The film "O Brutalista," loosely based on the life and work of architect Marcel Breuer, has stirred both fascination and controversy since it opened to ten Academy Award nominations. Directed by Brady Corbet, the film has emerged as one of the leading contenders for the coveted Best Picture, with many eager viewers anticipating its exploration of brutalist architecture. Yet, as the film gains acclaim, it also draws sharp criticism from design experts who argue it distorts the facts and misrepresents the architectural style it aims to depict.
Corbet has described the film's protagonist, Laszlo Toth, as a "fusion" of various famed architects, primarily Breuer, who was renowned for his modernist approach. Strikingly, both Toth and Breuer share similar origins—they were born Jewish in Hungary, trained at the influential Bauhaus school during the interwar period, and later emigrated to America. Notably, both figures became celebrated for their iconic chair designs before transitioning to monumental structures.
The inspiration for the film's narrative stems significantly from Breuer's notable work at the Abadia de Saint John, located just outside the quaint towns of Minnesota. The film also features Breuer's architectural legacy through his other iconic buildings such as the UNESCO headquarters in Paris and the Whitney Museum of American Art, hinting at his significant contribution to the modernist movement.
But what exactly is brutalism? This architectural style emerged during the post-war reconstruction of Europe, particularly prominent in the 1950s. Easily recognizable by its raw concrete and bold geometric forms, brutalism aims to convey authenticity and strength. The term "brutalism" is believed to originate from the French for "raw concrete"—"beton brut." Ironically, critics note there is almost no architectural representation of brutalism within the film until the climax, where Toth's completed masterpiece is finally revealed after three long hours.
Critics have been vocal about their disappointment. Alexandra Lange, design critic, questioned the filmmakers' claims of having immersed themselves in the literature of brutalism. "The filmmakers claim to have read all these books about brutalism, but absolutely none of this is used for any dramatic purpose or genuinely seems absorbed," she said during the podcast titled "Why The Brutalist is a Terrible Movie."">
Victoria Young, Professor at the University of St. Thomas, echoed similar sentiments, pointing out several historical distortions, particularly concerning Toth's portrayal as a Holocaust survivor arriving in post-war America. "I thought: 'They got lost on the timeline here,'" she critiqued. Indeed, ex-students from Bauhaus like Breuer had already made their marks on American soil long before World War II commenced, landing prestigious positions rather than struggling for bread at soup kitchens.
Yet, the film does not stop there—it portrays Toth as addicted to heroin yet devoutly religious, contrasting sharply with Breuer's real-life persona, which was decidedly sober and secular. The editor of "O Brutalista," David Jancso, added another layer of intrigue by indicating the use of artificial intelligence to render some designs and blueprints for the film. While Corbet clarified the hand-drawn designs, he admitted AI was employed for producing what he termed "intentionally...bad 1980s digital renderings" for the movie's epilogue.
The reception to the film has sparked discussions over the ethical responsibilities of filmmakers, particularly when representing historical narratives and significant figures. While Robert McCarter, architect and author of the monograph "Breuer," remarked, "They are just using his biography conveniently... I think it’s all right," other commentators have linked the film to broader architectural misrepresentations.
Alan Reed, one of the monks at the Abadia de Saint John who has experienced the film's portrayal of their architecture, noted, "The supposed brutalism reminds me of modern Russian buildings... which look like weapon parapets," underscoring the dissonance between the film's artistic liberties and the true essence of Breuer's architectural vision.
Despite the criticisms, which seem to pale compared to the buzzing debate surrounding the film "Emilia Perez," "O Brutalista" maintains its position as one of the top contenders at the Oscars. The recognition may bring attention to brutalism as the film seeks to celebrate its legacy, even as critics decry its accuracy and portrayal. Within the cultural dialogue, it remains to be seen whether the movie will spark newfound interest or continued skepticism toward this controversial architectural style.