[go: up one dir, main page]

    Calendario de lanzamientosLas 250 mejores películasPelículas más popularesBuscar películas por géneroPelículas más taquillerasHorarios y entradasNoticias sobre películasNoticias destacadas sobre películas de la India
    Qué hay en la televisión y en streamingLos 250 mejores programas de TVLos programas de TV más popularesBuscar programas de TV por géneroNoticias de TV
    Qué verÚltimos tráileresTítulos originales de IMDbSelecciones de IMDbDestacado de IMDbFamily Entertainment GuidePodcasts de IMDb
    OscarsPride MonthAmerican Black Film FestivalSummer Watch GuidePremios STARmeterInformación sobre premiosInformación sobre festivalesTodos los eventos
    Nacidos un día como hoyCelebridades más popularesNoticias sobre celebridades
    Centro de ayudaZona de colaboradoresEncuestas
Para profesionales de la industria
  • Idioma
  • Totalmente compatible
  • English (United States)
    Parcialmente compatible
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Lista de visualización
Iniciar sesión
  • Totalmente compatible
  • English (United States)
    Parcialmente compatible
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Usar app
  • Elenco y equipo
  • Opiniones de usuarios
  • Trivia
  • Preguntas Frecuentes
IMDbPro

Uno contra todos

Título original: The Fountainhead
  • 1949
  • Approved
  • 1h 54min
CALIFICACIÓN DE IMDb
7.0/10
11 k
TU CALIFICACIÓN
Gary Cooper and Patricia Neal in Uno contra todos (1949)
Trailer for this film adaptation of the famous Ayn Rand novel
Reproducir trailer2:18
1 video
49 fotos
Period DramaPsychological DramaDramaRomance

Un arquitecto visionario intenta mantener su integridad e individualidad a pesar de presiones profesionales y personales para que sucumba a las modas más populares.Un arquitecto visionario intenta mantener su integridad e individualidad a pesar de presiones profesionales y personales para que sucumba a las modas más populares.Un arquitecto visionario intenta mantener su integridad e individualidad a pesar de presiones profesionales y personales para que sucumba a las modas más populares.

  • Dirección
    • King Vidor
  • Guionista
    • Ayn Rand
  • Elenco
    • Gary Cooper
    • Patricia Neal
    • Raymond Massey
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.0/10
    11 k
    TU CALIFICACIÓN
    • Dirección
      • King Vidor
    • Guionista
      • Ayn Rand
    • Elenco
      • Gary Cooper
      • Patricia Neal
      • Raymond Massey
    • 246Opiniones de los usuarios
    • 43Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Videos1

    The Fountainhead
    Trailer 2:18
    The Fountainhead

    Fotos49

    Ver el cartel
    Ver el cartel
    Ver el cartel
    Ver el cartel
    Ver el cartel
    Ver el cartel
    Ver el cartel
    Ver el cartel
    + 41
    Ver el cartel

    Elenco principal99

    Editar
    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
    • (sin créditos)
    John Alban
    John Alban
    • Courtroom Spectator
    • (sin créditos)
    Bob Alden
    • Newsboy
    • (sin créditos)
    John Alvin
    John Alvin
    • Young Intellectual
    • (sin créditos)
    Morris Ankrum
    Morris Ankrum
    • Prosecutor
    • (sin créditos)
    Lois Austin
    • Female Party Guest
    • (sin créditos)
    Griff Barnett
    Griff Barnett
    • Judge
    • (sin créditos)
    Edward Biby
    Edward Biby
    • Party Guest
    • (sin créditos)
    George Blagoi
    George Blagoi
    • Rally Spectator
    • (sin créditos)
    • Dirección
      • King Vidor
    • Guionista
      • Ayn Rand
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios246

    7.011.3K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Opiniones destacadas

    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?
    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.
    skoorbl

    Quirky genius. quirky movie

    Many Objectivists (Rand called her philosophy 'Objectivism') I know cringe when this movie is mentioned. It's not hard to see why. This movie reflects many of the odd paradoxes so characteristic of the author--breakthrough genius combined with an idiosyncratic Old World conservatism.

