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2. Atlas Shrugged's Long Journey to the Silver Screen
- Author:
- C.A. Wolski
- Publication Date:
- 03-2011
- Content Type:
- Journal Article
- Journal:
- The Objective Standard
- Institution:
- The Objective Standard
- Abstract:
- In January 1, 1982, Ayn Rand began the new year by following a time-honored tradition of her native Russia; she began work on the major project she planned to accomplish that year: a teleplay for her 1957 novel Atlas Shrugged. Unfortunately, this teleplay, the last thing Rand wrote, was incomplete when she died that March. Although this was the high point in her nearly decade-long involvement in producing a film version of Atlas, it marked only the midway point in her magnum opus' fifty-four year journey to the silver screen. According to Jeff Britting, archivist for the Ayn Rand Institute, this journey began shortly after Atlas was published.1 In the late 1950s, at least one report in Daily Variety, the film industry's newspaper, suggested that the book would soon be made into a film. Considering the success of Rand's The Fountainhead, first as a novel and then as a film, such a suggestion, even if purely speculative, was not far-fetched given Hollywood's long history of procuring literary properties and turning them into blockbusters. However, there was a major impediment to transforming Atlas into a film: Ayn Rand herself. It is well known and oft reported that Rand essentially disowned the film version of The Fountainhead because one line of dialogue was cut from Howard Roark's climactic courtroom speech. Although some critics might chalk this up to petty hubris, Britting notes that Rand had good reason for her reaction: She felt betrayed by director King Vidor and producer Henry Blanke. She thought that she had built a good working relationship with them during the production. She often consulted with the two men and even rewrote parts of the script to suit the production—all in the spirit of artistic cooperation. Their cutting of an important line from the story's climactic speech without her knowledge betrayed Rand's trust and left a bitter taste in her mouth regarding Hollywood. Given this souring experience, Rand would not even consider selling the rights to Atlas without attaching certain conditions—conditions that, by Hollywood standards, were extraordinary. According to Ayn Rand's agent, Perry Knowlton, She said she's never going to sell anything to a film company that doesn't allow her the right to pick the director, the screenwriter, and to edit in the editing room. And, of course, a lot of people make contracts thinking they can get this type of deal from the backers, but never could. It became one of the problems that she never got over, but she refused to give up her way of doing it because she felt she was right, which she was. She didn't like what was done with The Fountainhead, and therefore, she was trying to make sure it wouldn't happen again.2 It would be nearly fifteen years after the publication of the novel before Rand would be approached by a Hollywood veteran whom she thought able and willing to produce the film in accordance with her conditions and standards. Albert S. Ruddy, a longtime admirer of the novel, was coming off his successful production of The Godfather when he contacted Knowlton about buying the film rights to Atlas. Knowlton was not optimistic about the prospect but told Ruddy he could try to convince Rand that he would do the book justice. Remarkably, by his own account and others, Ruddy did more than thoroughly charm Rand; he demonstrated that he understood at root how the film adaptation needed to be approached. . . .
- Political Geography:
- Russia
3. Atlas Shrugged: Part I
- Author:
- C.A. Wolski
- Publication Date:
- 03-2011
- Content Type:
- Journal Article
- Journal:
- The Objective Standard
- Institution:
- The Objective Standard
- Abstract:
- Although Ayn Rand published her epic novel Atlas Shrugged fifty-four years ago, and although it has consistently sold hundreds of thousands of copies annually, Rand's magnum opus has spent decades mired in Hollywood “development hell.” Numerous producers, stars, screenwriters, and film production companies have endeavored but failed to execute a film version (see: “Atlas Shrugged's Long Journey to the Silver Screen,” p. 35). All the while, fans of the novel have anxiously waited for the day when they could watch the story come to life on the silver screen. That day is finally here. Atlas Shrugged: Part I, the first in a planned trilogy, should, for the most part, please the novel's patient fans. Fortuitously following a blueprint similar to one outlined by Rand in the 1970s (see “Adapting Atlas: Ayn Rand's own Approach,” p. 38), the film covers the first third of the story. Like the novel, the movie focuses on Dagny Taggart as she endeavors to save her struggling railroad from both intrusive government regulations and the mysterious John Galt, who is hastening the nation's collapse by causing the great entrepreneurs and thinkers of the country to disappear. She is aided in her efforts by Henry “Hank” Rearden, a steel magnate who is also being squeezed by government regulations and is anxious to put an end to John Galt's activities. Those familiar with the novel know generally what to expect: the disappearance of more and more industrialists and other great producers, the banning of Rearden Metal, the “Anti-Dog-Eat-Dog Rule,” the initial run of the John Galt Line, and finally Wyatt's Torch and the collapse of Colorado.
