journey to america movie

Journey to America (1989)

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Journey to America #1

Journey to america, sonia levitin.

160 pages, Paperback

First published January 1, 1970

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• 0 hr 52 mins
• Documentary
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A photo essay on the voyage to America taken between 1890 and 1920 by some 18 million Europeans. Written, directed and narrated by Charles Guggenheim.

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Journey to America

Escaping the holocaust to freedom/50th anniversary edition with a new afterword from the author.

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About The Book

About the author.

Sonia Levitin, like Lisa Platt, escaped from Germany in the late 1930’s. Among her acclaimed books for young readers are The Mark of Conte and The Return .

Product Details

• Publisher: Aladdin (July 21, 2020)
• Length: 224 pages
• ISBN13: 9781534464636
• Grades: 3 - 7
• Ages: 8 - 12
• Lexile ® 750L The Lexile reading levels have been certified by the Lexile developer, MetaMetrics®
• Fountas & Pinnell™ U These books have been officially leveled by using the F&P Text Level Gradient™ Leveling System

Browse Related Books

• Age 12 and Up
• Lexile ® 691 - 790
• Children's Fiction > Family > General
• Children's Fiction > Historical > Holocaust
• Children's Fiction > Emigration & Immigration

Raves and Reviews

“Germany in the early days of the Nazis. Told from the viewpoint of a young Jewish girl and told mostly in dialog…it becomes more than just another journey: it becomes a vivid documentary of insane cruelty and limitless courage that will never be forgotten by anyone who reads it.”

– Publishers Weekly, May 18, 1970

"People being people give Journey to America a special glow."

– Kirkus Reviews, March 20, 1970

“A very moving though never maudlin story with good characterization and a fast pace, this novel will be a definite asset to any collection.”

– School Library Journal, May 1970

“Commendably, neither issues nor ideals intrude on the reader abstractly, but emerge naturally from the human condition portrayed in the story.”

– Booklist, June 1970

Awards and Honors

• National Jewish Book Award

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With a background in Mass Communication, Beatrice W is a curious writer who likes to research and learn new things and cultures. She enjoys watching movies and travel shows, enjoying the virtual outings they offer while allowing her to travel around the world from the comfort of her living room. Beatrice mostly writes about famous people, iconic places, and movies.

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Journey to Christmas

While on a charity press tour, a model (Tsai) ends up stranded by the weather at the family home of the driver (Heyworth) she hired to assist her for the week.

Starring Ash Tsai and Joey Heyworth

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Journey to Christmas

Great American Family

1 hour 30 mins, romantic comedy.

While on a charity press tour, a New York City fashion model ends up stranded by the weather at the family home of the driver she hired to assist her for the week.

Movie Trailer

Cast & Crew

Ash Tsai Cali

Joey Heyworth Jack

McKenna Flory Talia

Jeffrey Hanson Max

Brad Johnson Kurt

Melanie Nelson Rose

Whitney Palmer Holly

Sarah Kent Care Center Worker

Shaunna Thompson Peggy

Stacey Ann Turner Ava

Caitlyn Varner Sofia

Scott Christopher Executive

Charan Prabhakar Podcast Interviewer

Yolanda Stange Club Administrator

Dave Martinez Photographer

Savannah Meyer Sales Associate

Brian Brough Director

Missy Cohen-Fyffe Screenwriter

Brittany Wiscombe Screenwriter

Brian Brough Producer

Brittany Wiscombe Producer

John Lyde Cinematography

John Lyde Film Editing

Russ Whitelock Original Music

Anthony Straga Production Design

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Pawan Kalyan Birthday: Power Star’s Journey From Telugu Cinema to Andhra Pradesh Deputy CM

Published By : Nibandh Vinod

Trending Desk

Last Updated: September 02, 2024, 07:10 IST

Hyderabad, India

Telugu superstar Pawan Kalyan won the Andhra Pradesh Assembly Elections in June and was appointed Deputy Chief Minister. (Image: pawankalyan/Instagram)

Telugu superstar Pawan Kalyan captivates fans across India with his stellar performances and charismatic presence. Known as the 'Power Star' for his dynamic roles and philanthropic work, he won the Andhra Pradesh Assembly Elections in June and was appointed Deputy Chief Minister.

