百科全书小说改编电影《源泉》
2012-03-07 17:59阅读：
《源泉》（1943）
安·兰德
《源泉》（1943）
美国
导演：金·维多
改编：安·兰德
华纳兄弟娱乐公司
小说《源泉》
安·兰德的长篇小说《源泉》的主人公是一个英勇的建筑师名叫霍德华·洛克，他的职业生涯富有幻想和远见卓识，正如
弗兰克·劳埃德·赖特以及赖特的指导者路易斯·沙利文。洛克的设计非常前卫，这部小说的主题就是用这个建筑艺术家的特立独行来反映他从事的建筑这一领域。洛克工作时坚持他的正直诚实，然而其他人却打压他使他妥协让步。兰德改变了她作品中几乎所有角色给人的第一印象：例如洛克最后的报应，还有对狡猾评论家埃尔斯沃斯·图希的处理也很巧妙，他一开始被定型为一个外表举止友好的长者，然而事实上他是一个残酷无情邪恶的幕后操纵者。在小说中洛克是一个没有情绪变化的人，然而他的行为却被激情所支配。他不受与普通人的情感的影响，这一点非常奇怪。多米尼克·弗兰肯是洛克的灵魂伴侣和刺激因素，同时也是抽象虚幻的。她是一个荡妇，总是控制着他身边的男人，除了主宰她的洛克。
洛克的形象是由他的工作，他的才华还有奉献和真诚的精神组合而成的。彼得·吉丁的才华不及洛克，因为抄袭了洛克的创意才得以成功，这一点很好地衬托了洛克的形象。因为抄袭，吉丁成功了，然而洛克失败了。吉丁成为了盖伊·弗兰肯设计院的一员，并且雇佣洛克仅仅作为一个起草人。托黑成就了吉丁的声望，而吉丁向托黑的侄女凯瑟琳哈尔西求婚。吉丁是一个完全的投机主义者，为了与多米尼克结婚并且在公司崛起，他抛弃了凯瑟琳。当吉丁获得了设计科特兰德政府居家工程的合同，他不得不向洛克寻求启发和帮助。洛克同意设计这项工程，至于基廷保证工程完全按照洛克的设计制作。
后来吉丁修改洛克的设计，洛克炸毁了这项工程。洛克被钦佩他工作的报纸巨头盖尔·华纳德保护。托黑明知洛克是个无神论者，依然写信给华纳德的报纸集团，炮制了一个项目以获得洛克的合同，为极其富有的霍普顿
斯托达德设计大教堂。托黑谎称代表洛克的意思，明知道斯托达德会被洛克“教堂的人文精神”所羞辱。斯托达德听从了托黑的建议，拒绝了设计方案，把洛克告上法庭，并且把教堂改造成了“低能儿童之家”。斯托达德的任何情节都没出现在影片（小说）中。
小说中，
洛克以及洛克的职业对手华纳德，都被定义成是自私的，这在兰德的哲学中，成为一种美德，只要自私关系到个人诚信并超越妥协。托黑的动机是提升他平庸的才智以及可以控制和摧毁个人主义。托黑希望得到权力和影响力，他几乎战胜洛克的才智并且打败华纳德。
电影《源泉》
改编的电影重点放在三角关系上，首先是洛克（加里库珀）、吉丁（肯特史密斯）和多米尼克（帕特里夏尼尔）之间的关系，然后是洛克、多米尼克和华纳德（林峰梅西）的三角关系。埃尔斯沃思图希（罗伯特道格拉斯）是推进人物和反派人物的中心，但他的邪恶是没有预兆的，而且他是一个次要角色。洛克超常的个人主义超越了人类（有时候麻木）的界限。
一个主要的挑战是把700页的小说浓缩成两个小时的电影。托黑和华纳德的斗争、托黑和洛克的斗争是这部小说的动力源泉。如果这个故事要保持他的完整性，埃尔斯沃斯
托黑是不可缺少的次要角色。但是兰德自己和工作室妥协，破坏了小说的完整性。可耻的是，为了受大众欢迎的缘故，他妥协自己的作品，在电影中减少多米尼克的力量和权威，把他变成多情的滥情的傻瓜，让托黑超过华纳德占据上风，缩减成一个受伤的男人最后自杀。而小说中，托黑减少为卡瑟林工作，“一个三流下午小报”但仍然是华纳德报纸。小说表明，华纳德帝国“
声音和行动遍及全国，除了纽约”，在那里华纳德被迫关闭了他的旗舰店，盖尔.华纳德是兰德在这部小说中创造的角色中最有悲惨潜力的，但是自杀不是对他的惩罚，也不是他应得的。小说里，他生活在失败的阴影中。兰德的小说已经被腐蚀，但没有被征服。
参考文献：
巴克斯特，约翰，金维多（帝王出版社，1976年）;
德格纳特，雷蒙德和斯科特.西蒙风，金维多，美国（加州大学出版社，1988）；
麦根，凯文“安兰德的堆料场精神”在现代美国小说和电影版。
杰拉尔德.佩里和罗杰.夏兹金（弗雷德里克温加尔，1978年）；
维多，金，金.维多，对电影制作的维多（大卫麦凯，1972年）。——卓著 威尔
THE FOUNTAINHEAD (1943)
AYN RAND
The Fountainhead (1949), U.S.A., directed by King
Vidor,
adapted by Ayn Rand; Warner Bros.
