‘Dynasty’: Catfights, Cliffhangers, & Clothes, Oh, My! 1981-89

Why is Linda Evans, 5'8", the shortest person in the photo? Hair & high heels, baby! That may include Mr. Forsythe! 

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Part 1 of a 3-Part Piece: The Show

As a 20-something waiter who alternately worked and partied nights during the great ‘80s, I missed most of Dynasty during its original run. 30 years later, I found myself constantly sick while working with school kids. Looking for some mindless fun to watch, I decided on Dynasty.

The first season of Dynasty is often described as a dud, which isn’t totally true. The ratings were middling, finishing 24^th for the first half season. The problem was that it was about the super rich, and an expensive show to produce; also, Dynasty was created to compete with CBS’ established hit Dallas, which was the #1show for that season.

'Dynasty' producers proclaimed that audiences were not interested in the working class Blaisdel family of Season 1. Out with the poor, in with the super rich!

Dynasty began as a blend of thoughtful epic, like Giant, and a Ross Hunter-type gloss on the glamorous rich. The two sides never really meshed. With Season 2, the sudsy rich took over, and the working folks were sent packing—just like real life! The show then caught the wave of the super rich Reagan era. Still, it’s a shame Dynasty turned into a mindless cartoon, because in the era of Dominick Dunne and Kitty Kelley, it could have been a smart soap. The more serious takes on wealth, ethics, women, and gays fell by the wayside, and replaced by plot gimmicks that were stale soap clichés: amnesia, kidnappings, cliff hanger accidents and murder, and the biggest one of all, replacing actors by melodramatic means. Through the entire run of the show, all four of Blake and Alexis’ offspring were gradually replaced by other actors, to lesser effect.

The Season 1 cliffhanger featured a model, incognito as Alexis, because the producers hadn't cast the role yet! Joan Collins got the part and finally became a genuine star at nearly 50!

Dynasty was a bit like ABC’s Happy Days in its early seasons. The sitcom was low-key and its first two season ratings went from good to so-so. Creator Garry Marshall noticed that the show’s bad boy, Arthur Fonzarelli, captured the audience’s attention. Once Fonzie was the focus, Happy Days got hella ratings. As the show progressed, it became a caricature, and Fonzie’s “jumping the shark” on a motorcycle became a catchphrase for a show whose antics have gone beyond the pale. Dynasty would follow a similar trajectory. The second season introduced Joan Collins as Alexis, Blake’s vengeful ex-wife. In Collins’ words, Alexis became the female JR Ewing.

'Dynasty' stars Joan Collins, John Forsythe, & Linda Evans are all smiles, at the show's peak.

In its prime, Dynasty did break some new ground. First, despite all the pretty young scenery, veteran stars held the show together. Joan Collins became a bonafide star at 50, while John Forsythe and Linda Evans got another hit series. Diahann Carroll, as Dominique Deveraux, made television history again, as TV’s “first black bitch,” as the star herself put it. Women characters in professional positions of power were also forward-thinking for the era. Dynasty was the first time a TV series had a gay character in a starring role. Despite the flip-flopping over Steven Carrington’s sexuality, his character was never a stereotype or portrayed negatively.

As Steven Carrington, Al Corley played the groundbreaking role of the gay son for two seasons. Corley left when the show's creators kept flipflopping on his character's sexuality.

Critics and viewers say that Dynasty jumped their shark after the over-the-top “Moldavian massacre” cliffhanger. While Dynasty was all downhill after that, earlier moments like vixen Alexis doing a hoedown to seal an oil deal, with an encore of Marlene Dietrich’s ‘See What the Boys in the Backroom Will Have,’ was just one campy sign of things to come.

Rock Hudson joined 'Dynasty' for Season 5, as wealthy horse breeder Daniel Reece. He's madly in love with Evans' Krystle, natch. Hudson's later AIDS revelation brought real life soap opera to the show.