Telugu superstar Pawan Kalyan is one of the most prominent personalities in showbiz. The actor-turned-politician enjoys a devout fanbase across India. The credit goes to his stellar performances and charismatic on-screen presence. Not to forget, his mass action entertainers are still fondly etched in the memory of the audience. Fans lovingly call him ‘Power Star’ due to his impeccable acting chops and altruistic activities. Pawan Kalyan won the Andhra Pradesh Assembly Elections in June and was appointed the Deputy Chief Minister.

View this post on Instagram A post shared by Chiranjeevi Konidela (@chiranjeevikonidela)

On the occasion of his 56th birthday on September 2, let’s take a look at Pawan Kalyan’s journey from Telugu cinema to Deputy CM, how he attained the ‘Pawan’ title, his top films and family life.

Pawan Kalyan’s Journey

Formally known as Konidela Kalyan Babu, Pawan Kalyan made his debut in films with the 1966 action-romance Akkada Ammayi Ikkada Abbayi. Directed by EVV Satyanarayana, the film was an official remake of Aamir Khan’s Qayamat Se Qayamat Tak. Although Akkada Ammayi Ikkada Abbayi proved Pawan’s potential as an actor, it was his 1999 movie Tholi Prema by the director A Karunakaran that made him the star that he is now. The romantic comedy bagged six Nandi Awards and the National Film Award for Best Feature Film in Telugu.

Pawan Kalyan kickstarted his political journey in 2008. He was appointed as the President of the youth wing of Praja Rajyam Party — Yuvarajyam. In 2014, Pawan established a new political party called the Jana Sena Party (JSP).

This year in June, Pawan Kalyan contested from the Pithapuram Assembly and won the seat by defeating YSR Congress Party opponent Vanga Geetha with 70,000 votes.

How Did He Get The Title ‘Pawan’?

Pawan Kalyan was awarded the ‘Pawan’ title by the Karate Association in 1997 after he displayed his skilled martial arts presentation at a public event. ‘Pawan’ symbolised Lord Hanuman and the superstar attained the moniker for his indomitable energy and power similar to the deity. Pawan has demonstrated his martial arts strategies in several films.

Pawan Kalyan’s Top Films

• Bheemla Nayak (2022) Helmed by Sagar K Chandra, Bheemla Nayak featured Pawan Kalyan and Rana Daggubati in lead roles. The action-thriller is the Telugu remake of the Malayalam movie Ayyappanum Koshiyum (2020). The story centres around a clash between an upright police officer and a retired army officer.
• Vakeel Saab (2021) Directed by Veny Sriram, this Telugu legal action-thriller was the remake of the 2016 film Pink starring Amitabh Bachchan, Taapsee Pannu, Kirti Kulhari and Andrea Tariang. Pawan Kalyan played the role of Advocate Konidela Satyade, defending the case of three women. The film touches on the topics of harassment and social prejudices against women.
• Gopala Gopala (2015) This Kishore Kumar Pardasani directorial starred Pawan Kalyan in the role of Lord Krishna’s reincarnation aka Govinda Gopala Hari. The film, also starring Daggubati Venkatesh, was riddled with controversies owing to religious connotations. It revolves around the life of an atheist whose spiritual views change after meeting Govinda Gopala Hari.
• Gabbar Singh (2012) Based upon Salman Khan’s police drama Dabangg, Gabbar Singh entertained the masses with its action sequences and Pawan Kalyan’s impressive acting. Directed by Harish Shankar, Gabbar Singh also starred Shruti Haasan as the female lead.
• Kushi (2001) Kushi, directed by SJ Suryah, was a romantic drama starring Bhumika Chawla in the female role. Pawan and Bhumika’s on-screen chemistry was the major highlight of the movie.

