I saw Atlas Shrugged, Part II last weekend.
[pause for howls of derisive laughter]
I saw Part I when it
came out, and was not impressed. But because of how many times I read the book
as a teenager and imagined a movie version of it… well, I owe it to adolescent
Fang to keep going to see these things as long as they keep making them.
Which one way or another, shouldn’t be much longer. Besides
the fact that there’s only 1/3 of the story left to tell, based on attendance
at the screening I went to, there will be little or no financial incentive to
go ahead with Part III.
Then again, there was little or no financial incentive for
them to make Part II, and that didn’t
stop them. It’s an interesting logical inconsistency on the part of Rand’s filmmaking
devotees. Her philosophy would require that if you made part one and nobody
came, you’d be a damned fool to go ahead with a sequel for which there was a
thundering absence of demand. On the other hand, being a devotee means
proceeding on faith—faith in an external third party, in this case Rand
herself. And she would definitely not been down with that kind of hero worship
(unless she was present to luxuriate in it in person).
According to her philosophy, the only person one can worship
without compromising one’s morality is oneself. Bankrolling a movie you knew
almost empirically ahead of time would be a financial failure—as an exercise in
hero worship—would be an act one of Rand’s sniveling villains would have
perpetrated, not one of her valiant heroes.
All that aside, this movie was a considerably more
professional affair than the first. It moved quicker, I’d swear it was better
directed (too lazy too look up the talent involved) and the whole enterprise
had more of a big-screen, less straight-to-cable vibe to it.
The story picks up where Part I left off, with the world going to hell first because
of government over-regulation and an extravagantly socialist,
extra-Constitutional social agenda, and then because all the smartest lads and
lassies start to disappear, and the businesses they created are incapable of
running in their absence.
And chaos reigns.
It’s impossible to discuss this movie dispassionately because its source
material is such a political hot potato. Written by Ayn Rand, who escaped
Communist Russia in the dead of night as a young girl, the book is a manifesto,
mostly to alienated loners (yo, are my people in the house?!) and
Libertarian-leaning right-wingers, who happen to be all the rage right now. The
Republican Vice Presidential candidate, for example, happens to be an avowed fan.
What is it about Rand’s prose that so riles up the right and
repels the left? Well, let’s just say, as a writer, Rand didn’t risk leaving a
lot to subtext. People are stupid, she would have reasoned, and will ignore
subtleties if given the opportunity. So she spelled everything out. And in my
experience, different people cling to different aspects of it.
God help anyone who embraced all of it, they’d be a raging
sociopath like Rand.
What teenage Fang took away was that it was all right to be
different if the people who were the same were boring or stupid, which in my
case they pretty much were. It was quite the validation of the lifestyle that
had been forced upon me by my natural discomfort with my fellow humans.
What strictly textual readers take away, however, seems to
be that poor people are lazy and social programs equal legalized extortion.
With which statement Rand would almost certainly agree. I knew that was what
she was preaching at the time, but I’ve always cherry-picked my personal
philosophy. I haven’t found anybody who’s got everything figured out yet, so I
take the parts that make sense to me, and that fit together. And discard or
assimilate the crazy.
Here’s an example. In almost every instance in Rand’s body
of work (with the exception of Howard Roark’s design for a low-income housing
project in The Fountainhead), charitable
efforts are made out to be either the pastime of the guilty rich, or the last
resort of honorable men and women with guns to their heads.
In the same canon, she preaches, “If it feels good, do it.”
(She was so unabashedly about self-gratification, she authored a non-fiction
book called The Virtue of Selfishness.)
So the intuitive leap I took was, if it feels good to be
charitable, I should do that.
Which is a calculation I don’t recall running into in any of
Rand’s writing, but it makes sense to me to this day.
With the movie’s content and timing so controversial, it was
hard not to bring a little political baggage to the screening. I noticed two
things that I thought merited mention. One was the inclusion by the
filmmakers—the movie takes place in the present day—of a bunch of “Occupy”
protesters in several scenes. It was so blatant it completely took me out of
the movie every time they appeared onscreen.
The other was a big dialogue scene between two of Rand’s
tortured captain-of-industry heroes. It was all boilerplate Rand, but again, in
the heat of the political season, it was impossible not to run it through the
political rinse in my brain.
In the scene, the two men are talking about what separates
men of honor like them from the majority of men—the 47%? The 99%—without honor.
(Every page of every book Rand ever wrote contains a version of this dialogue
scene.) They agree it is because they are the Makers, and the others are the
Takers. They produce the actual commodities, while the men and women they
revile just buy political cover and play numbers games and make their money on
the margins of the heroes’ efforts. And a light flashed on in my head, Holy
crap, that’s as true today as the day it was written, back in the 1940s.
Except today, the paper-pushing smoothies are the ones
sitting on the top of the heap—crafty Ivy-leaguers like Mitt Romney, who rode
to riches at Bain Capital, buying and selling other peoples’ creations—and the
ones who produce the actual commodities, like the visionaries who sold or lost their companies to Bain, are now the
underclass.
Hardly the meritocracy-based Utopia Rand’s philosophy
envisioned. The paradigm that Rand railed against still exists, but it’s been
turned on its head. Worse, her philosophical banner has been picked up by the
very second-raters and parasites she spent her entire career excoriating.
If they make a third film, I’ll go see that, too. For better
or worse, her writing helped pull me through what was generally speaking a
pretty bumpy adolescence.
But it’s a good thing Rand was an atheist so she is saved
the indignity of rolling over in her grave at the offense of her cause being
carried forward by third-rate film adaptations, uneducated people in funny hats
with misspelled placards and the kind of leaders that are portrayed as
vainglorious empty suits in her novels.