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Le rebelle

Original title: The Fountainhead
  • 1949
  • Tous publics
  • 1h 54m
IMDb RATING
7.0/10
11K
YOUR RATING
Le rebelle (1949)
Trailer for this film adaptation of the famous Ayn Rand novel
Play trailer2:18
1 Video
49 Photos
Period DramaPsychological DramaDramaRomance

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

  • Director
    • King Vidor
  • Writer
    • Ayn Rand
  • Stars
    • Gary Cooper
    • Patricia Neal
    • Raymond Massey
  • See production info at IMDbPro
  • IMDb RATING
    7.0/10
    11K
    YOUR RATING
    • Director
      • King Vidor
    • Writer
      • Ayn Rand
    • Stars
      • Gary Cooper
      • Patricia Neal
      • Raymond Massey
    • 246User reviews
    • 43Critic reviews
  • See production info at IMDbPro
  • Videos1

    The Fountainhead
    Trailer 2:18
    The Fountainhead

    Photos49

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    Top cast99

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    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
    • (uncredited)
    John Alban
    John Alban
    • Courtroom Spectator
    • (uncredited)
    Bob Alden
    • Newsboy
    • (uncredited)
    John Alvin
    John Alvin
    • Young Intellectual
    • (uncredited)
    Morris Ankrum
    Morris Ankrum
    • Prosecutor
    • (uncredited)
    Lois Austin
    • Female Party Guest
    • (uncredited)
    Griff Barnett
    Griff Barnett
    • Judge
    • (uncredited)
    Edward Biby
    Edward Biby
    • Party Guest
    • (uncredited)
    George Blagoi
    George Blagoi
    • Rally Spectator
    • (uncredited)
    • Director
      • King Vidor
    • Writer
      • Ayn Rand
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews246

    7.011.3K
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    Featured reviews

    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.
    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.
    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.
    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?
    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.

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    Storyline

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    Did you know

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    • 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.
    • Goofs
      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.
    • Quotes

      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.

    • Connections
      Featured in Hollywood Mavericks (1990)

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    Details

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    • Release date
      • July 2, 1949 (United States)
    • Country of origin
      • United States
    • Language
      • English
    • Also known as
      • Uno contra todos
    • Filming locations
      • Fresno, California, USA
    • Production company
      • Warner Bros.
    • See more company credits at IMDbPro

    Box office

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    • Budget
      • $2,375,000 (estimated)
    See detailed box office info on IMDbPro

    Tech specs

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    • Runtime
      1 hour 54 minutes
    • Color
      • Black and White
    • Aspect ratio
      • 1.37 : 1

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