Pawan Kalyan’s Family Life

Pawan Kalyan is the youngest brother to veteran actor Chiranjeevi and actor-producer Nagendra Babu. He is also the uncle of Ram Charan, Allu Arjun, Sai Dharam Tej, Varun Tej, Niharika and Vaisshnav Tej.

Pawan Kalyan got married to Nandini in 1997 but the duo separated in 1999. They divorced in 2008.

Pawan Kalyan found love for the second time with his Badri co-star Renu Desai. After dating for many years, they got hitched in 2009. The couple welcomed their son Akira Nanda in 2004 and became proud parents to daughter Aadya in 2010. However, Pawan and Renu divorced in 2012.

Presently, Pawan Kalyan is married to actress Anna Lezhneva whom he met while shooting for the 2011 romantic comedy Teen Maar. They tied the knot in 2013. They embraced parenthood with the birth of their daughter, Polena Anjana Pawanova and son Mark Shankar Pawanovich.

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Journey to America

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Journey to America: Escaping the Holocaust to Freedom/50th Anniversary Edition with a New Afterword from the Author Hardcover – Special Edition, July 21, 2020

Purchase options and add-ons.

• Reading age 8 - 12 years
• Print length 224 pages
• Language English
• Grade level 3 - 7
• Lexile measure 750L
• Dimensions 5.5 x 0.9 x 8.25 inches
• Publisher Aladdin
• Publication date July 21, 2020
• ISBN-10 1534464646
• ISBN-13 978-1534464643
• See all details

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• Publisher ‏ : ‎ Aladdin; Anniversary edition (July 21, 2020)
• Language ‏ : ‎ English
• Hardcover ‏ : ‎ 224 pages
• ISBN-10 ‏ : ‎ 1534464646
• ISBN-13 ‏ : ‎ 978-1534464643
• Reading age ‏ : ‎ 8 - 12 years
• Lexile measure ‏ : ‎ 750L
• Grade level ‏ : ‎ 3 - 7
• Item Weight ‏ : ‎ 11.2 ounces
• Dimensions ‏ : ‎ 5.5 x 0.9 x 8.25 inches
• #314 in Children's Holocaust Fiction Books (Books)
• #4,388 in Children's Fiction on Social Situations
• #46,206 in Children's Family Life Books (Books)

About the author

Sonia levitin.

My life is mainly devoted to friends and family, my writing and my home. I enjoy hiking in the mountains, especially with my dogs. You can see their pics on my web page, and also pics of my family andfriends. I like to traveling to interesting places. I've been to Europe, parts of Asia, Hawaii, and many beautiful places in the U.S. My most exciting new project is working with a great team on creating a musical based on my novel The Return. We plan the premier in fall, 2006, and now we're casting and soon going into rehearsal.

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DEADLINE: A highlight of our last Cannes Disruptors magazine had you and Francis Ford Coppola discussing why two mavericks were gambling their own money on passion projects others wouldn’t finance. Now, each of you will be at Cannes premiering these movies.

COSTNER : He finished his? That’s great.

DEADLINE: I can’t think of another filmmaker ever, who put $120 million of his own money into a movie like Coppola did with Megalopolis . It won’t be released until the fall, but he’s following the trail of where he brought Apocalypse Now to Cannes and it turned around the negative narrative. The press has been skeptical once again, and he responded by putting the film in Competition that first Friday night, four months before the film opens. This is a guy that has…

COSTNER : Brass balls. You know, I’m on schedule right now at $98 million, and when I do the fourth film, it will push me over $100 million.

DEADLINE: You’ve had the cushion of your Yellowstone salary. He preserved the long-term future of his wine empire by aligning with a larger competitor, and it created a windfall that allowed him a credit line to make his movie. He said, even if Megalopolis fails to earn out, his children will still inherit his vineyard in Napa.

