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Ein Mann wie Sprengstoff

Originaltitel: The Fountainhead
  • 1949
  • Approved
  • 1 Std. 54 Min.
IMDb-BEWERTUNG
7,0/10
11.399
IHRE BEWERTUNG
Gary Cooper and Patricia Neal in Ein Mann wie Sprengstoff (1949)
Trailer for this film adaptation of the famous Ayn Rand novel
trailer wiedergeben2:18
1 Video
49 Fotos
Period DramaPsychological DramaDramaRomance

Ein kompromissloser, visionärer Architekt kämpft darum, seine Integrität und seinen Individualismus trotz des persönlichen, beruflichen und wirtschaftlichen Drucks zur Anpassung an populäre ... Alles lesenEin kompromissloser, visionärer Architekt kämpft darum, seine Integrität und seinen Individualismus trotz des persönlichen, beruflichen und wirtschaftlichen Drucks zur Anpassung an populäre Standards zu bewahren.Ein kompromissloser, visionärer Architekt kämpft darum, seine Integrität und seinen Individualismus trotz des persönlichen, beruflichen und wirtschaftlichen Drucks zur Anpassung an populäre Standards zu bewahren.

  • Regie
    • King Vidor
  • Drehbuch
    • Ayn Rand
  • Hauptbesetzung
    • Gary Cooper
    • Patricia Neal
    • Raymond Massey
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,0/10
    11.399
    IHRE BEWERTUNG
    • Regie
      • King Vidor
    • Drehbuch
      • Ayn Rand
    • Hauptbesetzung
      • Gary Cooper
      • Patricia Neal
      • Raymond Massey
    • 246Benutzerrezensionen
    • 43Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
  • Videos1

    The Fountainhead
    Trailer 2:18
    The Fountainhead

    Fotos49

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    Topbesetzung99

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    Gary Cooper
    Gary Cooper
    • Howard Roark
    Patricia Neal
    Patricia Neal
    • Dominique Francon
    Raymond Massey
    Raymond Massey
    • Gail Wynand
    Kent Smith
    Kent Smith
    • Peter Keating
    Robert Douglas
    Robert Douglas
    • Ellsworth M. Toohey
    Henry Hull
    Henry Hull
    • Henry Cameron
    Ray Collins
    Ray Collins
    • Roger Enright
    Moroni Olsen
    Moroni Olsen
    • Chairman
    Jerome Cowan
    Jerome Cowan
    • Alvah Scarret
    Ed Agresti
    • Rally Spectator
    • (Nicht genannt)
    John Alban
    John Alban
    • Courtroom Spectator
    • (Nicht genannt)
    Bob Alden
    • Newsboy
    • (Nicht genannt)
    John Alvin
    John Alvin
    • Young Intellectual
    • (Nicht genannt)
    Morris Ankrum
    Morris Ankrum
    • Prosecutor
    • (Nicht genannt)
    Lois Austin
    • Female Party Guest
    • (Nicht genannt)
    Griff Barnett
    Griff Barnett
    • Judge
    • (Nicht genannt)
    Edward Biby
    Edward Biby
    • Party Guest
    • (Nicht genannt)
    George Blagoi
    George Blagoi
    • Rally Spectator
    • (Nicht genannt)
    • Regie
      • King Vidor
    • Drehbuch
      • Ayn Rand
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen246

    7,011.3K
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    Empfohlene Bewertungen

    didi-5

    The house was a temple to his wife ...

    This overheated potboiler attempts to make a social comment on the corrupt nature of conforming to the wishes of the masses, when its most interesting aspect these days is the teaming on screen (and off) of gruff-voiced Patricia Neal and her self-confessed 'love of her life', Gary Cooper. Their love scenes together are certainly not lukewarm!

    Aside from this, there's a convoluted plot about architecture, the newspaper business, and the understated power of the humble columnist. Raymond Massey moves from one situation to the next with the same lack of passion, eventually giving Cooper and Neal their chance to simmer in close proximity. Robert Douglas is terrific as the obnoxious architectural critic, Ellsworth Toohey; while Kent Smith and Henry Hull put in OK performances as a weak architect of little originality, and a nervous press room editor, respectively.

    The ones who catch the eye of the viewer, however, are Neal and Cooper. Towering performances in camp classic style. The imagery, too, is suitably suggestive – drills in a stone quarry, large skyscraping buildings, whips and pokers.