Season 5 was the beginning of the end for Dynasty, though nobody realized it at the time, as is often the case. First, the entire season was wasted prepping for the absurd Moldavia royal marriage between pouty Amanda Carrington and the Prince Charmless. Also, the fanfare that greeted genuine movie star Rock Hudson as guest star turned to tabloid gossip over his gaunt appearance, furthered by his abrupt departure from the show. Rock played Daniel Reece, the millionaire/horse breeder who loves Krystle. While Rock brought his usual authority to the role, it’s beyond sad watching this giant of a leading man, a shell of his former self. That summer it was revealed that Rock was ravaged by AIDS. Dynasty finally became the #1rated show, in its 5^th season, but got dinged in the ratings next season, and dropped rapidly each season after.

George Peppard played Blake in the 3-hour pilot, 'Oil.'
Producers were displeased with Peppard's performance & behavior.
He was replaced with John Forsythe.

If George Peppard had continued to play Blake Carrington beyond Dynasty’s pilot, it would have just been a retread of his tycoon bastard Jonas Cord in The Carpetbaggers. Peppard was considered problematic for a number of reasons and the producers decided to scrap George’s performance and cut him loose. In the early seasons of Dynasty especially, Blake almost feels bipolar, alternating between gentlemanly and stately, to temperamental and tyrannical. It’s a shame that Dynasty’s writing was often so cartoonish, since the veteran stars like John Forsythe bring empathy to their roles. Forsythe’s warmth, class, and intelligence somewhat alleviate Blake’s actions, like physical violence to anyone who thwarts him, or drunkenly raping his loving wife. (I recall watching this back in the early ‘80s and thinking it was an ugly dramatic twist even then.)  

John Forsythe became Blake Carrington, bringing warmth to a difficult role.

Critics point to the Moldavian Massacre as when Dynasty’s plots went downhill. I beg to differ, but the writing was bad from the start. Aside from the typical soap absurdity, the repetition was mind numbing. Of course, this show was made before the age of recording shows and binge watching. So maybe writers then felt they had more leeway in repeating plot points: kidnapped babies; Krystle constantly suspected of adultery; family members and former flames coming out of the woodwork; Alexis’ constant cock blocking Blake’s business deals; Blake lunging to choke anyone who disobeyed his commands; car accidents; trials; etc.

I love the 'National Enquirer' headline about Steven's rescue, so obviously fake. Also amusing is the Carringtons share the cover with their show's competition, 'Dallas!'

Forsythe and Evans were a great team as Blake and Krystle. But like all nice characters on soaps, they were the show’s punching bags, with everyone scheming against them. I get that no one likes to see characters happy all the time, but the Carrington couple barely survived one calamity before the next crisis, to the point where they barely had one episode of domestic bliss.

No, Blake didn't join the Witness Protection Program. Here, the tycoon is afflicted with trauma-induced blindness. Later, he suffered amnesia. Later still, shot. But then, so did other members of the Carrington family!

That repetition trickled right down to characters’ behavior, like Joan’s Alexis constantly dropping by the Carrington manse, like a glam Gladys Kravitz, to snoop around. How many times did Alexis barge into Blake’s office to have it out? Didn’t he have security? Then there were the famed catfights. The first few were campy fun, but soon everyone but household cook Mrs. Gunnerson was rolling around the mud, pool, or pond. And frankly, the catfights between Linda Evans and Joan Collins were mostly obvious male stunt doubles!

This photo sums up Joan Collins disdain for the 'catfights' the show became famous for. 

Speaking of repetition, it is one thing for daytime soaps to repeat, since they are on five days a week, year-round. Recently, I was watching early Dark Shadows episodes with my Mom. We were laughing at the redundant dialogue between the Collins clan, which sounded like Pee Wee Herman’s Big Adventure’s refrain, “I know you are, but what am I?” Dynasty started repeating tropes right off the bat and seems very lazy for a show that was supposedly so planned out.

Before Alexis Carrington became oil tycoon Alexis Colby, her official talent was as an artist. Judging from this effort, her paintings were aimed at Acapulco tourists!

What I always found hilarious about soaps like Dynasty is how totally unqualified family members are hired to run an oil business or start an upscale hotel, and instantly succeed! The greatest example is Alexis, whose life as a jet setter apparently prepared her to compete in the oil biz with ex-hubby Blake. Of course, Alexis’ skill set mainly involves seducing the competition, scheming, lying, and blackmail.