COSTNER : You realize, I can do this. My kids might not get the 10 acres [the waterfront Santa Barbara property Costner put at risk]. But they’re going to have homes, and they’re going to have my legacy and the wealth that follows, from my estate. They can make up their own lives. But I’m not going to let anything hold me back. They can make it seem like it’s an obsession, but it’s something he wanted to do. He’s not hurting anybody. He figured it out. He’s also explained to his children. Mine are so clear about it. Dad, you do what you want to do. We don’t need all these things. We’ve enjoyed all these things, but we don’t need them. They just don’t want to see me just work myself to death.

I feel I’ve made a movie for the people, period. This isn’t a movie from me. I felt like it was my turn in my career to tell a story. This is the one I choose to tell. It’s just my turn.

DEADLINE: You could also take an actor-for-hire job. Yellowstone…

COSTNER : Yellowstone was really good. Hatfields & McCoys , that was good.

DEADLINE: Yellowstone mushroomed into the biggest hit on basic cable, the ratings growing each year. Now, it has imploded in squabbles and rumors about you putting this movie first and trying to squeeze your windows of availability to finish your John Dutton character. Where does it stand with Yellowstone ?

COSTNER : Well, I haven’t felt good about it the last year, what with the way they’ve talked about it. It wasn’t truthful. So now I’m talking about a little bit about what the real truth of it was. I made a contract for seasons five, six and seven. In February, after a two- or three-month negotiation, they made another contract. They wanted to redo that one, and instead of seasons six and seven, it was 5A and 5B, and maybe we’ll do six. They weren’t able to make those. Horizon was set in the middle, but Yellowstone was first position. I fit [ Horizon ] into the gaps. They just kept moving their gaps.

DEADLINE: A Gala premiere at Cannes seems so exciting. Who’ll come with you?

DEADLINE: Francis Coppola is going through the same thing; he doesn’t have a distributor yet, so anyone who comes, he has to pay. But for the pageantry and the elegance and the global platform, there’s nothing like the glamour of a Cannes premiere and the long walk up the stairs after the red carpet.

COSTNER : I’m so thrilled to be going there. And listen, I don’t want to get down in the gutter with the Yellowstone thing but what I’m telling you is straight up. I have taken a beating from those f*cking guys and I know a lot of times where it’s coming from. I just elected not to get into that. But if you know me well enough, I made Yellowstone the first priority, and to insinuate anything else would be wrong. I did not initiate any of those things. They did. They were doing a tap dance and this poor guy was also having to write so much. And I don’t know why they didn’t stick up for me. You asked me the question, I’m going to answer it. I don’t do press outside my movies. I don’t live in the press, in between. Now I’m promoting my movie. I could say “no comment” all the way through. I won’t say my life is fair game or that any questions are fair game, but this is a realistic question. I will address it. They should have known that there was going to be an opportunity for me to say something. I didn’t have to answer the slings and arrows over the last year and a half, because I’ve just been busy working. They’ve been pretty slick about keeping their hands off; nobody was ever on the record.

DEADLINE: Coppola has endured his share of that, as people who haven’t seen the movie tried to paint a false picture of an out-of-control movie that can’t get a distributor. Past accomplishments don’t stop people from taking shots at him, and you.

COSTNER : No, they don’t. And for Francis, there’s that line he’s got in the third Godfather , just when I’m out, they suck me back in. Neither one of us should be surprised. I love how people who have seen it are responding to Horizon . You were the first. I hope the same for Francis, but we’re not immune to just being picked at.

DEADLINE: If you worry too much about this, can’t it make a filmmaker fearful? Is it best to trust your gut and collaborators?

COSTNER : The misnomer of collaboration is, if you don’t take my idea, you’re not a good collaborator. I don’t think that flies. Collaboration is about an environment where you can say what you want to say and the other person will sincerely consider it. But somebody has to protect the rhythm of the movie. You can never make decisions out of fear. You can think, I feel like I’ll lose my audience here, but if the scene plays, I’ll get them back. I watch time, I’m agonized by it. It’s not like I’m out there going, I don’t give a sh*t what people think. That’s not who I am. I focus first on how the movie looks and then I worry about trying to do as much as I can with it. I screened this movie at 3:15. First one was 3:52 and at first I didn’t know how to get five minutes out of that. Then I took it to 3:29, then 3:24, then I got it to 3:15. I screened that in Vegas, and then got down to 3:06. I didn’t think it had an inch more to go. Then I dropped beneath three hours. Got to 2:50, now I’m at 2:45, but I’m going to put some back.

