The Fountainhead
The Fountainhead. - Review - movie reviews
New Statesman, Nov 20, 1998 by Jonathan Romney
It's clear from the opening credits of King Vidor's The Fountainhead that the film is in the grip of phallic dementia. It begins with a skyscraper swinging round to turn into a book - the best-seller by novelist and ideologue Ayn Rand. Rand herself adapted The Fountainhead, and there's no mistake who's pulling the rhetorical strings as a succession of sniffy bureaucrats lecture a monolithic, shadow-cloaked figure about the virtues of mediocrity in the building trade: "Do you want to stand alone against the whole world? There's no room for originality in architecture!"
That figure turns out to be the most statue-like of Hollywood heroes, Gary Cooper. He's architect Howard Roark, a man of absolute vision, and by golly he knows it. "A building has integrity, just like a man ... I set my own standards," he declares.
The Fountainhead is less a drama than the illustration of an ideology. Born in Russia, and a hater of the revolution, Ayn Rand dreamed of America as an Eden of individualism. When she got there - becoming first a Cecil B de Mille extra, later a novelist and popular philosopher - she expounded her belief in the sovereignty of the individual. For Rand, the self comes above society, termed variously "the masses", "the collective", "the mob". This leads to some peculiar redefinitions of familiar terms: for Rand, there's nothing more corrupt than "altruism". Hence such bizarre proclamations as Roark's warning: "The world is perishing from an orgy of self-sacrificing."
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