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Рецензия на Атлас расправил плечи часть 1, фильм

Рецензия на Атлас расправил плечи часть 1, фильм

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February 25, 2011

“Someone who knows what it’s like to work for himself and not let others feed off the profits of his energy.”

So begins Atlas Shrugged Part I , the independent adaptation by “The Strike” Productions, scheduled for theatrical release April 15, 2011.

The skeptics are wrong.

Ever since the project launched last April, skeptics have wondered how a film with a limited budget of $10 million, rushed production schedule, and lack of big-name talent could possibly do justice to the novel. Over a thousand pages long, with an intricate plot, epic scope, multi-layered mystery, a hero who does not appear until the final third of the story, and a complex philosophical theme, Atlas Shrugged has posed an insurmountable challenge to film-makers. The streets of Hollywood are littered with the ashes of prior efforts, some with much larger budgets.

The skeptics are wrong. The completed film was shown today for the first time in a private screening. It is simply beautiful. With a screenplay faithful to the narrative and message of the novel, the adaptation is lushly produced. The acting, cinematography, and score create a powerful experience of the story.

This film is going to turbocharge the debate over Rand’s vision of capitalism as a moral ideal

Taylor Schilling is riveting as Dagny Taggart, the woman who manages the Taggart Transcontinental rail system with intelligence and courage while fighting interference from the president of the company, her incompetent brother James (Matthew Marsden), and his political cronies. Schilling is well-matched with Grant Bowler as steel-maker Hank Rearden. As the story opens, Rearden has just started producing a new alloy he invented; and Dagny is his first customer. She wants to have rails of the metal to replace a branch line in Colorado, which is booming with business growth, led by oil-producer Ellis Wyatt, who is clamoring for better transportation for his product.

The film covers the first third of Rand’s novel, the triumphant story of building the “John Galt Line”—followed by a wave of government edicts that saddle the Line with impossible burdens, making the triumph a battle won in a losing war between producers and looters, and setting the stage for the later battles of Parts II and III. The film pulls no punches in this regard: Rand’s theme of makers vs. takers comes through loud and clear in scenes like the one in which Rearden is forced to sell off his satellite companies. Bowler captures the agony of a man having his life’s work torn from him.

Taylor Schilling is riveting as Dagny Taggart.

The film does a credible job of portraying visually the world of Atlas Shrugged. Rand created a world in decline. Buildings and machinery are in disrepair, things break and don’t get fixed, businesses close. The economy is in a state of severe depression, and there is a depression of the spirit, too, a mood of despair, futility, and resignation captured in a popular expression: “Who is John Galt?”


Compounding the problem is the disappearance of highly talented people, prominent achievers at the peak of their success. That’s happening, of course, because John Galt is leading a strike of producers against the expropriation of their wealth—and against the principle that the need of others gives them a right to wealth, time, and effort of the productive. Though the strike remains largely off-stage in the film, Galt gets a more active role than in Part I of the novel. We don’t see his face, but we do see him recruiting strikers and we hear portions of the message. Unfortunately, those lines are not delivered with anything like the persuasive power that Rand’s philosophical recruiter must have.

A poor adaptation could be ignored by both sides. This adaptation can’t be ignored.

The novel was set in an indefinite “day after tomorrow,” a world that is always just ahead of us, retreating like the horizon as we approach. The producers made the controversial decision to date the story in late 2016, presumably to tap into the many parallels to current events, and the establishing shots of cities, train wrecks, and government actions are arresting extrapolations of today’s actual world. These depressing scenes are offset by gorgeous scenes of triumph. The first run of the John Galt Line is a visual symphony (even with some ragged edges in the digital graphics).


For over half a century, Rand’s novel has been a lightning rod for controversy. It has attracted millions of devoted fans—and legions of hostile critics. A poor adaptation could be ignored by both sides. This adaptation can’t be ignored. It is way too good. It is going to turbocharge the debate over Rand’s vision of capitalism as a moral ideal. Whether you love the novel or hate it, Atlas Shrugged Part I is a must-see film.