DEADLINE: Sounds like a good length for the first of four movies…

DEADLINE: Last year when Marty Scorsese was on the cover of this magazine, he was troubled that his 3 hour, 26-minute running time became a big part of the narrative of the film.

COSTNER : Well, it ain’t going to be 2:45, Mike. I’m going to put some stuff back in that I need to put back in, and I’ll see if it works. But listen, if I had the same feeling at 2:30 that I have at 2:45, I’d make it 2:30.

DEADLINE: You’ve described my personal weight-loss fantasy. If I could get down to 175, I might say that putting back a couple pounds would be best. But first you got to get down to 175, and that’s where my plan fails. 

COSTNER : I get what you’re saying, the hardest part was getting to 2:40. And I was teasing you when I said to be quiet. I do think about all this, because I own it. Would I like a screen time that allowed me an extra show each day? Nobody would like that more than me. When you put your money in like I have, like Francis has, you need to know what we like. We are just dealing with our own UFOs. We see something and we can’t back away from it.

DEADLINE: Does it feel like a little part of you dies with each few minutes you cut from the film? How hard is that dance in a sprawling film about Manifest Destiny?

COSTNER : I remember the first assemblage of Dances with Wolves was five and a half hours. It’s painful, but there is pleasure. You don’t think you can, and then you realize you can. Dances , I cut two and a half hours out of it because I knew it wasn’t working as well as it should. I’ve got [ Horizon ] where I want it.

DEADLINE: So, you have locked the first two films?

COSTNER : The second one is not locked. I’m still looking to cut some things. It’s 2:45, that number you seem to f*cking be in love with.

DEADLINE: When do you plan to start the third film?

COSTNER : I wanted to start April 25th, but I’ve got to find the money. I wanted to start May 6th, but I needed to find the money. I’ve moved myself to May 13th, and I’m going to start my movie. I don’t give a sh*t now. I’m just going to start it.

DEADLINE: Do you worry, what if the audience doesn’t come back for the other three installments? Nobody has done what you’re doing here, not on a movie screen anyway.

COSTNER : Who doesn’t come back?

DEADLINE: The audience.

COSTNER : Well, the reality of that is the film lives and whatever are the viewing habits, I own it for the rest of its life. Would you want to own these two pieces for the rest of your life? Hell yeah. And every five years, license them around the world. Relicense them here in America. The difference is I own that, because of the risk I’ve taken. Why is Vegas there? It’s for all the people that lose to the house. Why are studios there? It’s because those movies continue to make money, well beyond their opening weekends.

DEADLINE: Even with the death of the DVD?

DEADLINE: I’m not a risk taker, but I admire those who bet on themselves. 

COSTNER : Neither of us is Ahab. I first saw obsession in my life when I saw Moby Dick with Gregory Peck. I was too young to articulate what it meant, but I was afraid of that ugly man after the white whale. There was this prize he was determined to win, and it turned into something more. He was willing to take men down. And the difference with Francis is, and the difference with me is, we may have a bit of Ahab in us, but our obsession isn’t such that we would take other people down. We put ourselves on the line, we shoulder it all. Other people get paid. For me, it’ll be two or three years without a salary from Horizon . Try it, see how it feels.

DEADLINE: No thank you.

COSTNER : Try doing that, with a lot of money going out. He’s not crying to anybody. I’m not crying to anybody. But if you think it’s easy, try it.