- Topic:
- Development and Government
- Political Geography:
- America, Middle East, and Colorado
4. The King's Speech
- Author:
- C.A. Wolski
- Publication Date:
- 03-2011
- Content Type:
- Journal Article
- Journal:
- The Objective Standard
- Institution:
- The Objective Standard
- Abstract:
- It is 1939 and England is in crisis—war looms, the government is in chaos, the people are in despair. All eyes turn to the country's reluctant, recently crowned monarch, George VI, to offer stirring words that will brace them for the coming storm. But there's the rub. The king suffers from a paralyzing stammer, and there are grave doubts that he will be able to deliver the speech that will unite his nation. Tom Hooper's Academy-Award winning The King's Speech is much more than a simple, inspiring wartime tale of a historical figure overcoming a physical and psychological ailment. The story of how Albert, Duke of York, later King George VI, overcame his stammer to give a series of rousing wartime speeches that united and inspired his nation is indeed the framework of the film. But at its heart, the film is the story of the power of the human mind and how hard work and perseverance—not miracles and wishes—are the bulwarks of the human spirit. The film opens in 1925. Albert (played by Colin Firth) must deliver the closing speech of the Empire Exhibition. The king's second son is terrified. He is led to the podium where his speech will not only be heard by the assembled crowd but is being simultaneously broadcast across the Empire. The time comes, and in what can only be described as sheer agony, Albert chokes out the first few words. He is next seen several months later at a session with a so-called “speech therapist” who insists that smoking will “relax the throat” and that stuffing one's mouth full of marbles is the “classic” cure for stuttering. Both remedies, unsurprisingly, fail. Albert, with the help of his wife, Elizabeth (played by Helena Bonham Carter), eventually lands himself in the offices of Lionel Logue (Geoffrey Rush), an Australian speech therapist, who promises that he can help Albert (whom he insists on calling “Bertie” to the prince's continuing disdain) overcome his stammer and speak clearly. The eccentric speech therapist delivers. Through hard work, setbacks, and triumphs, Logue, with sometimes unusual therapeutic techniques and a wry bit of psychoanalysis, treats the prince and helps him rediscover the confidence and self-esteem that had been robbed from him during his bleak childhood. The efforts culminate in the pivotal speech that Albert, as king, must give. Success is the only option—and the psychological tightrope the king must cross during this moment is more compelling than any explosive action sequence one might imagine. . . .
- Topic:
- Government
- Political Geography:
- Australia and England
5. His Dark Materials Trilogy
- Author:
- C.A. Wolski
- Publication Date:
- 06-2011
- Content Type:
- Journal Article
- Journal:
- The Objective Standard
- Institution:
- The Objective Standard
- Abstract:
- While religious leaders want to establish the kingdom of heaven on Earth, the heroes of Philip Pullman's His Dark Materials trilogy (The Golden Compass, The Subtle Knife, The Amber Spyglass) seek to overthrow the oppressive “kingdom” of heaven and establish a “republic” in its stead. This is the driving action in Pullman's “young adult” fantasy series. And although the books are marketed to teens, the stories will, like all good literature, reward readers with more years and a few gray hairs as well. The first novel, The Golden Compass (originally published in the United Kingdom as The Northern Lights) opens on a parallel Earth where humans and their daemons—the physical manifestations of their souls—live under the suffocating control of the Church and its security apparatus, the Magisterium. But oppression is furthest from the mind of twelve-year-old Lyra Belacqua and her daemon (pronounced “demon”) Pan: They're too busy getting into trouble and having adolescent adventures in and around Oxford, in particular hassling the children of the Gyptians, wanderers who visit yearly on their barges. The Oxford kids and the Gyptian youngsters engage in a good-natured conflict in which they “gobble” each other, “Gobblers” being this Earth's bogeymen. But things take a decidedly more grown-up turn when Lyra gets wrapped up in the machinations of her uncle, Lord Asriel, an explorer and iconoclast. After saving Asriel from an assassination attempt and learning from him and his colleagues a bit about the mysterious “Dust,” a subject that the other adults avoid discussing at all costs, Lyra is introduced to the malevolent Mrs. Coulter and is subsequently sent to live with her. Before she leaves Oxford, Lyra is given a truth-telling device called an altheiometer—the golden compass of the title. Powered by Dust, it can discern what's hidden in the heart of any man, woman, or beast. While living with Mrs. Coulter—who, naturally, covets the altheiometer—Lyra discovers that Gobblers actually exist and have been kidnapping children for a dark purpose related to Dust. Eventually, Lyra goes north to rescue a kidnapped friend and makes the acquaintance of aeronaut Lee Scoresby and his rabbit daemon Hester, as well as witches and militaristic armored polar bears. The novel ends on a cliffhanger—and a dark revelation about the nature of Lord Asriel's work. .
