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Brady Corbet’s "The Brutalist" is a movie that aims high; not simply as entertainment value but as a long form commentary that carefully examines a complex history over people and places whilst pushing all the boundaries as well, so it only seems fitting that it has been hailed not just a visual but also intellectual masterclass that tackles a story involving one specific life as if it represented much more than that solitary journey, this detailed exploration is an attempt at highlighting several important core points about what this movie’s ambition, scale and value is all about.
At its heart, The Brutalist” explores the intricate nuances of the immigrant experience not simply through a single view or perspective but by adding in various ethical points and complexities as we all observe Lazlo’s (as his character arc grows ) that are also similar for both his and a country he desperately seeks to find a meaning or understanding while also putting all viewers into questioning about ‘home’, family as well as ‘creative drives’; something far deeper than simple personal conflicts or struggles which is always the common ground that any other generic storyline has and to achieve it Corbet never resorts to any cheap plot tricks or shortcuts; it uses every character not simply to add a perspective, but an actual opposing viewpoints to understand those many challenges even if from conflicting arguments.
László Tóth ( played brilliantly by Adrian Brody), this Hungarian architect as the main core in the story acts as more of an avatar; his tale (although a fictional representation ) does seem as it is heavily inspired from countless real stories of those that often have had to escape their countries and then build their new life in America. It isn't that this movie shows an ‘all American’ perspective. It's how even the pursuit for such life in itself can have a large degree of personal sacrifice while facing various types of barriers that often limit or change who those individuals would come to be when finally reaching their objectives. It challenges preconceptions about such ideals by presenting its message not by just displaying external limitations (such as low financial opportunities or some type of local community resistance), as often shown with various media production values but that often comes from people's internal and self sabotage in decision making all along their journeys and every action that is put in place; this does provide more compelling insights because it doesn't become purely a ‘victims’ journey’ but more focused in ethical aspects from what characters should and should not value based on past actions.
Even at its seemingly simplistic moments, as an example, the design choices all feel so deliberate; every building, every location becomes part of an overall message about human values rather than simple setting or background. The core philosophy for how it presents architecture (not just as spaces, but something filled with history and culture) creates a powerful symbol over people themselves, with an overall visual appeal of classic modern American settings; everything appears meaningful or to showcase those conflicts when they appear, rather than simply existing at surface levels. The same logic can also be stated about how every character is developed; each serves an intentional philosophical purpose for how things evolve into its grand, expansive final conclusion.
Corbet, when directing the “Brutalist" never tries to hide a very distinct underlying point for the viewing audience, which comes as a very stark contrast in creative integrity and what the ‘real world’ has on its intentions. The architect that is shown within a ‘movie’ becomes a mirror to what directors feel; they aim at building or shaping ( both a concept or story, in this example, like those that create large or grand architectural settings), but are then held captive by what that environment often needs them to do versus the initial drive that lead onto that process itself; and this element elevates a more straightforward plot narrative onto another level. László desires his creative work to serve greater good while all outside forces ( particularly from more wealthy circles ) mostly see their creativity only as some path to control or as method to achieve personal power and even what appears as a 'friendly force’ might have some specific underlying value and intent that is in direct opposition from how it might appear.
We watch characters make creative choices over what they think is the correct method or ethical course but at no single point do any become ‘fully virtuous or totally evil’; people who can clearly do the most good often are those that become the very limitations ( for that character or the movie) themselves and all through what appears in casual conversation as a simple or an everyday interaction that usually is skipped when one only cares about story and plot rather than internal character study. And all those ‘failed good ideas’ ( by character standards, all based on an ethical viewpoint which can often come as being flawed for a large percentage) creates tension by itself as it slowly reveals that it’s difficult (if not impossible) to build something purely meaningful when the foundations and outside forces have opposing motives.
While its focus isn't solely about this specific event of 20th century life, a large percentage of The Brutalist seems to place its importance regarding America and the post World War Two timeframe; not just as a backdrop but instead a crucial component for characters. Laszlo as immigrant, seeks his own version of that ‘dream’, but what is actually found within ( with the social, and class structure that it often highlights ) presents something far more complex than just 'a promised land with opportunity', in short : ‘What a person can find once an old dream is contrasted by a new setting’ and in that space of time where an idea slowly conflicts with a harsh modern day’s reality.
Even all the other support members, mostly presented as 'well adjusted and already within an established place or society’, never manage to escape the damage ( often emotionally) with internal moral quagmire always creating situations with unique conflicts where no characters is without flaw. Every main lead often seeks personal creative or ethical ‘redemption’ but their internal limitations keep that outside their grasp and its in that internal struggle where the real heart of the entire movie is; because no one is simply good or bad; everyone's intention becomes morally challenged at every story point and that becomes a very large conversation itself that is as engaging as it’s often neglected.
Corbet's decision for VistaVision combined with his meticulous focus to create scenes within the right angles for the film’s period setting adds to this viewing value as both the look and feel are never simply ‘there’, they are there to showcase those important character elements; these ‘old style cinematography choices’ helps ground the movie into an historical space of what once was. Those elements when mixed with very clear dialogue and story telling, brings more weight to the message by not needing excessive exposition ( that normally can slow down viewing experiences ). His film, while showcasing the beautiful architectural designs also captures an ugly perspective on human drives: how greed, corruption and ambition constantly seek to transform genuine and creative artistic drives by either co-opting it for some personal use or simply crushing it all under their control; showing just how complex these issues become because ‘it’s all human, but is that truly for all of our benefits?’
Those elements become important because every single creative production value element, was not put as an arbitrary choice or for mere visuals but to all highlight the thematic components while also making all character studies even stronger due to that unique creative approach as it goes outside generic story telling into new innovative levels.
"The Brutalist” isn't simply a movie; is instead a visual and emotional journey that places the weight upon every individual within it ( both as character and audience member) that questions a variety of ‘norms' and values that, during our more modern and simplified daily interactions often come as something simply not that ‘relevant’. Its through this lens where we come to fully understand the deep layers regarding immigration but equally over the very creative process; not as something solely positive but equally filled with ethical and emotional issues, because ‘the beauty’ or ‘positive end results’ ( regardless what those might entail ) do often come with great sacrifice from those very involved, and more specifically when put against systems that do not align with its core ethical values for all members involved.
Corbet created something both meaningful and deeply compelling; for audiences that appreciate cinema, but specifically in how this art form can and should seek to challenge conventional viewing norms and values for everyone involved beyond the casual plot-driven formula or set and easily predictable narrative story points that can (at its core) provide less valuable overall human experiences because “Brutalist”, with all its artistic depth does a more active and unique take onto these commonly themes and the results transcend well beyond expectations.