28/41
Referenced in Close-Up: Why do We Need the Venice Film Festival?
Scenario
When visionary architect László Toth and his wife Erzsébet flee post-war Europe in 1947 to rebuild their legacy and witness the birth of modern America, their lives are changed forever by a mysterious and wealthy client.. Laszlo Toth was also the name of the man who defaced the Michelangelo statue The Pieta with a hammer.. (2024).
Here the circumstance is post-WWII-horror
The Brutalist is full of surprises. The characters are not who you expect – not in the Scooby Doo ending kinda way, but in the more subtle, incremental ways that real people reveal themselves – they unfurl over time, in a new context, or when forced by circumstance. Adrien Brody’s Laszlo, a jewish architect who escaped the clutches of bloody Europe, rushes into the welcoming arms of America – or is confronted by them – in a frenetic opening sequence that evokes being literally born by the Statue of Liberty.
What’s the lesson?
His becomes a journey of perpetually navigating life’s variety of horrors: existential, professional, familial, intimate – never taking his eyes off the prize of grand achievement, and never assessing the value of that prize to begin with. Is it the shameful discovery that his success wasn’t born in spite of his trauma, but because of it? Do we owe a debt to abuse?
Are our lives gasoline that gets burned up en route to some place more meaningful?
To the forces of culture, country, power and those who wield it, in the building of our brutal legacies (and homelands)? The movie is charming, cool looking, and not boring (did you hear it was long?). It feels like it’s based on an old novel – a mysterious tome that I would love to mine for some of the details the movie refuses to share.
But there is no novel
This aging Man’s search for meaning becomes ours as well. And any greater understanding of Lazslo’s arrival, his families’ machinations, his country and rootlessness, for better or worse, feels up to us to construct.
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