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On a one-page website entitled "Fountainhead Revisited," Fountainhead fanatic Fred Himebaugh introduces his proposal with the line, "The Fountainhead is perhaps the greatest movie ever made." Himebaugh then proceeds to announce his call for some "public-spirited and very, very rich people" (http:/home.comcast.net ) to help him accomplish his goal: to colorize The Fountainhead…
" and a second shot of Dominique Francon (Neal) standing somewhat over a somewhat slouching Roark, with the caption, "I wish I could say it was a temptation." Nothing too remarkable, really, at first read. If visitors stay on the page long enough, however, they see a magical transformation, an homage to colorization and to The Fountainhead: each still flashes to its potential version. Roark is now an everyman in loyal blue suit and power read tie; the carpet he stands on is teal; and the buildings he looks at and touches a model of are retro peach; the skyline penthouse Francon and Roark rest in is romanticized with more antique teal (the walls, the floor, the lighting); the characters' b&w tie garb stays put; and the buildings outside are daguerreotype and gunmetal grey, with twilight teal-lighted windows in some.
Regardless of the controversy over colorizing old works, of the good intentions of Rand's number one fan, regardless of such architects turned critic as Nancy Levinson, who in an essay on the film balks at its typical Hollywoodization of architects, (29-39) and regardless of the compulsion to "modernize" a storyline or script with ...
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