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The term “masterpiece” is thrown around quite a lot when describing modern movies. Hell, even this critic has become a product or recency bias labelling quite a few movies of the last few decades masterpieces. Holding films in the same regards as others that have been given the proper time to be evaluated, re-evaluated and eventually labeled masterpieces. But you know the problem with recency bias, or just finding that the latest film is your favorite of all time? Well, eventually at some point everyone’s favorite film will be the film they saw last. It’s a wonderful thing that throws out the entire recency argument out the window or at least enough to ignore the voices around you. THE BRUTALIST, the latest and most epic film from Brady Corbet is a masterpiece, through and through. A film packed to the brim and beaming with aggressive hold you by the throat strength that it both breathes new life into cinema while also destroying many others in the process. A film that doesn’t make you question other great films, but instead just steamrolls past the bad ones that you hardly have time to even compare. A towering immigrant tale of refuge, dreams and pain all bookend by the possibility as well as the uncertainty of the American dream. A topic that has been often displayed throughout American cinema’s history, but far too few have been able to capture both the perseverance and destruction that comes from true artists being given opportunities. False hopes as well as recognition that is sometimes far too late if it ever happens at all. THE BRUTALIST is Brady Corbet’s way of honoring the genius artists as well as the creative and collaborative form that must happen in order for a film to ever come about, but even in its tribute it hovers beyond many of the contemporary films that have attempted the same level of ingenuity. Instead THE BRUTALIST, much like its architectural designs, feels like it holds secrets and whispers of innovation that only the filmmakers who put it together know how it actually came to be while the rest watch in awe as they dream to make something of this magnitude.

Getting to America is Hell. László Tóth (Adrien Brody) knows this as he pushes his way through a bustling ship. A scrawny and tired man THE BRUTALIST kicks off as László’s memories of the past blend into the journey of this Hungarian-Jewish Holocaust survivor who has left both his life and family behind in a post war Europe. Even early on Corbet wants us to feel the grip that THE BRUTALIST will have on the audience as a pounding audio and score from Daniel Blumberg kicks in as the camera flips upside down giving us a view of the statue of liberty. A beacon of hope and promise for many coming to America at the time while also battling the soon to be heartache that so many immigrants experience as they try to succeed. Its less on the nose as it sounds and more just a bustling chaos that László feels as he enters New York, immediately attends a brothel (where he cannot seem to get aroused), and then finally bus out to Philadelphia. THE BRUTALIST even outside of its grand opening scene wants to utilize its Vista Vision camerawork along with its made with 70mm film stock that is probably as large as the building Làszló will eventually design. Film geeks galore as Corbet with Lol Crawley deliver a large scop film that (whether you see it on 35mm or 70mm) promises something large early on and delivers throughout its also large 215 minute runtime. As the score kicks in again and the opening credits crawl across the Pennsylvania countryside THE BRUTALIST feels both at peace and frustrated with itself. After all this makes sense coming from Corbet a director whose previous film “Vox Lux” took on the price of fame while also allowing its lead to be a mockery of all those wishing they could be famous. It’s a director in his element alongside another screenplay, co-written by Mona Fastvold, that wants to be terrified of its own success.

Làszló’s journey is far from over though once he reaches his (believed) destination of Philadelphia. There he discovers his already immigrated cousin Attila (Alessandro Nivola mastering the devilish grin) has changed his Hungarian surname to Miller and has married a non-Jewish woman only to open up a furniture store that sells as basic and safe as you can get. Perhaps this is why once László comes on his ingenuity of creating an unusual chair design (now something you’d see in Ikea) has Attila threatened. A product of assimilation, Attila is just one of the many early examples of Americans (born or not into the country) admire foreign creativity until it interferes with their own success. THE BRUTALIST never wants to fill in the spaces early on as scenes thankfully go on for some time even as László finds himself like just another immigrant scouring for food and shelter. But even reaching hard times László keeps up his more Europe centric ideologies of fair wages for hard work and bread for anyone starving. His assistance in helping a Black man Gordon (Isaach De Bankolé) and his son (Zephan Hanson Amissah) earns László a devoted friend and co-worker. But like many László who still has not seen his wife Erzsébet (Felicity Jones) or niece Zsófia (Raffey Cassidy) tries to seek ailment in a new found drug use as well as the odd jobs that never reward his efforts. One of these jobs given to him by a hot shot young and very rich man Harry Lee Van Buren (Joe Alwyn) finds him in hot water with Harry’s father Harrison Lee Van Buren (Guy Pearce). Harry belittles László’s work and kicks him out without pay and the threats of lawsuits. All this commotion only to eventually be sought after by Harrison and after some awkward and all too belittling apologies offers László the job of a lifetime. It is a wonderfully full circle way to show again the mistreatment of immigrants by the wealthy only for them to come back around once the circumstances calls for it. A man in need of money and success László cannot resist especially when Harrison offers him a home on his estate as well as a lawyer who can help bring his wife and niece to America. But even with all the back and forth back handed fascination towards László from Harrison nothing can prepare the architect for the insane building plans Harrison has cooked up.