    Since Rand adapted the movie herself, one might have hoped for more. Rand knew how to condense her novel, but her sense of dialogue, as in her novels, is just weird. Although as a descriptive narrator her mastery of English (her first language was Russian) is absolutely brilliant, she always seemed to have a tin ear for idiomatic American speech. One gets that odd feeling of listening to a Greek tragedy, where every cadenced line seems to have transcendental meaning. (Listen to other women screenwriters of the day like Ruth Gordon, Dorothy Parker or Claire Booth to hear the difference.) And there is no question that adapting a novel of ideas to the demands of a movie is a daunting task. Clearly in this case it is one that Rand should have left to a more experienced and more removed screenwriter, but she was always very protective of her ideas and never really trusted them in anyone else's hands. That Rand was always so 'on message' with her script probably accounts for some of the strangeness of the movie. Nonetheless, like a bird with a broken wing, it remains a sentimental favorite for me.

    In many ways the movie feels like more a reflection of Rand's personality than a dramatization of her novel. The high contrast black and white mirrors Rand's own moral absolutism as does the highly stylized dialogue. Even Franz Waxman's wonderful score seems to reflect the 'take no prisoners' atmosphere of the script. Patricia Neal's Dominique seems the complete overwrought personification of 'myself in a bad mood' as Rand once described the character. The operatic gestures, the turning on a heel exits, the intellectual one-liner put-downs, the moral outrage are all vintage Rand. I think it is all this that endears this movie to me, despite its numerous flaws.

    And flaws there are. Both Cooper and Massey are too old for their parts. Rand was insistent on Cooper despite everything, even when it was obvious to her that he just didn't get her philosophy and was unable to deliver her message in an emotionally or dramatically meaningful way. Robert Douglas' Toohey is much too strong for the rest of the cast (though a tribute to this fine actor's skill). Rand had wanted Clifton Webb for the part, but the studio was afraid the role would tarnish his cranky heart-of-gold Mr. Belvedere image. (To see what his Toohey might have been like check out his performance as Elliott Templeton in 'The Razor's Edge'.) Another choice might have been George Sanders, whose sly Addison DeWitt in 'All About Eve' gives a glimpse of what his take on Toohey might been. What the movie lacks most though is a sense of Rand's evocative, descriptive storytelling (her strongest asset), which gets replaced by her relentless, stilted (maybe even corny) dialogue (her weakest).

    For those who want to see one of Rand's works done well on film, find the Italian version of 'We the Living.' Made, ironically, in Mussolini's Italy where his minions thought that it was just an attack on Russian communism (Italy's enemy at the time). Italian audiences saw right through this and realized that it was as much an attack on Mussolini's fascism as it was on communism. Once Mussolini's dim-witted stooges realized this, they immediately pulled the film. The movie itself (called 'Noi Vivi') is beautifully made, telling Rand's story in an emotionally gripping way, with the young Alida Valli and Rossano Brazzi stealing your heart.

    As for 'The Fountainhead', if you're interested in the story, read the book.

    If you're interested in the Rand persona, then go ahead and see the movie. Oh, see it anyway! You might find its quirky charm appealing.
    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 ****
    7blanche-2

    Strange adaptation of the best-selling book

    Ayn Rand adapted her own famous novel, "The Fountainhead," for the screen. Filmed in 1949, the outcome is odd, to say the least, but it has its interesting moments. "The Fountainhead" concerns an architect, Howard Roark, who, despite controversy, sticks to his designs without altering them to please anyone. Because of this, he becomes the brunt of a hate campaign by a tabloid newspaper, The Banner.

    It's obvious from some of the comments on this board that many people are unfamiliar with the book. Unfortunately, the way the book was adapted, if you don't know it, I'm not even sure you can follow what goes on. The buildings, Roark, Dominque, Wyand et al. are all symbols - the buildings are what man can achieve, Roark is the selfish artist whose work has integrity, playing into one of Rand's main philosophies - man has a right to live for his own sake, without altruism, without bowing to the masses. Wyand is the brainwasher who cares about power; his architecture columnist believes in suppressing genius, as it is threatening - etc. Rand's novel itself is extremely prophetic (the tabloid inferences and the rise of mediocrity being just two examples) and therefore is timely today. It just didn't transfer well onto the screen. Symbols don't. There was too much material cut, and the screenplay was adapted, seemingly, with the supposition that everyone knew the book. On top of that, many of the scenes look almost fake from the use of a lot of process shots, giving the movie a bizarre sensibility.

