The Fountainhead King Vidor
Adapted from Ayn Rand's The Fountainhead, Vidor's amazing screen version never disappoints the spectator. It works out magnificent the use the director makes of the camera, covering a wide variety of different shots: from bird eye views, high-angle shots and low angles; all of them employed in the cleverest way. By means of them, Vidor achieves not only that the public perceives the story from diverse perspectives depending on the character, but that the viewer gets involved in a more direct way.
Moving on to a different approach, we must mention the skill showed by the combination of devices in order to achieve a determined impression on the audience. Such is the case of, for instance, the presence of irony, which serves as a thread that accompanies the plot throughout the whole movie and that can be noticed in the love triangle created among Howard Roark, Dominique Francon and Gail Wynand. An irony symbolized by means of Wynand's desire of having a country house designed by Roark himself.
Also in relation to irony it must be pointed out the iron will with which Wynand carries out his self-destructive campaign so as to defend his love "rival".
On the other hand, it is worthwhile to emphasize the discourse the main character delivers in front of the jury and that, apart from representing the climax of The Fountainhead, it also includes some statements that, from a Marxist point of view, can be interpreted as criticism with regard to the dignity of labor.
Finally, we may underline the bittersweet taste of the film's ending, a mixture of tragic and happy close to the triangle generated between the main characters that, however, seems to be the best possible solution.
Adapted from Ayn Rand's The Fountainhead, Vidor's amazing screen version never disappoints the spectator. It works out magnificent the use the director makes of the camera, covering a wide variety of different shots: from bird eye views, high-angle shots and low angles; all of them employed in the cleverest way. By means of them, Vidor achieves not only that the public perceives the story from diverse perspectives depending on the character, but that the viewer gets involved in a more direct way.
Moving on to a different approach, we must mention the skill showed by the combination of devices in order to achieve a determined impression on the audience. Such is the case of, for instance, the presence of irony, which serves as a thread that accompanies the plot throughout the whole movie and that can be noticed in the love triangle created among Howard Roark, Dominique Francon and Gail Wynand. An irony symbolized by means of Wynand's desire of having a country house designed by Roark himself.
Also in relation to irony it must be pointed out the iron will with which Wynand carries out his self-destructive campaign so as to defend his love "rival".
On the other hand, it is worthwhile to emphasize the discourse the main character delivers in front of the jury and that, apart from representing the climax of The Fountainhead, it also includes some statements that, from a Marxist point of view, can be interpreted as criticism with regard to the dignity of labor.
Finally, we may underline the bittersweet taste of the film's ending, a mixture of tragic and happy close to the triangle generated between the main characters that, however, seems to be the best possible solution.