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La fonte meravigliosa

Titolo originale: The Fountainhead
  • 1949
  • T
  • 1h 54min
VALUTAZIONE IMDb
7,0/10
11.451
LA TUA VALUTAZIONE
La fonte meravigliosa (1949)
Trailer for this film adaptation of the famous Ayn Rand novel
Riproduci trailer2:18
1 video
50 foto
Dramma psicologicoDrammi storiciDrammaRomanticismo

Un architetto visionario fatica a mantenere la sua integrità e individualismo nonostante le pressioni personali, professionali ed economiche.Un architetto visionario fatica a mantenere la sua integrità e individualismo nonostante le pressioni personali, professionali ed economiche.Un architetto visionario fatica a mantenere la sua integrità e individualismo nonostante le pressioni personali, professionali ed economiche.

  • Regia
    • King Vidor
  • Sceneggiatura
    • Ayn Rand
  • Star
    • Gary Cooper
    • Patricia Neal
    • Raymond Massey
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,0/10
    11.451
    LA TUA VALUTAZIONE
    • Regia
      • King Vidor
    • Sceneggiatura
      • Ayn Rand
    • Star
      • Gary Cooper
      • Patricia Neal
      • Raymond Massey
    • 245Recensioni degli utenti
    • 43Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Video1

    The Fountainhead
    Trailer 2:18
    The Fountainhead

    Foto50

    Visualizza poster
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    + 42
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    Interpreti principali99

    Modifica
    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 citato nei titoli originali)
    John Alban
    John Alban
    • Courtroom Spectator
    • (non citato nei titoli originali)
    Bob Alden
    • Newsboy
    • (non citato nei titoli originali)
    John Alvin
    John Alvin
    • Young Intellectual
    • (non citato nei titoli originali)
    Morris Ankrum
    Morris Ankrum
    • Prosecutor
    • (non citato nei titoli originali)
    Lois Austin
    • Female Party Guest
    • (non citato nei titoli originali)
    Griff Barnett
    Griff Barnett
    • Judge
    • (non citato nei titoli originali)
    Edward Biby
    Edward Biby
    • Party Guest
    • (non citato nei titoli originali)
    George Blagoi
    George Blagoi
    • Rally Spectator
    • (non citato nei titoli originali)
    • Regia
      • King Vidor
    • Sceneggiatura
      • Ayn Rand
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti245

    7,011.4K
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    Recensioni in evidenza

    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?
    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.
    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.
    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.
    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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    Trama

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    • Quiz
      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.
    • Blooper
      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.
    • Citazioni

      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.

    • Connessioni
      Featured in Hollywood Mavericks (1990)

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    Dettagli

    Modifica
    • Data di uscita
      • 23 dicembre 1949 (Italia)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Uno contra todos
    • Luoghi delle riprese
      • Fresno, California, Stati Uniti
    • Azienda produttrice
      • Warner Bros.
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 2.375.000 USD (previsto)
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      • 1h 54min(114 min)
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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