阿特拉斯聳聳肩第1部分,電影回顧教育阿特拉斯大學
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阿特拉斯聳聳肩第1部分,電影回顧

阿特拉斯聳聳肩第1部分,電影回顧

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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.

大衛·凱利

作者簡介:

大衛·凱利

大衛·凱利是阿特拉斯協會的創始人。作為一名專業的哲學家、教師和暢銷書作家,他一直是客觀主義的主要支援者超過25年。


David Kelley Ph.D
About the author:
David Kelley Ph.D

David Kelley founded The Atlas Society (TAS) in 1990 and served as Executive Director through 2016. In addition, as Chief Intellectual Officer, he was responsible for overseeing the content produced by the organization: articles, videos, talks at conferences, etc.. Retired from TAS in 2018, he remains active in TAS projects and continues to serve on the Board of Trustees.

凱利是一位專業的哲學家、教師和作家。1975年獲得普林斯頓大學哲學博士學位后,他加入了瓦薩學院哲學系,教授各級課程。他還曾在布蘭迪斯大學教授哲學,並經常在其他校區講課。

凱利的哲學著作包括倫理學、認識論和政治學方面的原創作品,其中許多作品以新的深度和新的方向發展了客觀主義思想。他是認識論論文感官的證據》的作者;客觀主義中的真理與寬容,論客觀主義運動中的問題;粗獷的個人主義:仁慈的自私基礎;以及《推理的藝術》,這是一本廣泛使用的入門邏輯教科書,現已出版第 5 版。

凱利曾就廣泛的政治和文化主題發表演講和出版。他關於社會問題和公共政策的文章發表在 《哈珀斯》、《科學》、《理性》、《哈佛商業評論》、《弗里曼》、《論原則》等雜誌上。在1980年代,他經常為 《巴倫週刊》財經和商業雜誌 撰寫有關平等主義、移民、最低工資法和社會保障等問題的文章。

他的著作 《一個人的生活:個人權利和福利國家》 批判了福利國家的道德前提,並捍衛了維護個人自主、責任和尊嚴的私人替代方案。1998年,他出現在約翰·斯托塞爾(John Stossel)的ABC/TV特別節目“貪婪”中,引發了一場關於資本主義倫理的全國性辯論。

作為國際公認的客觀主義專家,他廣泛地講授安·蘭德、她的思想和作品。他是電影《阿特拉斯聳聳肩》的顧問,也是《阿特拉斯聳聳肩:小說、電影、哲學》的編輯

 

主要作品(部分):

概念與自然:對現實主義轉向的評論(道格拉斯·拉斯穆森和道格拉斯·登厄伊爾)”,《理性論文》第 42 期,第 1 期,(2021 年夏季);這篇對最近一本書的評論包括對概念的本體論和認識論的深入探討。

知識的基礎。關於客觀主義認識論的六講。

存在的首要地位”和“感知的認識論”,傑斐遜學院,聖地牙哥,1985年7月

普遍性和歸納”,在GKRH會議上的兩次演講,達拉斯和安娜堡,1989年3月

懷疑論”,約克大學,多倫多,1987年

自由意志的本質”,波特蘭研究所的兩場演講,1986年10月

現代性黨”,卡托政策報告,2003年5月/6月; 導航員,2003年11月;一篇被廣泛引用的文章,關於前現代、現代(啟蒙)和後現代觀點之間的文化分歧。

"I Don't Have To" (IOS Journal, Volume 6, Number 1, April 1996) and “I Can and I Will” (The New Individualist, Fall/Winter 2011); Companion pieces on making real the control we have over our lives as individuals.

La rebelión de Atlas
Películas y TV