    'The Fountainhead', adapted by Ayn Rand from her own novel and brought to the screen under the direction of King Vidor, is enjoyable despite the odd bout of overacting from both its principal and minor actors, and a truly silly script on occasion. The movie isn't great but in using the world in which it is set as a character of equivalent power to anyone on the screen, it sets itself apart as more than just run-of-the-mill.
    7moonspinner55

    Integrity and ego, interchangeable here...

    Ayn Rand adapted her bestseller about a brilliant but penniless architect, a "foolish visionary" who builds angular, futuristic designs without compromise (and without much business), going from tragedy to triumph with his talents and never losing his self-respect in the bargain. Rand's story is not just about peer pressure, but the pressure to sell out completely--mind, body and soul. Still, her second-half plot twist, with the architect designing a building for low-income families but allowing a struggling colleague to take the credit, isn't worked out satisfactorily. Rand's writing fails to help us see the difference between the character's integrity and ego when his designs are challenged (it is assumed we will automatically side with him once he resorts to drastic measures), and Gary Cooper as an actor doesn't have enough dimensions to suggest he is anything but heroic. Still, when he's on trial and acting as his own legal counsel (!), Cooper gives a six-minute speech that left me thinking he was losing his mind--but the viewer is meant to cheer his rebelliousness against the soulless, robotized masses. Director King Vidor, apparently one of the robots, decided in post-production to remove the speech in the courtroom, but Rand and Warner Bros. successfully sided against him. Now, there's a bit of life imitating art! *** from ****
    mrjarndyce

    What Might Have Been

    This might have been, in fact, a great movie. Vidor directs with a sure and excellently paced hand; the visual elements are striking; and young Pat Neal is a raw marvel on screen. This is not a great movie because someone made the spectacular mistake of letting Rand write the screenplay. Thus, her objectivist philosophy is ludicrously masked as dialogue. Please note: I care little about her views themselves. I can admire a fine script and disagree with its message. But this is downright cartoonish. Dull businessmen say things like, 'Say, Roark, there's no point to trying something new!', or, 'Look here, old man, just go along with what the people like!' I don't exaggerate - it really is that overblown, and poor Gary Cooper looks awfully embarrassed when he has to defend his integrity in equally dreadful lines. A shame, all around. And not much in the way of promoting Rand's dream, to be sure. Who can subscribe to a movement with so inept a spokesperson?
    bubba444-1

    On a lighter note...

    All pretentious blather about the deeper meaning of Rand's writing aside....

    This is a MUST SEE just for the expressions on Patricia Neal's face every time she lays eyes on Gary Cooper. Oh, her eyes bug out, she leans forward like she's about to leap off a building - it's priceless! I watched this with my 70 year old Mom recently, and we were both ROLLING! That poor Patricia Neal character, at one moment so calm and cynical, suddenly turns into a RABID, LUSTING BEAST!! TOO FUNNY!!!

    So, all you smart, educated people, was Ms. Rand saying that women are ultimately just slaves to their erotic needs, unlike those men with all their self-determining sense of purpose? (I think I've entered an alternate universe here....)
    8bwaynef

    Too unique to dismiss

    Gary Cooper is much too mature for the role of the idealistic architect, but everyone else in the cast is fine. Cooper and Patricia Neal were supposedly involved in a passionate off-camera romance at the time, and some fans of this movie insist they can detect the sparks on-screen, too. I don't, but then I find Cooper such a bore as an actor that it's hard to tell if he's breathing, let alone excited. His performance here almost ruins what could have been a brilliant adaptation of Ayn Rand's ambitious novel. Howard Roark, the architect who refuses to conform to another man's ideals (or lack of them), does not strike me as an "Aw' shucks" kind of guy, but that's pretty much the way Cooper plays him. Roark will build anything--a public housing project, a townhouse, even a gas station--as long as it's built according to his vision. He will not compromise. Cooper just doesn't possess the fire that this character requires. When he becomes impassioned ("A man who works for the sake of others is a slave"), you can almost see the cue cards reflecting in his eyes. Certainly, he doesn't feel Rand's words in his gut. On the plus side, King Vidor's visual style is imaginative, and despite a lot of pompous sermonizing and Cooper's miscasting, this is a worthwhile film simply because there are so few Hollywood productions that emphasize ideas and a man's philosophy. In a curious way, it brings to mind "Network," and other Paddy Chayefsky films.

