NR, 114 min.
Director: King Vidor
Writer: Ayn Rand (also
novel)
Starring: Gary Cooper,
Patricia Neal, Raymond Massey, Kent Smith, Robert Douglas, Henry Hull, Ray
Collins
I suppose I can see how at
one point in time the philosophies of Ayn Rand might’ve held appeal to some,
but at this point, her narrow minded ideals seem like a pretty tough sell to
me. Back when King Vidor made her novel “The Fountainhead” into a film, with
Gary Cooper and Patricia Neal as her idealized leads, maybe her ramblings
didn’t sound quite so elitist, although I would guess she wouldn’t have a
problem with that term. That’s what is hardest to swallow from her for me, the
way she sees “the people” as something lesser than her characters.
“The Fountainhead” is about
an architect who won’t sell out his ideals. The analogy between architecture
and other forms of business is a good one as Rand uses the creativity and
original designs of modern architecture as a counterpoint to the stolen designs
of bygone eras popular in the financial institutions of the time. The dull
overused architecture of those aging institutions represent the dilution of
populist thinking, while the bold designs of modern architecture represents the
harsh and stern ideals of great integrity. The problem is that too much of this
plays like some sort of social science dissertation and not an engaging work of
entertainment. I’ve read operation manuals that were less pedantic than Rand’s
idea of high drama.
However, there’s another way
to look at this movie. Forget the dialogue, the relentless socio-economic
philosophizing and the wooden, tacked on romance and look at the choice of
architecture as a delivery system for her ideas. Look at the production design
by Edward Carrere and set design by William Kuehl. Their interiors are just as
bold and brazen as the designs being espoused by the hero of the film. Their
designs must’ve influenced famous James Bond designer Ken Adam, whose grand
sets created a distinctive feel for Bond’s eccentric villains. The interiors
here are just as dynamic as any of the Bond villains’ lairs. It did seem to me
the newspaper publisher’s office should’ve change from something less bold to what
it was as a progression through out the story to reflect how his thinking
changes throughout the story. But, Rand does use him as an example, even from
the beginning, of someone who is self made, therefore fitting her model of an
admirable businessman.
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