Adrien Brody in “The Brutalist,” directed by Brady Corbet.Credit...Lol Crawley/A24《粗獷派建築師》是一部充滿大膽色彩的傳奇故事，講述了那些大膽的男人和他們同樣遠大的夢想。這部電影以二戰後數十年為背景，是一部嚴肅grave、嚴肅 serious,、視覺效果華麗的電影，融入了許多創意，首先是藝術與商業之間的緊張關係。它主要集中講述一個地方的一個人，但其關注點更為廣泛，涉及烏托邦到野蠻、慾望、死亡、形式、內容、移民、同化以及現代化的希望和危險等一切。許多電影都展現了現實的一面；正如其名稱所喚起的建築美學一樣，這部作品提供了一塊平板。
“The Brutalist” is a bursting-at-the-seams saga of bold men and their equally outsized visions. Set across several decades in the aftermath of World War II, it is a grave, serious, visually sumptuous movie that puts a great many ideas into play, starting with the tension between art and commerce. It largely focuses on one man in one place, but its concerns are more expansive and touch on everything from utopia to barbarism, desire, death, form, content, immigration, assimilation and the promise and perils of modernity. Many movies offer up a slice of reality; true to the architectural aesthetic that its title invokes, this one offers a slab.
這是電影中快速而尖銳的場景，它立刻抓住了你的注意力，並以有節制的、堅持不懈的力量穩步發展。科貝特的電影風格比較微妙，雖然這不是他一貫的偏好（他早期的電影包括《光之聲》），但這部影片他追求的是宏偉壯觀。他喜歡大膽的時刻和宏大、具有隱喻共鳴的圖像，並經常將其推向接近崩潰的臨界點。 《粗獷派建築師》中的第一張照片是自由女神像的倒置鏡頭，這個令人迷惑、顛倒的角度傳達了拉斯洛從載著他來到美國的船的黑暗深處走出來時的真正視角。這座雕像本身就承載著拉斯洛所體現的複雜、矛盾的意義，也是他不穩定故事的預兆。這也是科貝特雄心壯志的象徵。
It’s a quick, pointed scene in a movie that grabs onto you immediately and builds steadily with measured, insistent force. Corbet can be subtle, though that’s not his usual preference (his earlier movies include “Vox Lux”), but he’s going for monumentality here. He likes big, bold moments and grand, metaphorically resonant images that he often pushes to the near-breaking point. One of the first images in “The Brutalist” is an upside-down shot of the Statue of Liberty, a disorienting, topsy-turvy angle that conveys László’s literal point of view as he emerges from the darkened depths of the ship that has carried him to America. The statue is already heavily freighted with complex, contradictory meaning that László embodies and is a harbinger of his destabilized story. It’s also an emblem of Corbet’s ambitions.
Epilogue: The First Architecture Biennale
[edit]In 1980, Erzsébet has died, and a retrospective of László's work is held at the Venice Biennale of Architecture. The exhibition showcases various projects built across the United States during the ensuing years and includes The Van Buren Institute, finally completed after a decade's hiatus. Zsófia, accompanied by her young adult daughter and an aging László, gives a speech highlighting how László designed the structure to resemble the concentration camps that imprisoned the Tóths, and functions as a way of processing trauma. She ends by claiming that László once told her: "No matter what the others try and sell you, it is the destination, not the journey."
尾聲：第一屆建築雙年展 1980 年，埃爾澤貝特去世，威尼斯建築雙年展舉辦了拉斯洛作品回顧展。展覽展示了隨後幾年美國各地建造的各種項目，其中包括經過十年的中斷後終於完工的範布倫研究所。佐菲亞在她已成年的女兒和年邁的拉斯洛的陪同下發表演講，重點介紹了拉斯洛如何將該建築設計成類似於囚禁托特夫婦的集中營，並作為一種處理創傷的方式。她最後說，拉斯洛曾經告訴她：“無論別人試圖向你推銷什麼，重要的是目的地，而不是旅程。”
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這很有趣，因為多年來，一直有人對我說，“‘洛杉磯’ 「《機密》是這類電影的最後一部，而《記憶碎片》則是這類電影的第一部”，這是克里斯多福諾蘭電影製作的新風格。能夠成為相差僅三年的兩個世界的一份子，真的很酷。所以現在，我再次處於這個時尚的一代人之中，拿著一部三個半小時的電影受到大家的討論，我很好奇幾年後它會是什麼樣子。
It’s funny, because for a number of years, I had people saying to me, “‘L.A. Confidential’ was the last movie of its kind and ‘Memento’ was the first movie of its kind,” this new style of Chris Nolan filmmaking. To be part of those two worlds that were only three years apart was pretty cool, really. And so now, again, to be in the middle of this snappy generation with a three-and-a-half hour movie that everybody’s talking about, I’m so curious to see how that looks in a few years’ time.
The conversation in the scene becomes heated, and builds up to a moment where László essentially tells Jim that everything ugly in the world is Jim’s fault. The one-take sequence has a single establishing cutaway shot.
場景中的對話變得激烈起來，最後拉斯洛告訴吉姆，世界上所有醜陋的事情都是吉姆的錯。一鏡到底的鏡頭序列只有一個建立切換鏡頭。
科貝特說，他更喜歡一次性拍攝所有場景，因為“那種彷彿置身於盒子中的陽光，捕捉到這種轉瞬即逝的事物的感覺，只有在連續拍攝中才會出現。”
Corbet said that he prefers to shoot his scenes in one take because, “that sunlight-in-a-box feeling that you have, that you’ve captured this ephemeral thing, it only occurs in sequence takes.”
‘The Brutalist’ (2024) poster premiere made exclusively for Movie Poster Of The Day / An A24 masterpiece dir. by Brady Corbet starring Adrien Brody in the role of László Tóth, Felicity Jones, Guy Pearce, Raffey Cassidy, Stacy Martin, Emma Laird with Isaach de Bankolé and Allesandro Nivola / 359th Plakiat Poster by Maks Bereski / Prints ☛ Plakiat.com/poster/359 ☚
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