Dvdbeaver Fountainhead Article.txt Notepad
DVDBeaver-Fountainhead article.txt
King Vidor's 'The Fountainhead' or Why Audiences Shrugged!
by Gary Tooze
Man has a single choice; to think or not, and that is the gauge of his
virtue"
One of the more misunderstood and unjustly maligned films in
Hollywood history; King Vidor's 1949 thematically authoritative "The
Fountainhead" was unable to shift many perceptions and find
acceptance for its "expressionist fable" qualities. This derivation
from usual Hollywood fare of the 40's required a much higher level of
suspension of disbelief, one that the audience of the day were
unwilling to respond with. It reached top spots on many of the worst
film lists of that year with novelist and screenwriter Ayn Rand's deep
and unbound dialogue helping to vault her philosophy known as
'Objectivism' (a cerebral anthem for day-to-day existence) into the
more mainstream public eye. Intellectuals of the day expectantly
applauded it, the bulk of society dismissed its melodrama and
misunderstood its profound messages.
Ironically the very core fundamentals of the The Fountainhead deny
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public conformist reaction; that which would determine its
box-office success or failure. To have had financial success would
have meant either it had succumbed to the will and desire of the
masses that it staunchly opposed OR that it had achieved an
impossibly idealistic goal of altering society's entrenched
perceptions. Instead though it failed the studio financially thereby
adhering to the principles of its premise. Ironic indeed, and a
strange gamble for Warner Brothers to take especially if they
thought Rand would allow her scintillating discourse to be
"dumbed-down" to appeal to a larger slice of the box-office gate.
They were obviously attempting to capitalize on the popularity of her
best-selling novel and spared little expense in production.
The film focuses on the uncompromising and dogmatic philosophical
stance of the protagonist, architect Howard Roark - played by a
strong, impassive and abruptly stoic Gary Cooper. He, in defense of
artistic integrity and individualism, blows up a partially constructed
building site, called Cortlandt Homes, manipulated from his own
original design. The film introduces us to him, his philosophy, his
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actions, and finally the defense of the unwavering principles that he
lives by.
The climax of the film is his court case. At his trial he soliloquizes
about the formulaic adjustment of a creator's vision to adhere to
popular opinion. He explains how this prevalent truism is as damning
as the destruction of expression and individuality simply made in an
effort to bow to the blind adherence and whims of the conformist
mob. Using evolutionary man's discovery of fire, he argues that
without allowing complete freedom of expression nothing of any
value or substance would ever have been, or will be, created.
Hinting into Roark's lifestyle foundations are Rand's Objectivism
principles of self-interest. The concept of selfishness as a virtue
remains a difficult sell to her audience. As the film progresses we
see the complete denial of altruistic values. Roark expounds "I don't
ask for help, or do I give it". In his speech to parasite architect Peter
Keating prior to clandestinely accepting to design Cortlandt, Roark
states "A man who works for others without payment is a slave. I do
not believe slavery is noble... not in any form, or for any purpose
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whatsoever." This validates his reason for rejecting to design
Cortlandt on the sole basis of humanitarianism - to help shelter the
masses. This harkens straight to the core of Rand's novel by stating
that the creative 'self' is more important than the denial of 'self' for
the sake of others. Roark states before his trial, "I'm selfish? - is that
what they say? It's true I live for the judgment of my own mind and
for my own sake". Rand's concept of man is as a completely heroic
figure (in Roark's case as a psychologically isolated hero), with his
own happiness as the moral purpose of his life, with productive
accomplishments as his noblest activity, and 'reason' as his only
judgmental divining-rod. Perhaps idealistic, but ultimately appealing
to U.S. audiences as Roark's speech links it to the very core of
capitalistic and democratic flag waving values. This is the reason for
the success of her book and my feeling is that it was far too
unconventional for modern film as its vehicle of expression. The final
result is the ethos of an "Art" film entangled within a perceived
lecturing melodrama. The Fountainhead and its complete character
focus deviates drastically from the standard cinema of the day with
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its more obvious definability and structure.
