7.1/10
8,470
208 user 31 critic

The Fountainhead (1949)

Approved | | Drama, Romance | 2 July 1949 (USA)
Trailer
2:17 | Trailer

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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

Writers:

Ayn Rand (screenplay), Ayn Rand (novel)
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Cast

Complete credited cast:
Gary Cooper ... Howard Roark
Patricia Neal ... Dominique Francon
Raymond Massey ... Gail Wynand
Kent Smith ... Peter Keating
Robert Douglas ... Ellsworth M. Toohey
Henry Hull ... Henry Cameron
Ray Collins ... 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 | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

2 July 1949 (USA) See more »

Also Known As:

Le rebelle See more »

Filming Locations:

Fresno, California, USA See more »

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Box Office

Budget:

$2,375,000 (estimated)

Gross USA:

$2,179,000, 31 December 1949

Cumulative Worldwide Gross:

$2,906,000, 31 December 1949
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Company Credits

Production Co:

Warner Bros. See more »
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Technical Specs

Runtime:

Sound Mix:

Mono (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 Dominique is taking the construction elevator to the top of the skyscraper, the camera (as if from Dominique's perspective) zooms in slowly to the top of the building but there is no elevator shaft. See more »

Quotes

Howard Roark: Before you can do things for people, you must be the kind of man who can get things done. But to get things done, you must love the doing, not the people! Your own work, not any possible object of your charity. I'll be glad if men who need it find a better method of living in the house I built, but that's not the motive of my work, nor my reason, nor my reward! My reward, my purpose, my life, is the work itself - my work done my way! Nothing else matters to me!
See more »

Connections

Featured in The Marvellous World of Roald Dahl (2016) See more »

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User Reviews

 
Too unique to dismiss
28 March 1999 | by bwaynefSee all my reviews

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.


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