The Novel
Ayn Rand’s lengthy novel concerns Howard Roark, a
heroic architect whose visionary career recalls that of
Frank Lloyd Wright and Wright’s mentor, Louis Sullivan.
This novel of ideas sets the individual artist Roark at odds
with the establishment representing his chosen field
because Roark’s designs are avant-garde. Roark labors to
maintain his integrity while others pressure him to
compromise.
Rand reverses the first impressions formed about
nearly all of her characters: Roark’s nemesis, the
manipulative
and devious critic Ellsworth Toohey, for example, is
first defined by an apparent avuncular kindness, whereas
he is in fact a cruel, ruthless, and evil manipulator. In the
novel Roark is curiously detached from ordinary human
emotions, a man incapable of sentiment but dominated by
passion. Dominique Francon, Roark’s soulmate and catalyst,
is equally abstract and unreal. She is a femme fatale,
always in control of the men around her, except for the
dominant Roark.
Roark is defined by his work, his genius, his dedication
and integrity. His foil is the less talented Peter Keating,
who succeeds because of ideas plagiarized from
Roark. The conventional Keating succeeds while Roark
does not; Keating becomes a partner in Guy Francon’s
firm and hires Roark as a mere draftsman. Toohey helps
to build Keating’s reputation while Keating courts
Toohey’s niece Catherine Halsey. Keating is a total
opportunist and deserts Catherine in order to marry
Dominique and rise in the firm. When Keating is
awarded a contract to design the Cortlandt Homes project,
he has to turn to Roark for inspiration and help.
Roark agrees to design the project only if Keating will
guarantee that it will be fabricated exactly as Roark
designs it.
When Keating later compromises Roark’s designs,
Roark destroys the project. Roark is protected by newspaper
tycoon Gail Wynand, who admires his work. Toohey,
who writes for Wynand’s newspaper chain, concocts a
scheme to get Roark a contract to design a cathedral for
the fabulously wealthy Hopton Stoddard, knowing full
well that Roark is an atheist. Toohey misrepresents the
concept to Roark, knowing that Stoddard will be outraged
by Roark’s “Temple of the Human Spirit.” Stoddard
rejects the design, takes Roark to court, and turns the
cathedral into a “home for subnormal children” on
Toohey’s advice. Nothing of the Stoddard plot remains in
the film.
In the novel Roark and Wynand, Roark’s industrial
counterpart, are defined by their selfishness, which, in
Rand’s philosophy, becomes a virtue so long as that
selfishness
is linked to personal integrity and is beyond compromise.
Toohey’s motives are to elevate mediocre talents
he can control and to destroy individualism. Toohey wants
power and influence, and he is nearly able to subdue
Roark’s talent and defeat Wynand.
The Film
The film adaptation focuses on the triangles formed first
by Roark (Gary Cooper), Keating (Kent Smith), and
Dominique (Patricia Neal), then between Roark,
Dominique, and Wynand (Raymond Massey). Ellsworth
Toohey (Robert Douglas) is central as a catalyst and cartoon
villain, but his villainy is less ominous and he is
reduced to a secondary character. Roark’s superhuman
individualism is scaled down to human (and sometimes
wooden) dimensions.
One major challenge is to reduce and compress a novel
that runs 700 pages into a two-hour film. The power
struggles between Toohey and Wynand and between
Toohey and Roark constitute the dynamic of this novel.
Ellsworth Toohey cannot be reduced to a secondary character
if the story is to retain its own integrity, and yet Rand
herself made compromises with the studio, damaging the
integrity of her own novel that was mainly about
integrity.
It is shameful that she would compromise her own work
for the sake of a popular mass audience, diminishing
Dominique’s power and authority, turning her into a soulful,
melodramatic twit, allowing Toohey to have the upper
hand over Wynand, reduced to a broken man in the film
who commits suicide, whereas in the novel Toohey is
reduced to working for The Clarion, “a third-rate
afternoon
tabloid” but still a Wynand paper. The novel makes
clear that the Wynand empire is “sound and doing as well
as ever throughout the country, with the exception of New
York City,” where Wynand has been forced to close down
his flagship paper, The Banner.Wynand has the most
tragic
potential of any character Rand created for this novel, but
suicide is not his punishment, nor is it fitting. In the
novel
he lives on with an awareness of his failure. Rand’s novel
has been subverted, but not conquered.
REFERENCES
Baxter, John, King Vidor (Monarch Press, 1976); Durgnat,
Raymond
and Scott Simmon, King Vidor, American (University of
California
Press, 1988); McGann, Kevin, “Ayn Rand in the Stockyard of
the
Spirit,” in The Modern American Novel and the Movies, ed.
Gerald
Peary and Roger Shatzkin (Frederick Ungar, 1978); Vidor, King,
King
Vidor on Filmmaking (David McKay, 1972).
—J.M. Welsh