    Patricia Neal is astonishingly stunning and wears gorgeous fashions as Dominique, the sexually repressed turned sexually charged woman who gets turned on by Howard and his work. When I first read "The Fountainhead," I kept picturing Dominique as Faye Dunaway, and with her cold beauty, Neal is certainly the '50s Dominique. Raymond Massey is excellent as Gale Wyand, the Rupert Murdock character, and Kent Smith does a good job as a weasel architect friend of Howard's.

    Now we come to Howard himself, Gary Cooper. Ayn Rand was one of Cooper's biggest fans from the time she emigrated from Russia and worked in Hollywood as an extra. She was of course thrilled beyond belief when he agreed to play Howard. There is a photograph of the short Rand gazing up at the chiseled, handsome Cooper, and she's practically drooling. After Rand worked - I can't remember if it was months or years - on Howard's big speech in the courtroom, Cooper told her after he finished filming it that he never understood the speech. I'm fairly certain he didn't understand the rest of the role either and that he had never read the book. A more glorious-looking, charismatic man to play Howard you couldn't have found, but did he understand this role the way he understood Lou Gehrig? I doubt it. Did Rand, for all her artistic integrity care? I doubt it. In the end, that great philosopher, that giant intellectual Ayn Rand was, in reality, a woman like any other.

    If you must see "The Fountainhead," read the book first, which is fantastic. If you're not going to read it, I'd skip the movie, even though, like Rand and Neal, I love Gary Cooper.

    Más como esto

    Duelo al sol
    6.7
    Duelo al sol
    El mandamiento supremo
    7.6
    El mandamiento supremo
    El secreto de vivir
    7.8
    El secreto de vivir
    Izumi
    6.6
    Izumi
    The Hanging Tree
    7.1
    The Hanging Tree
    La flecha rota
    7.1
    La flecha rota
    Bola de fuego
    7.7
    Bola de fuego
    El caballero del desierto
    7.2
    El caballero del desierto
    El sargento York
    7.7
    El sargento York
    El ángel perverso
    6.8
    El ángel perverso
    Desire
    7.1
    Desire
    El gran robo
    6.9
    El gran robo

    Argumento

    Editar

    ¿Sabías que…?

    Editar
    • Trivia
      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.
    • Errores
      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.
    • Citas

      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.

    • Conexiones
      Featured in Hollywood Mavericks (1990)

    Selecciones populares

    Inicia sesión para calificar y agrega a la lista de videos para obtener recomendaciones personalizadas
    Iniciar sesión

    Preguntas Frecuentes16

    • How long is The Fountainhead?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 9 de noviembre de 1949 (México)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • The Fountainhead
    • Locaciones de filmación
      • Fresno, California, Estados Unidos
    • Productora
      • Warner Bros.
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • USD 2,375,000 (estimado)
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 54 minutos
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

    Contribuir a esta página

    Sugiere una edición o agrega el contenido que falta
    Gary Cooper and Patricia Neal in Uno contra todos (1949)
    Principales brechas de datos
    What is the Brazilian Portuguese language plot outline for Uno contra todos (1949)?
    Responda
    • Ver más datos faltantes
    • Obtén más información acerca de cómo contribuir
    Editar página

    Más para explorar

    Visto recientemente

    Habilita las cookies del navegador para usar esta función. Más información.
    Obtener la aplicación de IMDb
    Inicia sesión para obtener más accesoInicia sesión para obtener más acceso
    Sigue a IMDb en las redes sociales
    Obtener la aplicación de IMDb
    Para Android e iOS
    Obtener la aplicación de IMDb
    • Ayuda
    • Índice del sitio
    • IMDbPro
    • Box Office Mojo
    • Licencia de datos de IMDb
    • Sala de prensa
    • Publicidad
    • Trabaja con nosotros
    • Condiciones de uso
    • Política de privacidad
    • Your Ads Privacy Choices
    IMDb, una compañía de Amazon

    © 1990-2025 by IMDb.com, Inc.