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Le rebelle

Titre original : The Fountainhead
  • 1949
  • Tous publics
  • 1h 54min
NOTE IMDb
7,0/10
11 k
MA NOTE
Le rebelle (1949)
Trailer for this film adaptation of the famous Ayn Rand novel
Lire trailer2:18
1 Video
50 photos
Drame psychologiqueDrames historiquesDrameRomance

Un architecte intransigeant et visionnaire se bat pour préserver son intégrité et son individualisme malgré les pressions personnelles, professionnelles et économiques pour se conformer aux ... Tout lireUn architecte intransigeant et visionnaire se bat pour préserver son intégrité et son individualisme malgré les pressions personnelles, professionnelles et économiques pour se conformer aux normes populaires.Un architecte intransigeant et visionnaire se bat pour préserver son intégrité et son individualisme malgré les pressions personnelles, professionnelles et économiques pour se conformer aux normes populaires.

  • Réalisation
    • King Vidor
  • Scénario
    • Ayn Rand
  • Casting principal
    • Gary Cooper
    • Patricia Neal
    • Raymond Massey
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,0/10
    11 k
    MA NOTE
    • Réalisation
      • King Vidor
    • Scénario
      • Ayn Rand
    • Casting principal
      • Gary Cooper
      • Patricia Neal
      • Raymond Massey
    • 245avis d'utilisateurs
    • 43avis des critiques
  • Voir les informations de production sur IMDbPro
  • Vidéos1

    The Fountainhead
    Trailer 2:18
    The Fountainhead

    Photos50

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    Rôles principaux99

    Modifier
    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
    • (non crédité)
    John Alban
    John Alban
    • Courtroom Spectator
    • (non crédité)
    Bob Alden
    • Newsboy
    • (non crédité)
    John Alvin
    John Alvin
    • Young Intellectual
    • (non crédité)
    Morris Ankrum
    Morris Ankrum
    • Prosecutor
    • (non crédité)
    Lois Austin
    • Female Party Guest
    • (non crédité)
    Griff Barnett
    Griff Barnett
    • Judge
    • (non crédité)
    Edward Biby
    Edward Biby
    • Party Guest
    • (non crédité)
    George Blagoi
    George Blagoi
    • Rally Spectator
    • (non crédité)
    • Réalisation
      • King Vidor
    • Scénario
      • Ayn Rand
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs245

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    7mstomaso

    King Vidor Does the Impossible with Ayn Rand's Help

    Veteran director King Vidor was assigned the impossible project by Warner Brothers - Make a film out of Ayn Rand's The Fountainhead. Broadly supported by actors and other subversive elements in the film industry, The Fountainhead is sort of a grandfather to the well-budgeted, big-studio supported "Independant" film so often made today. Gary Cooper, who was close to the pinnacle of his career at the time, all but volunteered to play Howard Roark after reading Rand's novel. Rand herself wrote the screenplay, and offered the same deal Roark so often repeated in the film - "It's my way or the highway".

    Remarkably, Vidor managed to hybridize Rand's intensely philosophical and political dialogical essay (in the guise of a novel) with his own superb visual skill, and came up with a movie which, though it has its problems, remains interesting, entertaining and relevant.

    Like Rand's novel, the film is about the noble struggle of the individual against society - and amounts to a socratic dialog between several intensely powerful intellects: Visionary modern architect Howard Roark (Cooper); erstwhile defeatist social critic Domenique (Neal); Contemptuous nihilist Wynand (Massey) and brilliant sociopath Toohey (Douglas). Although the film, like the book, contains a lot of overblown soliloquies and philosophical prose which places components of the story fairly far from reality, Vidor's visual style and uncompromising directing made the film work.

    Howard Roark is a modernist amidst an increasingly collectivist neo-classicist society. Roark will compromise nothing of his own integrity, and will not lie, compromise or entertain any notions about doing anything for the common good. He is an embodiment of Rand's individualist-capitalist political philosophy, and eventually inspires even those who defy him to question themselves. But what will Roark have to sacrifice to fulfill his calling? And will he be able to do so despite his uncompromising approach to life?

