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The Fountainhead

  • 1949
  • Approved
  • 1 घं 54 मि
IMDb रेटिंग
7.0/10
11 हज़ार
आपकी रेटिंग
Gary Cooper and Patricia Neal in The Fountainhead (1949)
Trailer for this film adaptation of the famous Ayn Rand novel
trailer प्ले करें2:18
1 वीडियो
49 फ़ोटो
Period DramaPsychological DramaDramaRomance

अपनी भाषा में प्लॉट जोड़ेंAn uncompromising, visionary architect struggles to maintain his integrity and individualism despite personal, professional and economic pressures to conform to popular standards.An uncompromising, visionary architect struggles to maintain his integrity and individualism despite personal, professional and economic pressures to conform to popular standards.An uncompromising, visionary architect struggles to maintain his integrity and individualism despite personal, professional and economic pressures to conform to popular standards.

  • निर्देशक
    • King Vidor
  • लेखक
    • Ayn Rand
  • स्टार
    • Gary Cooper
    • Patricia Neal
    • Raymond Massey
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.0/10
    11 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • King Vidor
    • लेखक
      • Ayn Rand
    • स्टार
      • Gary Cooper
      • Patricia Neal
      • Raymond Massey
    • 246यूज़र समीक्षाएं
    • 43आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • वीडियो1

    The Fountainhead
    Trailer 2:18
    The Fountainhead

    फ़ोटो49

    पोस्टर देखें
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    टॉप कलाकार99

    बदलाव करें
    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
    • (बिना क्रेडिट के)
    John Alban
    John Alban
    • Courtroom Spectator
    • (बिना क्रेडिट के)
    Bob Alden
    • Newsboy
    • (बिना क्रेडिट के)
    John Alvin
    John Alvin
    • Young Intellectual
    • (बिना क्रेडिट के)
    Morris Ankrum
    Morris Ankrum
    • Prosecutor
    • (बिना क्रेडिट के)
    Lois Austin
    • Female Party Guest
    • (बिना क्रेडिट के)
    Griff Barnett
    Griff Barnett
    • Judge
    • (बिना क्रेडिट के)
    Edward Biby
    Edward Biby
    • Party Guest
    • (बिना क्रेडिट के)
    George Blagoi
    George Blagoi
    • Rally Spectator
    • (बिना क्रेडिट के)
    • निर्देशक
      • King Vidor
    • लेखक
      • Ayn Rand
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं246

    7.011.3K
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    फ़ीचर्ड समीक्षाएं

    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.
    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.
    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.
    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....)

    इस तरह के और

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    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      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.
    • गूफ़
      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.
    • भाव

      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.

    • कनेक्शन
      Featured in Hollywood Mavericks (1990)

    टॉप पसंद

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    साइन इन करें

    अक्सर पूछे जाने वाला सवाल16

    • How long is The Fountainhead?Alexa द्वारा संचालित

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 2 जुलाई 1949 (यूनाइटेड स्टेट्स)
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      • Warner Bros.
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      1 घंटा 54 मिनट
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    किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें
    Gary Cooper and Patricia Neal in The Fountainhead (1949)
    टॉप गैप
    What is the Brazilian Portuguese language plot outline for The Fountainhead (1949)?
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