Architectural procedures have helped shape films practically since the beginning even if it is not fully noticed. But starting from scratch to hopefully making something monumental is often the desires of every filmmaker. Perhaps there lies the comedy in Corbet taking on such a grand story while writing his lead character as a man who must now build the impossible. Starting as dedication to his mother, Harrison wants László to build a center that is a home for inspiration for the community of his Doylestown Pennsylvania estate. The catch? The place must be a library, a civic center, a swimming pool and even a gymnasium. It’s laughable and Brody as László gets to both play it in a mocking but dedicated sense. He knows it cannot be done and yet why the hell not try? After all he came here for the dream and to make his name be known amongst many. Corbet so inspired and devoted by Euro style filmmaking makes László’s crew trying to put together this chaotic monument in the same realm as the circus that ran around the finale in Fellini’s “8 ½.” Even attempting to homage that filmmaker can come with an eye roll but both Brody as a performer and Corbet at the helm truly make it feel human as well as painful for all involved. All this keeps the train rolling as Corbet only finds himself at his halfway point in a prolonged midway that feels like we are both overwhelmed and begging for more. We have become the same buildings that László is so desperate to build.

At this point in time (and much like the film itself) an intermission has arrived. Seriously if you’re even still reading this, get up stretch your legs and meet me back in fifteen……..

THE BRUTALIST never finds itself short ending anyone who comes into László’s life or has already been there waiting in the corner. As Erzsébet is finally able to join László she is no longer reuniting with her husband, but instead a man torn between his new country and the life and outlook he once had. Jones is fascinating as both a pained woman herself (mentally and physically) but as a performer never plays secondary to her husband even if her role is that of a wife worried and angered at her husband’s new found friends. Instead Jones blends into the same fascination of the rich and famous as the Van Buren’s find ways to win her over even if she herself can see through the bullshit. Brody on the other hand demonstrates an actor who is able to lose himself with complete empathy towards László that it angers you as the audience that Brody has not been leading more films in the past decade. A man who has found great success in the troupe of Wes Anderson may be enjoyable but it never should have limited him to full front man status of the same caliber as both THE BRUTALIST and his Oscar winning role in “The Pianist.”

Most Broadway theater goers know the second half is often started with a scene for people rushing back from the bathroom or even as a whole never quite as strong as the first half. THE BRUTALIST thankfully is not Broadway but instead finds itself at wider scales as the film expands beyond the hills of Pennsylvania and eventually into the Italian mountains in a reminder that for all the man made creations László brings forth, the mere sights of larger than life nature can overpower any artist. A sensory overload at times in the best ways THE BRUTALIST never finds itself away from its refugee tale of both outsiders and artists that continuously find themselves at the disposal of those in power. Even if the artists finds a way to have their work outlive them there is always the painful feeling that it is up to those in charge to choose what gets seen and what disappears into history. But even as Corbet finds himself spanning across decades to a finale that feels like a blend of the past THE BRUTALIST wants there to be some level of comfort. But getting to know Corbet’s motivation over a few films it becomes apparent that it is too hard to ever pinpoint success in his characters. If they’ve accomplished goals does it matter in the long run? Or have they become too lost in their desire to be accepted by the masses. THE BRUTALIST knows both in its story and as a film itself that it can be something far beyond what is currently being given to moviegoers, but in doing so must recognize that desire for many to toss it aside even when it recognizes some form of genius. After all it can be easier to just try to control the narrative before true pioneers change the story entirely. THE BRUTALIST has changed the story, it has allowed for a monument to be built and while it’s recognition can happen today, later in the future or possibly never one thing is for certain; it is undeniably a masterpiece.

A+

THE BRUTALIST SCREENED AT THE NEW YORK FILM FESTIVAL ON SEPTEMBER 29. IT WILL BE RELEASED IN SELECT THEATERS ON DECEMBER 20 FROM A24.