    Although many have derided Cooper's performance and have stated that he was miscast,I do not really agree. Cooper himself was disappointed in the lengthy soliloquy he delivered near the end of the film, and it is clear that he was not given enough time to make this scene as good as it could have been. By the standards of the time, a one-day shoot for a scene like this must have seemed like an eternity. However, today, I would not be surprised if a contemporary director would give an actor of Cooper's ability and stature several days and multiple cuts. Roark is a man of deeds, not words, and Cooper's unassuming, almost humble, matter-of-fact approach to the character is a surprising and consistent take on Rand's great protagonist. Nevertheless, Cooper is, in terms of acting, the weakest member of the principal cast. Neal is excellent, and Massey and Douglas are both unforgettable in their support roles.

    Recommendation: Great fun for Rand fans, and those who enjoy politically and philosophically charged dialog. Not recommended for art-film fans as anything but an historic curiosity. Not recommended for fans of action films.
    El Cine

    One of the weirdest movies ever produced in the 1940s

    Not too many films can grab your attention with an atypical discussion of individualism, inspire you with a character's strength of will, disturb you with that same character's cold attitude towards humanity, and make you laugh at the script's stiffness and awkwardness at the same time. I don't really know how to approach my commentary on this strange film, so I will just list several of my observations.

    --- I first learned of this film while watching a documentary on AMC about screenwriters' experiences in Hollywood. This film was chosen by the documentary as an example of what a screenplay shouldn't be! Indeed, the dialogue is melodramatic and positively stilted, since it is delivered by characters that exist primarily as vessels of philosophical thought, not real people that interact with each other. Does Dominique have any favorite hobbies, books, or radio programs? Or does she just sit around all day fretting about the inanity of the mindless masses, only taking a break now and then to throw a valuable statue out her window and onto some poor pedestrian's head because, as she says, she "loves" the statue? Gary Cooper even stuttered a lot of his lines like a robot, especially in that long-winded courtroom "climax". By the way, Cooper's character never seemed to be having fun except when he was getting fondled by Dominique or watching her trip and nearly kill herself while trying to run away from him.

    --- At times, the film came close to acting as a successful examination of themes like resisting convention and finding one's internal independence and freedom, a la Chopin's "The Awakening." There are some provocative quotes that make good points on these issues. But the heavy dose of Randian anti-altruism that the script administers adds a pallor of mean-spiritedness and unlikeability to the characters and the screenwriter's points.

    --- Rand apparently had a pessimistic view of humanity that was morbid and spiteful in the extreme. Are we to believe that all but a few people comprise an incitable, easy-manipulated, stupid mob of people? The scene where Wynand finds himself opposed by all 15 of his board members, all of whom are apparently spineless 'fraidy cats, typifies the exaggerated "It's everybody against one of me!" mentality that pervades the main characters' lives.

    --- The direction was much better than I anticipated. And Robert Burks scored big with his cinematography. The modern black-and-white scenes must have provided him with lots of opportunities.

    --- Zaniest quote (not word for word): Dominique is taken aback at how Gail Wynand bribed Peter Keating to break off his engagement with her. Wynand: Oh, people do this sort of thing all the time. They just don't talk about it.

    --- Max Steiner's score is like Bernard Herrmann's score for "Marnie" --- it is pretty good and exciting to listen to on an album, but it is too emotional and high-strung for the screen. Oh, did anyone else notice how the piano player at the Enright Building's housewarming party was playing the movie's theme song?

    --- Not enough attention was paid to the changes that the Gail Wynand character experienced. He went from strong amoral capitalist to redeemed supporter of the little guy to weak amoral capitalist in mere scene-changes!

    --- How could Ellsworth Toohey, who is just a writer for a newspaper, manage to essentially take over the entire newspaper staff? How come Toohey never smiles or drops his scowl? And does he take some pride from the fact that he looks like and dresses like an evil John Quincy Adams with a mustache? Also, how does he have a hand in so many architecture projects? He's just a critic! Are we to believe that a cackling Roger Ebert hangs around the film studios in Hollywood and wields sinister influence over the producers and the films that they make?
    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....)
    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 ****
    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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    • Anecdotes
      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.
    • Gaffes
      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.
    • Citations

      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.

    • Connexions
      Featured in Hollywood Mavericks (1990)

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    • How long is The Fountainhead?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 2 juillet 1949 (États-Unis)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Uno contra todos
    • Lieux de tournage
      • Fresno, Californie, États-Unis
    • Société de production
      • Warner Bros.
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

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    • Budget
      • 2 375 000 $US (estimé)
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

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    • Durée
      • 1h 54min(114 min)
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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