For anyone involved in architecture, it鈥檚 no surprise that a film focusing on a visionary architect and his profession demands the epic dimensions of cinematography, drama and 215-minute running time of Brady Corbet鈥檚 . This week the film was nominated in ten Oscar categories including best picture, best director and best actor.
Despite architects being present in film from the , architecture鈥檚 role in society has rarely been at the epicentre of the narrative.
Notable exceptions are King Vidor鈥檚 (1949), where the architect is a vessel for Ayn Rand鈥檚 hymn to individualism; Peter Greenaway鈥檚 (1987), which looks at the political stance of architects; and last year鈥檚 , where the architect is the ultimate coordinator of everyday life. But I never felt these films grasped the reality of architecture鈥檚 or the challenges beyond designing.
The Brutalist tells the story of the fictional Hungarian architect L谩szl贸 T贸th (Adrian Brody) who, after surviving the Holocaust and forced separation from his wife (Felicity Jones), emigrates to Philadelphia to work in the furniture shop of his prosperous cousin (Alessandro Nivola).
Unexpectedly, T贸th is tasked with refurbishing the study of a wealthy industrialist Harrison Van Buren (Guy Pearce), who despite his initial negative reaction, hires him to design an enormous library in memory of his mother.
In the process, Van Buren takes T贸th under his wing and helps him bring his wife to the US. The commission of the building is a joyous moment, but as the process of design and construction throws up challenges, the tension escalates.
Epic films usually depict the rise and fall of their protagonist, but The Brutalist explores the interconnected fates of the architect and his buildings. T贸th is aware of what is at stake. Once at the top of his game in Hungary, he is ostracised for his modernism which is considered anti-German by the Nazis. He is also condemned for being a Jew.
But Van Buren gives T贸th a second chance after a news story praises the building and he discovers the Hungarian鈥檚 previous work and his connection to the radical German .
From that point onward, we would expect that T贸th has gained his client鈥檚 trust. His joy at getting the authorities鈥 approval for the building is soon punctured by the obsessive Van Buren hiring consultants to check his work and keep tabs on the budget. Soon T贸th is beset by other problems as a railway accident delays the arrival of materials causing a hiatus.
Restarting the project is accompanied by constant concerns for health and safety and the pressures of any other potential delays. T贸th is also experiencing problems in his personal life, but Corbet and Mona Fastvold鈥檚 screenplay is driven by the challenges of realising his vision for this new groundbreaking building.
The Brutalist demonstrates the intrinsic role the client plays and how the architect is beholden to them 鈥 in this case necessitating the negotiation of a tricky relationship with the demanding Van Buren. As Italian architect Aldo Rossi writes in his book , 鈥渢he architecture that is going to be realised is always an expression of the dominant class鈥.
And the dominant class wants things done their way. T贸th is even ready to sacrifice his fee to realise his vision. He needs the building to make a name for himself at a time when capitalism is producing unprecedented opportunities for architectural expression.
It is the period about which American architect Philip C. Johnson : 鈥渢he battle for modern architecture has been won鈥. Think of or , or to reveal how the US became the main proponent of this ambitious expansive style.
A memorable scene in the cavernous marble quarries of Carrara in Italy is both magnificent and ominous. The sheer scale that renders humans the size of ants underscores the clash between nature and power, in the level of extraction required for materials, and the exploitation of people and planet to satisfy the egos of two competing masculinities.
In the past, 鈥淲hat does an architect do?鈥 was a question I often was asked by clients who wanted me to justify my fee. This is a question I now ask my students to reveal their own perceptions and values.
Architecture is one of the three main fine arts of antiquity. However, beyond the artistry and the aesthetics, to meet the needs of its time. In a post-war world, architects were compelled to go beyond efficiency; they needed to create an identity and capture the public鈥檚 imagination, while creating buildings with market value.
Architects take many aspects into consideration. T贸th draws beautifully, has knowledge of materials and technology, reads the landscape and understands the environment. He also manages the budget and has to promote himself in a world that mocks his accent and others him as a foreigner 鈥 architecture has a long way to go .
US modernism is full of immigrant architects who either moved there very young like Estonian and Finn Eero Saarinen, or by accepting teaching positions like Germans and Mies Van der Rohe did after the closure of the Bauhaus.
So The Brutalist needs its three and half hours to tell the saga of an immigrant architect鈥檚 life and the long arduous years it takes to complete a cherished project. As an architect in a digital era, it made me nostalgic for paper, charcoal drawings and physical models. And wish that architects had a filmmaker鈥檚 power to complete the construction of a building like a speeded-up film montage.
, Associate Head Academic, School of Architecture Art and Design,
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