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    Handlung

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    • Wissenswertes
      King Vidor originally hoped to cast Humphrey Bogart and Lauren Bacall in the lead roles, but Ayn Rand insisted on Gary Cooper in the lead. Bacall was cast opposite Cooper, but dropped out before filming began. Hoping the film would make her a star, Warner Bros cast a relative unknown, 22-year-old Patricia Neal, after considering and then rejecting Bette Davis, Ida Lupino, Alexis Smith, and Barbara Stanwyck as replacements for Bacall. Cooper objected to Neal being cast, but during filming, Cooper and Neal began an affair.
    • Patzer
      When the Banner prints its front page story "The Truth about Howard Roark", a six-paragraph story is shown, but the first three paragraphs of the story are exactly the same as the last three paragraphs.
    • Zitate

      Howard Roark: [delivering the closing statements of his own defense] Thousands of years ago the first man discovered how to make fire. He was probably burned at the stake he had taught his brothers to light, but he left them a gift they had not conceived of, and he lifted darkness off the earth. Through out the centuries there were men who took first steps down new roads, armed with nothing but their own vision. The great creators, the thinkers, the artists, the scientists, the inventors, stood alone against the men of their time. Every new thought was opposed. Every new invention was denounced. But the men of unborrowed vision went ahead. They fought, they suffered, and they paid - but they won.

      Howard Roark: No creator was prompted by a desire to please his brothers. His brothers hated the gift he offered. His truth was his only motive. His work was his only goal. His work, not those who used it, his creation, not the benefits others derived from it. The creation which gave form to his truth. He held his truth above all things, and against all men. He went ahead whether others agreed with him or not. With his integrity as his only banner. He served nothing, and no one. He lived for himself. And only by living for himself was he able to achieve the things which are the glory of mankind. Such is the nature of achievement.

      Howard Roark: Man cannot survive except through his mind. He comes on earth unarmed. His brain is his only weapon. But the mind is an attribute of the individual, there is no such thing as a collective brain. The man who thinks must think and act on his own. The reasoning mind cannot work under any form of compulsion. It cannot not be subordinated to the needs, opinions, or wishes of others. It is not an object of sacrifice.

      Howard Roark: The creator stands on his own judgment. The parasite follows the opinions of others. The creator thinks, the parasite copies. The creator produces, the parasite loots. The creator's concern is the conquest of nature - the parasite's concern is the conquest of men. The creator requires independence, he neither serves nor rules. He deals with men by free exchange and voluntary choice. The parasite seeks power, he wants to bind all men together in common action and common slavery. He claims that man is only a tool for the use of others. That he must think as they think, act as they act, and live is selfless, joyless servitude to any need but his own. Look at history. Everything thing we have, every great achievement has come from the independent work of some independent mind. Every horror and destruction came from attempts to force men into a herd of brainless, soulless robots. Without personal rights, without personal ambition, without will, hope, or dignity. It is an ancient conflict. It has another name: the individual against the collective.

      Howard Roark: Our country, the noblest country in the history of men, was based on the principle of individualism. The principle of man's inalienable rights. It was a country where a man was free to seek his own happiness, to gain and produce, not to give up and renounce. To prosper, not to starve. To achieve, not to plunder. To hold as his highest possession a sense of his personal value. And as his highest virtue, his self respect. Look at the results. That is what the collectivists are now asking you to destroy, as much of the earth has been destroyed.

      Howard Roark: I am an architect. I know what is to come by the principle on which it is built. We are approaching a world in which I cannot permit myself to live. My ideas are my property. They were taken from me by force, by breach of contract. No appeal was left to me. It was believed that my work belonged to others, to do with as they pleased. They had a claim upon me without my consent. That is was my duty to serve them without choice or reward. Now you know why I dynamited Cortlandt. I designed Cortlandt, I made it possible, I destroyed it. I agreed to design it for the purpose of seeing it built as I wished. That was the price I set for my work. I was not paid. My building was disfigured at the whim of others who took all the benefits of my work and gave me nothing in return. I came here to say that I do not recognize anyone's right to one minute of my life. Nor to any part of my energy, nor to any achievement of mine. No matter who makes the claim. It had to be said. The world is perishing from an orgy of self-sacrificing. I came here to be heard. In the name of every man of independence still left in the world. I wanted to state my terms. I do not care to work or live on any others. My terms are a man's right to exist for his own sake.

    • Verbindungen
      Featured in Hollywoods Einzelgänger (1990)

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    Details

    Ändern
    • Erscheinungsdatum
      • 2. Juli 1949 (Vereinigte Staaten)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprache
      • Englisch
    • Auch bekannt als
      • Uno contra todos
    • Drehorte
      • Fresno, Kalifornien, USA
    • Produktionsfirma
      • Warner Bros.
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    Box Office

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    • Budget
      • 2.375.000 $ (geschätzt)
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      1 Stunde 54 Minuten
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.37 : 1

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