In the supermarket today, a woman stopped me to ask how the film currently playing at the Screening Room has been doing.
This is common, but today’s inquiry came with a serious tone and an expression of worry which made me think for a moment that she was asking about my hospital stay the previous week. I had to snap out of it:
“Fairly well, I’d say, considering that it’s three and a half hours.”
Make that 3:45, with the built-in 15-minute intermission. The Brutalist is the first film I’ve ever shown with an intermission in my 27 years as a projectionist.
“Glad to hear it!” Smiling, she tapped my shoulder and went on her way.
Maybe she was concerned that such a long film might put Newburyport’s cherished, quirky little cinema out of business, but it’s more likely she was relieved to hear that people were willing to absorb that long a tail of immigration and fleeing the Holocaust.
That much can be gleaned from the ads. But few realize that “brutalist” is an architectural term for a movement that reached America soon after World War II. The style is heavy on concrete blocks and the exposure of natural, raw materials with geometric shapes rather than any decorative design. Best known example in New England is Boston City Hall.
I had forgotten it, even though I always took visitors to see an invigorating and somehow charming example during the two years I lived in North Dakota. Just south of Bismarck on a bluff overlooking the Missouri River, Mary College (now the University of Mary) was a must-see. Tellingly, Mary’s website proudly describes the architecture–without the word “brutal.” As another former Bismarcker just wrote me, “I have fond memories of exploring Mary College. It always seemed as if it had been deserted.”
Yes, it’s inspiring while at the same time putting us in our place. So, too, is the film which seems to fly by more quickly than many two-hour flicks. An intoxicating soundtrack and score sure help. By the time the break arrives, it’s more like a 15-minute intrusion than intermission.
Reminds me of There Will Be Blood, in which the Daniel Day Lewis character is a composite of oil prospectors in Texas in the 19th Century, and Martin Eden, in which the title character is Jack London’s fictionalized version of himself.
Adrien Brody’s performance is as convincing as that of Day Lewis, and the character appears be a composite of two Hungarian architects from the Bauhaus School. “Laszlo Toth” surely owes his high temper to Erno Goldfinger who lived and worked in England after fleeing the Nazis in 1934. But the primary model is Marcel Breuer who fled to the USA in 1937 and whose buildings–many of them churches and synagogues–are easy to find in Pennsylvania where the film is set, as well as in Connecticut. He also designed, as I used to tell visitors to Bismarck, Mary College.
There’s been confusion about this. Is it a true story? Was there a Laszlo Toth? If you can accept “historical fiction” as a classification of books, then yes, this is history told as drama with dialogue filled in to make sense of what we know happened. From Shakespeare’s histories to Spike Lee’s Malcolm X and BlackKklansman, it’s a time-honored form. The Brutalist‘s architectural story is certainly true. What complicates such talk of this film is that, yes, there was a Laszlo Toth.
Unfortunately, Toth was the Hungarian geologist who, after declaring that he was Jesus Christ, vandalized The Pieta with one of his little hammers in 1972. He spent two years in an asylum before disappearing into obscurity. Is this a director’s inside joke, a brutal clash of art?
There’s a parallel for this. Remember Clint Eastwood’s Gran Torino? Eastwood played a character named “Walter Kowalski,” same name as a celebrated wrestler in the 1950s-early-60s who went by “Killer Kowalski,” a favorite son of Detroit, same city where Torino is set.
And then there’s the sculptor Peter Wolf Toth, likely a cousin, possibly a nephew, also from Hungary, who landed in Akron, Ohio, before traveling to every American state and Canadian province to create the Trail of the Whispering Giants. When I tracked him down in Ontario in the mid-80s, with a very tall Iroquois just beginning to emerge from a tree trunk, he seemed leery of me for a good fifteen minutes before opening up.
In retrospect, I wonder if he thought I might ask about Laszlo. More than that, I wonder what he thinks of the name’s selection for this film. Then again, the woman in the supermarket never asked about the character’s identity.
What matters is that such stories, no matter how uncomfortable, be told. And that there be places to see and hear them.
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https://www.umary.edu/about/history/our-architecture

























