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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
49 photos
Period DramaPsychological DramaDramaRomance

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
    • 246avis d'utilisateurs
    • 43avis des critiques
  • Voir les informations de production sur IMDbPro
  • Vidéos1

    The Fountainhead
    Trailer 2:18
    The Fountainhead

    Photos49

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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 utilisateurs246

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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.
    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.
    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.
    verna55

    A classic! One of Cooper's and Neal's finest films!

    This film doesn't always get the attention it deserves, but this sticks in my mind as one of Hollywood's greatest films of the 1940's. Based on Ayn Rand's popular novel, THE FOUNTAINHEAD unites two of Hollywood's most legendary stars, Gary Cooper and Patricia Neal doing some of their finest work ever. Though many people who have seen this film claim that Cooper was miscast, he still gives a memorable performance and makes a strong impression. Cooper plays a gifted architect whose fierce individualism nearly ruins his career. Patricia Neal is an equally headstrong critic whose interest in Cooper goes beyond his work. Neal is a perfect match for the tough, will-of-iron Cooper. In fact, the chemistry between these two is amazing. Though their intimate moments are fairly tame by today's standards, Cooper and Neal ignite fire in their love-making scenes. It's not surprising that their on-screen romance carried over into real life. My favorite scene is where an infuriated Neal rides up on horseback and thrashes her whip across Cooper's face when he rejects her not-so subtle invitation up to her bedroom. This scene could have easily turned campy, but King Vidor is such a skilled director, and Cooper and Neal are such distinguished and professional actors that the scene comes off in a rather smooth and serious fashion.
    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....)

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    Histoire

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    Le saviez-vous

    Modifier
    • 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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    FAQ16

    • 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
      1 heure 54 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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