Дэвид Келли

ОБ АВТОРЕ:

Дэвид Келли

Дэвид Келли - основатель "Общества Атласа". Профессиональный философ, преподаватель и автор бестселлеров, он является ведущим сторонником объективизма уже более 25 лет.


Доктор Дэвид Келли
About the author:
Доктор Дэвид Келли

David Kelley fundou a The Atlas Society (TAS) em 1990 e atuou como diretor executivo até 2016. Além disso, como Diretor Intelectual, ele era responsável por supervisionar o conteúdo produzido pela organização: artigos, vídeos, palestras em conferências, etc. Aposentado do TAS em 2018, ele permanece ativo nos projetos do TAS e continua atuando no Conselho de Curadores.

Kelley é filósofa, professora e escritora profissional. Depois de obter um Ph.D. em filosofia pela Universidade de Princeton em 1975, ele ingressou no departamento de filosofia do Vassar College, onde ministrou uma grande variedade de cursos em todos os níveis. Ele também ensinou filosofia na Universidade Brandeis e lecionou com frequência em outros campi.

Os escritos filosóficos de Kelley incluem trabalhos originais em ética, epistemologia e política, muitos deles desenvolvendo ideias objetivistas em novas profundidades e novas direções. Ele é o autor de A evidência dos sentidos, um tratado de epistemologia; Verdade e tolerância no objetivismo, sobre questões do movimento objetivista; Individualismo inabalável: a base egoísta da benevolência; e A arte do raciocínio, um livro didático amplamente usado para lógica introdutória, agora em sua 5ª edição.

Kelley lecionou e publicou sobre uma ampla variedade de tópicos políticos e culturais. Seus artigos sobre questões sociais e políticas públicas foram publicados em Harpers, The Sciences, Reason, Harvard Business Review, The Freeman, On Principle, e em outros lugares. Durante a década de 1980, ele escreveu frequentemente para Revista Financeira e Empresarial Barrons sobre questões como igualitarismo, imigração, leis de salário mínimo e Previdência Social.

Seu livro Vida própria: direitos individuais e o estado de bem-estar é uma crítica das premissas morais do estado de bem-estar social e da defesa de alternativas privadas que preservem a autonomia, responsabilidade e dignidade individuais. Sua aparição no especial “Greed”, da ABC/TV, de John Stossel, em 1998, provocou um debate nacional sobre a ética do capitalismo.

Especialista reconhecido internacionalmente em Objetivismo, ele deu muitas palestras sobre Ayn Rand, suas ideias e seus trabalhos. Ele foi consultor da adaptação cinematográfica de Atlas Shrugged, e editor de Atlas Shrugged: o romance, os filmes, a filosofia.

 

Obra principal (selecionada):

Conceitos e naturezas: um comentário sobre A virada realista (de Douglas B. Rasmussen e Douglas J. Den Uyl),” Reason Papers 42, no. 1, (verão de 2021); Esta resenha de um livro recente inclui um mergulho profundo na ontologia e epistemologia dos conceitos.

Os fundamentos do conhecimento. Seis palestras sobre a epistemologia objetivista.

A primazia da existência” e”A Epistemologia da Percepção”, The Jefferson School, San Diego, julho de 1985

Universais e indução”, duas palestras nas conferências do GKRH, Dallas e Ann Arbor, março de 1989

Ceticismo”, Universidade de York, Toronto, 1987

A natureza do livre arbítrio”, duas palestras no Instituto de Portland, outubro de 1986

O Partido da Modernidade”, Relatório de política da Cato, maio/junho de 2003; e Navegador, novembro de 2003; Um artigo amplamente citado sobre as divisões culturais entre as visões pré-moderna, moderna (iluminista) e pós-moderna.

Eu não preciso“(Diário do IOS, volume 6, número 1, abril de 1996) e”Eu posso e eu vou” (O novo individualista, Outono/Inverno 2011); Artigos complementares sobre como tornar real o controle que temos sobre nossas vidas como indivíduos.

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