THE FOUNTAINHEAD
US, 1949, 114 minutes, Black and white.
Gary Cooper, Patricia Neal, Raymond Massey, Kent Smith, Robert Douglas, Henry Hull, Rag Collins, Moroni Olson, Jerome Cowan.
Directed by King Vidor.
The Fountainhead is based on a novel by philosopher Ayn Rand. She has written the screenplay for the film. It dramatises an individualist philosophy of life, an elitist view where the artist (or any genius - recognised or self-recognised) has a right to their individual genius and its fulfilment. The genius artist can be independent of society and is meant to be a leader of society. This point of view is put forward in a melodramatic story, in melodramatic style by noted director King Vidor (The Big Parade, Stella Dallas, Wilson, Beyond the Forest, War and Peace).
The film will alienate those who disagree with Ayn Rand's individualist outlook on success. It may attract those who believe in it. To this extent, the film is politically and philosophically conservative.
Gary Cooper is at home as the architect who embodies Ayn Rand's principles, He clashes with Patricia Neal (as he did in Bright Leaf). Raymond Massey is good as a powerful newspaper editor. Robert Douglas is excellent as a bitchy architecture critic.
The film is lush in its Warner Bros. production values, with a Max Steiner score, elaborate sets and some might say a sense of its own importance. Controversial entertainment.
1. An interesting and entertaining film? Dramatising Ayn Rand's philosophy? The point of view of her novel? Her skill in dramatising the novel for the screen?
2. Warner Bros. production values: black and white photography, stars, elaborate sets - especially for architecture? The emotional Max Steiner score?
3. The title and its focus on genius, success? The individual?
4. The film as a portrait of Roark: Gary Cooper's screen persona? Credible as an architect? His background, his individual genius? His work and the critics against him? Elsworth Toohey and his columns? Dominique and her admiration? His being commissioned to build various homes? The interest of Gail Wynand? The sabotaging of Roark's career? His going to work as a labourer - and the film glorifying this phase of his life? The encounter with Dominique and her arrogance? His passionate response to her? Attachment and love? The clash with society? With accepted standards? The break of his friendship with Peter Keating? The contrast with Peter going over to the establishment? His response to Dominique's marriage? His being taken over by a new firm? His being allowed his independence? His design, his vision and expression of this? The sabotaging of his design? Sides being-taken? His decision to dynamite the new building? The reconciliation with Dominique, her helping him? Wynand's suicide? Roark's final achievement, future, relationship with Dominique? An American hero of free enterprise?
5. Patricia Neal as Dominique, arrogant, her architecture column, relationship with Wynand, fascination with Roark's work, the encounter and her not recognising him, the riding crop and the slash, the passionate response to him? Falling out? her tormenting him? her marriage and its failure? Her brittle relationship with her husband? The clash with Toohey? Gail Wynand's suicide? Dominique's helping Howard to dynamite the building? Their relationship and its future?
6. Gail Wynand and his power, the paper, his decisions about information and public taste? Employees? E1sworth Toohey as his architectural critic? Dominique? His love for Dominique? His interest in Roark, backing him for the building, for Dominique? His decisions about public taste, clashes with Roark, using his power against him? His decision to commit suicide - credibility, motivation?
7. The employees of the paper? E1sworth Toohey as a wielder of power? His criticisms? His personal attack on Roark? His ingratiating himself with the establishment? His pontificating at social occasions? The clash with Dominique? The clash with Roark? His being defeated?
8. Peter Keating and his friendship with Roark? Keating's capitulation to the establishment? Subordinating his abilities to expectations of society? Their potential?
9. The importance of the courtroom sequence: Roark's speech, his passionate defence of the artist, independence? An egocentric defence of the individual? Or a proper affirmation of genius?
10. A piece of 1940s Americana? A picture of society? Good taste, establishment values? The wielders of power? The role of the media, the newspaper baron, the critic? The individual's stance against all odds?