DEADLINE: With Yellowstone , I thought it had gotten to a place where your needs for Horizon meant you were not going to be there regularly enough. And when you came, those other actors were upset they would have to do scenes that would be spread through future episodes…

COSTNER : That’s not true. There were blocks of time that we didn’t get 10 episodes done. Basically, we were starting in April and May, and we’d usually go through August. We’d do 10. We didn’t even get 10 done during that time. I only worked 43 days. So that’s bullsh*t. That’s a lie. That’s not correct. They sent me away for seven days to go to London, to go to England during Covid, to do [promotion]. They made the contract and they picked the days.

DEADLINE: So, in your mind, you lived up to what they asked?

COSTNER : Not in my mind, in the truth of the contract. I lived up to it. In fact, I gave them 25 of my days for this B thing in November and December. What they called 5B. The whole month of March.

DEADLINE: So you shot that?

COSTNER : No. I didn’t shoot 5B. There was no script. And then things imploded. You’ve been reading one version [of this behind-the-scenes drama] for a year and a half. I left my movie to be on time for them for 5B. I left exactly when they wanted, and it made it hard on me. It turns out they didn’t have the scripts for 5B. They needed four more days just to complete the first eight episodes. I left early to give them what they needed to have a complete eight, and I felt bad that the audience didn’t get 10. They didn’t have the scripts for anything else. So, what you read in the end was that I said, “Well, look, I’m doing my movie. If you want me to work a week because you want to kill me or whatever else, I can give you a week.” I really didn’t have that week to give them, but I said, I’ll do that. And then they [spun that] into, I only wanted to work a week.

DEADLINE: So this was a gesture on your part, not an ultimatum?

They weren’t ready to do anything with them because the scripts weren’t there. There’s a lot of product they were putting out.

DEADLINE: Taylor Sheridan has been writing a lot of shows…

COSTNER : That is fine, but they were silent and that bothered me in the world of how you do things. Why don’t you stick up for me? I went and sold this thing for you. I was going to only do one season. I made it for three. I fulfilled three. So, I went from one to three, then I did a fourth one for them and they wanted to do three more. So, I made the contract to do that. They imploded. I had a contract to do five, six and seven. I was contracted to do that. There’s nothing I could have done to get out of that, nor was I trying to just figure out how, when we started. When we finished, I wanted to do Horizon . It all happened because they shut down one whole season, didn’t tell anybody and I didn’t work for 14 months.

DEADLINE: Why did they shut down?

COSTNER : Didn’t have the scripts. And they wrote these other three shows. They don’t ever talk about that. And all they did was remember we were releasing the series in June, then it moved to October. They covered by changing their release pattern. That time was about a 14-month period. I said, “I can’t ever go through that again, where you shut down for over a year and I don’t have something in line to do.” All I did was protect myself, but I didn’t put myself in first position, over Yellowstone . I filled the gaps. Do you see that?

DEADLINE: I do.

COSTNER : There were three negotiations, Mike. I didn’t initiate any of that.

DEADLINE: It would seem something that could be worked out if only you and Taylor Sheridan sat down man-to-man and hashed out all this acrimony…

COSTNER : Well, we did on the first one, and that’s why I signed it to do February. And then we weren’t doing that, and [Season 5] went from 10 episodes down to eight. So don’t talk to me about man-to-man. I was straight up with him and he said what we would do and I believed him and we didn’t get there.

DEADLINE: What happens now?

COSTNER : I’m very open to coming back. If they’ve got so many other things going on, maybe this circles back and it’s a really cool two seasons. Or end it, if the writing’s there and I’m happy with it. I’m open to that. But I took a beating over these guys not speaking up for me and allowing crazy stories to come out.

I’m not happy about that. But if the writing is there, I will be there too. They had first position. I didn’t do Horizon because I was tired of doing Yellowstone . That’s a bullsh*t story. I didn’t do Horizon to compete with Yellowstone . This is something I’ve had a long time. Taylor read that script three years earlier when he was contemplating other writers [for Yellowstone ]. I said, well, you can look at what John [Baird] and I did, not that I think I’m qualified. I think you write Yellowstone beautifully. So, he read that and knew what the thing was about. It’s just that simple: Paramount and 101 Studios mismanaged this. They had me for five, six, and seven. I agreed to do it. And then they steadily began changing their format. And what about the year that went missing? That 14 months?

