“The Brutalist,” which takes its name from the raw style of architecture that Tóth creates, is also about the incalculable trauma that followed World War II. It’s about the immigrant experience, and it’s about what happens when the American Dream beckons, then fails.
This image released by A24 shows Adrien Brody in a scene from "The Brutalist." “The making of a good building,” observed architect Frank Lloyd Wright, “is a great moral performance.”
Of course, that’s not all. “The Brutalist,” which takes its name from the raw style of architecture that Tóth creates, is also about the incalculable trauma that followed World War II. It’s about the immigrant experience, and it’s about what happens when the American Dream beckons, then fails. It also explores a different dream: the artist’s dream, and what happens when it meets opposing forces, be they geographic displacement or cold economic calculus.
Tóth heads to Philadelphia, where he’s greeted by cousin Attila , who’ll let him work at his furniture store. Attila also bears monumental news: Lázló's beloved wife, Erzsébet has survived her own ordeal in the camps, and is alive in Europe. But the elder Van Buren comes to see his error, especially when the press picks up on his library. Soon, Tóth is dining with the wealthy at Van Buren’s palatial Doylestown estate, and learning that Van Buren has tapped him to build a vast community center atop a hill to honor his mother.
A coda, decades later in Venice, reveals something profound about why Tóth was so insistent about the measurements of his Doylestown creation. And so, yes, it takes more than three hours for us to learn the full truth about Tóth’s vision.
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