The film expression that I was initially drawn to the resolute
"integrity of the artist" stance of Roark. I found this quite in common
with the writings of Russian master filmmaker "Andrei Tarkovsky" as
stated in his book "Sculpting in Time". This stalwart lack of
capitulation to bend to the desires of the masses is exceedingly
noble - in some minds bordering upon martyrdom when financial
gains are the rejected reward. Ayn Rand evolved to be the mostly
widely read philosopher of the 20th century. She (originally Alice
Rosenbaum) is also of Soviet origins with St. Petersburg, Russia as
her birthplace. An interesting co-incidence to Tarkovsky that
doesn't escape me. Perhaps those bred in a more repressed culture
are more apt to find obvious flaws and the means of identifying and
coping with them in a more autarchic system.
Quite amusingly, The Fountainhead is filled with sexual and erotic
symbols and motifs. I found these quite out-of-place for the times.
Large office towers representative of phallic metaphors with a
stunning 22-year-old Patricia Neal playing ice princess Dominque
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Francon. Jack Warner considered and then rejected Bette Davis, Ida
Lupino and Barbara Stanwyck for the coveted role. Neal's Dominique
sizzles as a tempest pot of strong-willed feminine sexuality. Initially
she is marked as a domineering woman (her first name is no
coincidence), complete with riding crop which she slashes across
Roark's face to encourage his aggressive sexual conquest of her.
She eventually acquiesces into a submissive and pouting lover... the
passive love slave of Howard Roark, bowing to the strength of his
"edifice". Cleverly imbedded, this symbolism is generally oblivious to
most. Even when Dominique first spots Roark and his sinewy
forearm muscles pumping the drill into the marble at her fathers
granite quarry we rarely think twice about the scenes hidden
implication.
Rand's book "The Fountainhead" (actually all her novels) expresses
an extremely machismo archetype structure where male physical
conquest of females are a prelude to desire and true love. Dominique
is self-described as a character "with strength but not courage". She
believes in Roark's philosophy, as does her husband of convenience
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and Roark's friend, newspaper magnate Gail Wynand (played by
Raymond Massey). His one-sided adoration of her and her openly
loveless expression to him are pragmatic if in total denial by all
concerned. They do share one resolute bond though; a lack of
courage to follow the trail which Roark is quietly marching ahead of
them.
Comparisons to Wynand as media mogul William Randolph Hearst
and Roark to master architect Frank Lloyd Wright seem too obvious,
but the true champion of the film is Rand's wonderfully
parable-infused dialogue. It is the blatant separation of this film to
anything of a comparable nature, before or since. Each sentence
harkens directly to a more universal meaning while not simply filling
in the plot with expected conventions and expressions. We also see
instances where Rand is furtively playing with words. As Dominique
stares down into the granite quarry to the laboring Roark she states
"Why are you looking at me?" Roark replies with a smile: "For the
same reason you're looking at me!". Her coquettish attempts at
teasing are easily discernable by the taciturn Roark. She later
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advises him to stop ogling her as it may be misinterpreted. His flat
response; "I don't think so Miss Francon".
The Fountainhead has been aptly described as post-German
expressionism from director Vidor with its fabulous model set
designs of buildings. Cinematographer Robert Burks' low to medium
camera angles reflect Roark adeptly as the strong-willed 'everyman'
who battles the persistent seductions and temptations that cross
his path. The camera lingers consistently on Patricia Neal as a
beacon of sexuality. The shots taken below her show her dominance
and in the final scene have her rising in the outdoor construction
elevator to meet Roark as he majestically stands atop the tallest
building in the world. Casting is perfect for Neal and this should
have been her springboard to superstardom had the film garnered its
anticipated box-office return. In my minds eye I see Henry Fonda as
a more powerful and contemplative Howard Roark than Cooper
portrayed but perhaps I am being too picky - Cooper made the role
his own as he always seems to have done throughout his career.
What we are left with is a sterling example of Hollywood attempting
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to deviate and grow with expressionism centralized within a
compelling plot of an uncompromising genius who copes and
succeeds. The films edict remains timeless but certainly more
appropriate for modern 'art' film buffs with dialogue as its
nerve-center and consistent and even pacing as its foundation.
Although Hollywood is finally breaking new ground it doesn't make
films like this anymore... and aside from The Fountainhead, truly
never did. Looking back today, I found it such a refreshing and
unique change.
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