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The Fountainhead (1949)

 -  Drama  -  2 July 1949 (USA)
7.1
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Ratings: 7.1/10 from 6,074 users  
Reviews: 182 user | 25 critic

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

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(screenplay), (novel)
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Title: The Fountainhead (1949)

The Fountainhead (1949) on IMDb 7.1/10

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Cast

Complete credited cast:
...
...
...
Kent Smith ...
Robert Douglas ...
...
...
Roger Enright
Moroni Olsen ...
Chairman
Jerome Cowan ...
Alvah Scarret
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Storyline

Individualistic and idealistic architect Howard Roark is expelled from college because his designs fail to fit with existing architectural thinking. He seems unemployable but finally lands a job with like-minded Henry Cameron, however within a few years Cameron drinks himself to death, warning Roark that the same fate awaits unless he compromises his ideals. Roark is determined to retain his artistic integrity at all costs. Written by Col Needham <col@imdb.com>

Plot Summary | Plot Synopsis

Taglines:

No Man Takes What's Mine ! See more »

Genres:

Drama

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

2 July 1949 (USA)  »

Also Known As:

The Fountainhead  »

Filming Locations:

 »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Ayn Rand was furious that Roark's courtroom speech was edited down for time, and as a result refused to allow for a film adaptation of Atlas Shrugged during her lifetime. See more »

Goofs

When Roark is having his first meeting with Toohey he has a copy of the Banner in his hand. When Roark says "I read that in your column yesterday" the paper in his hands is open. The scene shifts perspective to Roark from behind and the paper is folded. See more »

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 ...
[...]
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Connections

Referenced in Zizek! (2005) See more »

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User Reviews

One of the weirdest movies ever produced in the 1940s
9 May 2001 | by (Southeastern Massachusetts) – See all my reviews

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?


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