COSTNER : He should be the main voice of it and all those other things. But everybody lives with a contract and they were comfortable signing. Two companies have to sign the contract they signed with me. I’m a single person. I signed the contract. And I’m not a person who is [inflexible]; every season we didn’t start on time and every season we went over. I dealt with that through seasons one, two, three and four, and didn’t say a word. When they canceled a whole season to make room or whatever, I didn’t even complain about that. I’m only talking about it now. Five years ago, when they did that, I knew I had to be in position that if they ever did that again — if you do something once you’re capable of doing it again — that I would know what I was going to do. And I wanted to work more than once a year. And I’d only worked at that point in time once a year and I wasn’t used to that.

If you aren’t going to really start when you say you’re going to start and you’re going to fudge at the end — I understand production, I get that perfectly. Writing is really hard. I get it. But in my instance, I have real obligations. I had 400 people waiting for me on August 1, and I worked a nine-day week to help them as much as I could. And then I went to do my thing with 20 days of prep or 15 days of prep. Try making a movie that way.

DEADLINE : They are making deals with your other core castmates, Kelly Reilly, Cole Hauser, Luke Grimes, Wes Bentley. And then finishing Yellowstone before starting a new chapter.

COSTNER : I think that they should do whatever they want to do. Am I open to coming back? I’ve never been in a position to tell them what to do. I can only do what I can do.

DEADLINE: You haven’t seen the final scripts?

COSTNER : I’m not involved in any of that stuff.

DEADLINE: I remember you saying that on Dances with Wolves , there was a director who was going to do it who didn’t want to have your John Dunbar character on horseback, riding across the field and drawing their gunfire. It was a major reason you made your directing debut. That must have been tough to hear.

COSTNER : He didn’t want the whole Civil War thing. And the direct result of that scene was, he was trying to commit suicide. And in the narration he says, in trying to commit suicide, I was elevated to the status of a living hero. And so that sets the stage.

DEADLINE: That living hero kept his leg when his defiant move was noticed by Union Army commanders, who put their best surgeons on saving a leg that lesser doctors were going to amputate.

COSTNER : The general said, we got a man here whose leg needs saving.  What happened is there are three or four lines, very sparse, in 10 minutes. It was so easy for that particular director to say, let’s just start with him in the middle of nowhere. I listened to that, coming out of somebody’s mouth who didn’t want to hurt the film, and was coming out of their own experience of dealing with studios. Why should I shoot that? They’re going to want it gone anyway. What mentality was I dealing with? I can’t tell you. But that was too much for me. So that’s a no. In my mind, that wasn’t being stubborn, I guess, unless I was being stubborn for the movie.

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'The Brutalist' Review: Brady Corbet's Epic Charts Sweeping Immigrant Story

C losing out an epilogue that, in turn, caps the 3.5-hour experience that is "The Brutalist," a certain character looks straight to the camera to deliver a kind of valediction. "It is the destination, not the journey," they say, though the sentiment doesn't wholly ring true. Far from it, for the journey is every bit as enthralling in this American epic of assimilation, immigration and industry, while the peculiar rhythms and idiosyncrasies of director Brady Corbet's storytelling make the film a real standout of this year's Venice Film Festival.  

Split between two chapters, bookended by overture and epilogue and divided by an intermission, "The Brutalist" could be described as novelistic in both form and function. Following a digressive approach more common to the page, Corbet and co-screenwriter Mona Fastvold (who directed the 2020 Venice standout "The World to Come") embroider a sprawling narrative with quirks and asides, using a decades-spanning Treatise on American Themes as a concrete structure in which to pour more personal obsessions.

