The Simpsons Do Ayn Rand

 

We struggle to be just. For we cannot help feeling at least a sympathetic pain before the sheer labor, discipline, and patient craftsmanship that went to making this mountain of words. But the words keep shouting us down. In the end that tone dominates. But it should be its own antidote, warning us that anything it shouts is best taken with the usual reservations with which we might sip a patent medicine. Some may like the flavor. In any case, the brew is probably without lasting ill effects. But it is not a cure for anything. Nor would we, ordinarily, place much confidence in the diagnosis of a doctor who supposes that the Hippocratic Oath is a kind of curse.

Whittaker Chambers, Big Sister is Watching You, National Review, December 28, 1957

 

 

 

 

 

Gary Cooper thought the speech of Howard Roark was rambling and confusing and didn’t make sense.  Ayn Rand was furious that the full speech from her novel was not given in the film.  Critics savaged the film.  The film can be enjoyed if viewed as a parody of a movie based on a bad novel.  If considered in that manner, the film is a laugh fest!

8

George Washington, Howard Roark and George Bailey

[34] But the Pharisees hearing that he had silenced the Sadducees, came together:

[35] And one of them, a doctor of the law, asking him, tempting him:

[36] Master, which is the greatest commandment in the law?

[37] Jesus said to him: Thou shalt love the Lord thy God with thy whole heart, and with thy whole soul, and with thy whole mind.

[38] This is the greatest and the first commandment.

[39] And the second is like to this: Thou shalt love thy neighbour as thyself.

[40] On these two commandments dependeth the whole law and the prophets.

Matthew 22: 34-40

(I originally posted this on December 26, 2012.  It seems like a good post for the day after Christmas, so here it is again.)

Joe Carter at Catholic Education Resource Center has a wonderful post entitled The Fountainhead of Bedford Falls, which compares the fictional characters Howard Roark and George Bailey:

Not surprisingly, Roark has become something of a cult figure, especially among young nerdy males entering post-adolescence. Although Roark is artistically gifted and technically brilliant, he prefers to take a job breaking rocks in a quarry than sell out to The Man. He provides a model for the underemployed, misunderstood, twenty-something misfit by choice. These see themselves in the uncompromising sulker, believing it better to vandalize and destroy than allow society to co-opt their dreams.

Rand herself would have certainly envisioned things differently. She would have sneered in disgust at the idea that Roark was anything like the slacker working at Starbucks the populists marching at Tea Parties. Her hero was a cross between the modernist architect Frank Lloyd Wright and the serial killer and child rapist William Hickman. Rand’s ideal was the nonconformist who exhibited sociopathic tendencies. She dreamed of the minority of brilliant, atheistic ubermensch who would “eventually trample society under its feet.” The vast majority of the people who read The Fountainhead might admire Roark, but they’d never emulate him.

Similarly, Capra’s audience flatters themselves by believing the message of Wonderful Life is that their own lives are just as worthy, just as noble, and just as wonderful’ as George Bailey’s. In a way, they are as delusional as the Randian Roark-worshippers. Despite the fact that they left their small-town communities for the city, put their parents in an assisted living facility and don’t know the names of their next door neighbors, they truly believe they are just like Capra’s hero.

Such delusions are the reason these characters have remained two of the most dominant archetypes of American individualism in pop culture. The pendulum of popularity is swinging back toward Rand but it’s Capra’s creation that should be our model for inspiration.

Roark is nihilistic, narrow-minded, and something of a bore. Bailey is far darker, more complex, and infinitely more interesting.

What makes George Bailey one of the most inspiring, emotionally complex characters in modern popular culture is that he continually chooses the needs of his family and community over his own self-interested ambitions and desires – and suffers immensely and repeatedly for his sacrifices.  

 Although sentimental, Capra’s movie is not a simplistic morality play. It’s true that the movie ends on a happy note late on Christmas Eve, when George is saved from ruin. But on Christmas Day he’ll wake to find that his life is not so different than it was when he wanted to commit suicide.

 He will remain a frustrated artist who is scraping by on a meager salary and living in a drafty old house in a one-stoplight town. All that has really changed is that he has gained a deeper appreciation of the value of faith, friends, and community – and that this is worth more than his worldly ambitions. Capra’s underlying message is thus radically subversive: It is by serving our fellow man, even to the point of subordinating our dreams and ambitions, that we achieve both true greatness and lasting happiness. Continue Reading

46

George Washington, Howard Roark and George Bailey

[34] But the Pharisees hearing that he had silenced the Sadducees, came together:

[35] And one of them, a doctor of the law, asking him, tempting him:

[36] Master, which is the greatest commandment in the law?

[37] Jesus said to him: Thou shalt love the Lord thy God with thy whole heart, and with thy whole soul, and with thy whole mind.

[38] This is the greatest and the first commandment.

[39] And the second is like to this: Thou shalt love thy neighbour as thyself.

[40] On these two commandments dependeth the whole law and the prophets.

Matthew 22: 34-40

Joe Carter at Catholic Education Resource Center has a wonderful post entitled The Fountainhead of Bedford Falls, which compares the fictional characters Howard Roark and George Bailey:

Not surprisingly, Roark has become something of a cult figure, especially among young nerdy males entering post-adolescence. Although Roark is artistically gifted and technically brilliant, he prefers to take a job breaking rocks in a quarry than sell out to The Man. He provides a model for the underemployed, misunderstood, twenty-something misfit by choice. These see themselves in the uncompromising sulker, believing it better to vandalize and destroy than allow society to co-opt their dreams.

Rand herself would have certainly envisioned things differently. She would have sneered in disgust at the idea that Roark was anything like the slacker working at Starbucks the populists marching at Tea Parties. Her hero was a cross between the modernist architect Frank Lloyd Wright and the serial killer and child rapist William Hickman. Rand’s ideal was the nonconformist who exhibited sociopathic tendencies. She dreamed of the minority of brilliant, atheistic ubermensch who would “eventually trample society under its feet.” The vast majority of the people who read The Fountainhead might admire Roark, but they’d never emulate him.

Similarly, Capra’s audience flatters themselves by believing the message of Wonderful Life is that their own lives are just as worthy, just as noble, and just as wonderful’ as George Bailey’s. In a way, they are as delusional as the Randian Roark-worshippers. Despite the fact that they left their small-town communities for the city, put their parents in an assisted living facility and don’t know the names of their next door neighbors, they truly believe they are just like Capra’s hero.

Such delusions are the reason these characters have remained two of the most dominant archetypes of American individualism in pop culture. The pendulum of popularity is swinging back toward Rand but it’s Capra’s creation that should be our model for inspiration.

Roark is nihilistic, narrow-minded, and something of a bore. Bailey is far darker, more complex, and infinitely more interesting.

What makes George Bailey one of the most inspiring, emotionally complex characters in modern popular culture is that he continually chooses the needs of his family and community over his own self-interested ambitions and desires – and suffers immensely and repeatedly for his sacrifices.  

 Although sentimental, Capra’s movie is not a simplistic morality play. It’s true that the movie ends on a happy note late on Christmas Eve, when George is saved from ruin. But on Christmas Day he’ll wake to find that his life is not so different than it was when he wanted to commit suicide.

 He will remain a frustrated artist who is scraping by on a meager salary and living in a drafty old house in a one-stoplight town. All that has really changed is that he has gained a deeper appreciation of the value of faith, friends, and community – and that this is worth more than his worldly ambitions. Capra’s underlying message is thus radically subversive: It is by serving our fellow man, even to the point of subordinating our dreams and ambitions, that we achieve both true greatness and lasting happiness. Continue Reading