggles in places. The realistic dialogue adds depth, though sometimes it’s hard to follow due to the lack of subtitles, especially with Brody’s strong Hungarian accent.
Corbet’s direction showcases some creative elements, like unique opening credits and interesting use of music, giving the film a nostalgic feel. Key scenes—such as László’s firing over the library renovation and the emotional reunion with Erzsébet—stand out and add emotional weight. However, the film, running at 202 minutes, often drags and may test viewers’ patience. Its documentary-like narrative might not appeal to everyone, and the absence of subtitles further diminishes its impact.
Performances:
Adrien Brody’s performance is a highlight, reminiscent of his acclaimed role in The Pianist. Felicity Jones captures attention despite her late entry, while Guy Pearce delivers a subtle yet forceful presence. Raffey Cassidy leaves a memorable impression in her limited role, and Joe Alwyn, along with a strong supporting cast, contribute effectively.
Technical Aspects:
Daniel Blumberg’s unconventional music enhances the film’s atmosphere. Lol Crawley’s cinematography provides a grand visual style, while Judy Becker’s set design is impressive, vital in a film centered on architecture. Kate Forbes’ costumes are on point, and while editing by Dávid Jancsó maintains a slow pace, it could use tightening.
Conclusion:
Despite strong performances from Brody, Jones, and Pearce—any of which could earn awards—the film struggles to maintain interest, especially for Indian audiences. With ten Oscar nominations attracting global attention, its slow pacing, lack of subtitles, extensive runtime, and censor cuts overshadow the viewing experience.
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