- Topic:
- Security
- Political Geography:
- United Kingdom
6. Temple Grandin
- Author:
- C.A. Wolski
- Publication Date:
- 06-2011
- Content Type:
- Journal Article
- Journal:
- The Objective Standard
- Institution:
- The Objective Standard
- Abstract:
- Recently released on DVD, HBO Film's Temple Grandin is the true story of animal behaviorist Temple Grandin, a brilliant scientist and engineer who single-handedly reformed the meatpacking industry by improving both the way cattle are treated and the means by which the animals are led to slaughter. What makes Grandin, currently a professor at Colorado State University, of particular interest as the subject of a docudrama is not only the way she helped the beef and cattle industry become more efficient and profitable, but also the fact that she is autistic. The television film, written by Christopher Monger and Merritt Johnson, is based on several books by Grandin and details her life from the time that she was diagnosed as autistic—when she was a toddler—to her postdoctoral years in the early 1980s. What makes Grandin even more remarkable is her rivetingly powerful self-awareness of her disability; how she compensates for it, by “thinking in pictures”; and how she uses her unique situation and skills to get “into” the minds of the animals she studies. Claire Danes, who plays Grandin, deserves particular kudos for her performance (she justly won an Emmy for the role), which is rich and believable. Grandin is profoundly independent, driven, and self-interested; once she sets her mind to a goal, she never gives up and never backs down—and she always does what is right for herself and the animals she loves. With Danes' portrayal, viewers love and root for Grandin from beginning to end. Though it may be a cliché to describe such a film as “feel-good” or “inspiring,” that is exactly what Temple Grandin is. One cannot help but be mesmerized and energized by the story. . . .
- Political Geography:
- Colorado
7. Captain America: The First Avenger, directed by Joe Johnston
- Author:
- C.A. Wolski
- Publication Date:
- 09-2011
- Content Type:
- Journal Article
- Journal:
- The Objective Standard
- Institution:
- The Objective Standard
- Abstract:
- Although shot in vivid color, Paramount studios' Captain America: The First Avenger embraces a refreshing black-and-white, good versus evil worldview lacking in most of the recent spate of dark, nihilistic superhero films. The picture occurs mostly in flashback—with a very brief framing story set in the present day—during the early days of America's involvement in World War Two. Steve Rogers (played by Chris Evans), like most patriotic young men of the day, is itching to enlist and join the fight. However, his motivation is more than patriotism: He does not like bullies and sees the Third Reich as the biggest bully on the planet. Unfortunately, he is too short and underweight to meet the fighting ideal, and finds himself marked “4F” at recruiting station after recruiting station. But although he does not have the physical strength of his friend, strapping U.S. infantryman “Bucky” Barnes (played by Sebastian Stan), he is at least as brave, standing up to bullies with little regard for his personal safety. Soon, the tenacious and brave Rogers comes to the attention of Dr. Erskine (played by Stanley Tucci), who is looking for volunteers to take part in his “Project Rebirth,” an experiment that aims to create an army of U.S. “super soldiers.” Because of his bravery and strong moral code, Rogers is a perfect choice for Dr. Erskine's project and becomes America's first super soldier, thanks to Rebirth Serum. (However, due to an unfortunate turn of events, Rogers remains America's only super soldier.) After capturing the public's imagination with a spectacular display of heroics, the newly minted “Captain America” is relegated to life as a propaganda tool for the U.S. government, contributing to the cause of freedom with a two-bit floor show aimed at selling war bonds. But when Rogers discovers that his old buddy Bucky's squad has been captured by Nazi super soldier Red Skull (played by Hugo Weaving) and his horde of HYDRA agents, Captain America springs into action. . . .
- Political Geography:
- America
8. The Help, directed
- Author:
- C.A. Wolski
- Publication Date:
- 12-2011
- Content Type:
- Journal Article
- Journal:
- The Objective Standard
- Institution:
- The Objective Standard
- Abstract:
- Only a handful of fictional films-among them, To Kill a Mockingbird and In the Heat of the Night-have successfully addressed the ugly realities of racism in 20th-century America in compelling, dramatic ways. Tate Taylor's The Help can be added to this list. Set in the deeply segregated Mississippi of 1963, The Help is, on one level, about a young, privileged white woman's attempts to become a professional writer. Skeeter Phelan, played by Emma Stone, is the daughter of an old, wealthy, socially connected white family in Jackson, Mississippi. After graduating from Ole Miss with an English degree, Skeeter has come home, hoping to pursue her dream of writing literature, taking her first step by writing the housekeeping column for the local paper. Skeeter's career choice is diametrically opposed to those of her lifelong friends and the rest of the Junior League who, at twenty-three, have already settled down and begun having babies. Led by Hilly Holbrook (Bryce Dallas Howard), these would-be Scarlett O'Haras are supported by "the help" of the title, black housekeepers who do the cleaning, shopping, cooking, and, most critically, raising generation after generation of white children, yet are not even allowed to use their employers' bathrooms. While writing her column, Skeeter seeks the assistance of Abileen Clark (Viola Davis), the black maid of one of her friends. In so doing, she sees for the first time the ugliness that underlies the system in which she has lived her entire life. Here the story turns to deeper matters and the theme of independence versus conformity. . . .
- Political Geography:
- America