" 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 the modern color wheel, The Fountainhead in its original format, condition, and shape is a testament to the themes, metaphors, and symbols, characters, and storyline of the novel by the same name. The filmic elements and creative choices, that is, contribute to the ideas expressed by objectivist philosopher and writer Ayn Rand.
From the start of the film, the characters are constructed and developed to embody the ideals of Rand's message(s). She once said,
My philosophy, in essence, is the concept of man as a heroic being with his own happiness as the moral purpose of his life, with productive achievement as his noblest activity and reason as his only absolute. (www.aynrand.org)
Not only does the film's central focus-architects and architecture-affirm the architectural business, representing real-world players, but the characters, especially the protagonist, reveal Rand's outlook: Howard Roark represents this concept as an idealistic, principled individualist who refuses to conform to the rules of architectural school (resisting the copying of ancient, classical styles), who works blue collar jobs rather than buy into the popularism that is the architecture business, and who designs what he pleases. As the last ditch effort to grasp his autonomy, even, he destroys his greatest creation. When he is indicted, sued by the state, he makes his climactic stand: "The creator thinks; the parasite copies."
Also contributing to the conflict are the foils-Peter Keating, fellow architect, who, like some real characters in the business, thieves his way to the top by stealing (taking credit for) Roark's designs; Ellsworth Toohey, powerful administrator at The Banner (much like numerous self-indulgent stuffed shirt critics the artist is up against in real life), who spearheads campaigns against Roark's innovative and iconoclastic style; the pasty Gail Wynand, newspaper owner
MISE en SCEN: THE CAMERA ANGLES and MOVES
At the center of the film, as in any film, the