Corbet makes this clear right from the start, opening his tale of a Jewish-Hungarian Holocaust survivor with a direct visual link to  another  film of that type, "Son of Saul." The shaky camera recreates the exact aesthetic approach laid out by László Nemes as it follows a man through cramped quarters, shooting from behind with the narrowest possible depth of field as Yiddish and Hungarian murmurs overtake the soundscape. But where "Son of Saul" started in the depths of hell and only burrowed further down, Corbet's visual lift decisively breaks when our guide emerges from the hull of a boat to the sight of Lady Liberty.

The man is Bauhaus trained architect László Tóth, and he shares an uncanny likeness with fellow survivor Władysław Szpilman. That Adrien Brody links the two is no small accident of casting - indeed, as that opening overture makes clear, Corbet is very much playing with existing iconography. This interest extends far beyond the Shoah, mind you, because the new world this immigrant discovers is that of Saul Leiter and Edward Hopper and the countless other midcentury modernists that Corbet and cinematographer Lol Crawley conjure onscreen. 

After one less-than-successful evening at a Bowery bordello, Tóth hits the road for Philly where his only American kin reside. Only somewhere along his own path, cousin Molnár (Alessandro Nivola) became Miller - and a Catholic to boot - and herein lies first of the film's Big Themes. Though László is a composite of several artists and émigrés, his circumstances echoes those of the Hollywood founders from a generation prior. Does assimilation require self-erasure? Can a total artist whose craft and creed are inseparable up and switch from building synagogues to cathedrals in order to better fit in?

The filmmakers, to their immense credit, allow such questions to linger before Corbet and Fastvold offer answers of their own. Indeed, "The Brutalist" lingers in all aspects, opening an ornate window into the post-war boom and taking sweet time to admire the view. The film's first chapter moves at an unhurried pace as Tóth stumbles into his own success story. Addicted to heroin and hollowed by grief -- for the life he can never reclaim, and for the family still stuck in a purgatorial displacement camp back in Europe -- our architect doesn't scream All American go-getter, but he's an artist and sometimes opportunity knocks.

Such visits occurred with greater regularity during the rising tide of the American empire, lifting immigrants and industrialists alike. Asked to build a small library for a local businessman made affluent by the war, Tóth follows his muse - heeding that call of art for art's sake - and delivers a marvel. And if at first oleaginous oddball Harrison Lee Van Buren (Guy Pearce) can't quite see the beauty laid before him, that nouveau riche temperament soon softens when members of his social set purr at his good taste.

With Tóth's wife and niece stuck in the old world, the first chapter captures this odd dance of seduction between the two men. Reigning over his world with matinée idol mustache and a John Huston drawl, Van Buren (a name that evokes presidential grandeur) sees in Tóth the poetic spark that can be purchased but never owned; weighed down by all the pain of "The Pianist" given another two decades of hard knocks, Tóth delights in WASP-y effervescence - and the promise of a rich benefactor to support his work. And soon they get to work dreaming up brutalist monument to their shared greatness.

Tóth's improbable rise reaches its peak at the start of chapter two, once he greets his wife Erzsébet (Felicity Jones) and niece Zsofia (Raffey Cassidy) freed from Europe with the help of Van Buren's powerful friends (it only took a few phone calls, wouldn't you know). But if one European eccentric is "tolerated" in the words of Van Buren's son Harry (Joe Alwyn), three make company - changing the terms of the WASP-y noblesse oblige. As he tracks a growing disillusionment shared by all parties, Corbet's visual references move towards more 1970s inspirations. Aping "The Godfather," Corbet swaps catechism for Yom Kippur, while a trip to Italy - ostensibly to scout for marble - sends the two men into a Bertolucci film, with all the deviance and sexual violence that comes part in parcel.

Taken as a whole, "The Brutalist" both mourns and celebrates American ambition -the ambitions of an immigrant class trying for a new life with no guarantee of success, and the ambitions of a filmmaker filling a canvas with a lifetime of obsessions. 

"The Brutalist" is currently seeking U.S. distribution.

The post 'The Brutalist' Review: Brady Corbet's Epic Charts Sweeping Immigrant Story appeared first on TheWrap .