The cliffhanger for Season 3 took place in a burning cabin, yet Alexis & Krystle's
style differences are on display: glam for Collins, sporty for Evans.

When Dynasty hit its stride in the early seasons, both Linda Evans and Joan Collins looked amazing. Designer Nolan Miller played to their strengths—sleek and sporty for Linda, old-time glamour for Joan—and was a smart and professional designer, if not truly inspired or tasteful. This was apparent in later seasons, as the shoulder pads and furs grew and grew, and costumes that were supposed to be glam started to look drag queen garish.

George Hamilton, Robert Evans-lite as showbiz type Joel Abrigore, makes over aging starlet Rita to replace Krystle Carrington! Why didn't they just call Linda Evans' ex, John Derek?!

I think Season 6 of Dynasty was the worst, when Sammy Jo enlists crazy “director” George Hamilton to kidnap Krystle, with the help of a floozy double, Rita, amateurishly played by Evans. Linda, tarted up with big red hair, hard makeup, and bulky sweaters that would make Bill Cosby envious. Then the Colby clan came along, to use Dynasty as a springboard for its own TV show. Their characters were all either irritating or innocuous, except the great Barbara Stanwyck. Heston was still playing the aging alpha stud, bad toupee and teeth, pot belly and all. Brittle Stephanie Beacham reads all her lines like she’s snapping off celery with her teeth. The young folks were all a bland bunch, except for hunk Maxwell Caulfield, as Miles. On top of all this, the show was still mopping up cheesy characters’ fates from the Moldavian massacre—IMO, the assassins should have been better aims! All of this top-heavy, but not especially satisfying story-telling, caused Season 6 to drop to #7.

Double vision, and double shoulder pads, as quarterback Krystles get ready to rumble!

Between the cardboard Colbys, the two Krystles/kidnapping, and Moldavian aftermath, I lost serious interest in Dynasty. From Season 7 onward, I skipped over the repeat plots: cliffhangers involving car crashes; staircases, murder trials, or getting shot. What did that leave?

'The Colbys' were too carbon copy to successfully cash in on 'Dynasty.'

Well, Alexis’ final wedding, to crazy Sean Rowan, is amusing. Their tacky Mexican wedding, with Joan in a red poufy dress, is nearly worth the whole storyline. The ‘Who killed Roger Grimes?’ plot was fun and the resolution made me smile. TV has always lifted plots from classic movies. Though hardly a classic, I love the theft from Hitchcock’s Marnie, in regard to Fallon’s memory of who killed Roger. J. Eddie Peck as cutie from the past Roger, with Joan as young Alexis, photographed from a discreet distance.

Did it seem like by 'Dynasty's' demise, every character was arrested for murder, or the victim in question?

Producer Aaron Spelling loved old-time stars and veteran actors. His many shows were a haven for aging actors for several decades. Many young actors were brought on board, but it was the older actors who provided the foundation for Dynasty. Lee Bergere, as Joseph, the domineering major domo of the Carrington household, was a versatile scene stealer for the first four seasons. The same is true of Peter Mark Richman, as Andrew Laird, Blake’s long-suffering lawyer.

Somehow, I don't think John Saxon as Mideast oil tycoon,  Rashid Ahmed, would fly today!

Valley of the Dolls’ Paul Burke played Neal McVane, the crooked politician. Burke was another aging actor arriving on Dynasty, toupee and tux at the ready. The Six Million Dollar Man’s Richard Anderson was Blake’s business pal, Buck Fallmont, with Pat Crowley as his wife, with a secret. Diana Douglas, Kirk’s ex-wife and Michael’s mom, plays wacko Mother Blaisdel. Kevin McCarthy shows up to play yet another sleazy shyster. So does Bradford Dillman. Along with Lloyd Bochner as Cecil Colby, they make a slimy TV villain trifecta!

Oily oil tycoon Cecil Colby, played by Lloyd Bochner, with
demure bride in white, Joan Collins' Alexis.

Amidst an army of capable actors, just how bad were the actors playing the pivotal parts of Thomas Carrington and Adam’s adoptive mama? Both characters in their respective stories are on their deathbed, but they inspire hilarity instead of heartbreak. Surprisingly, both accomplished actors! Veteran British actor Harry Andrews played Blake’s estranged patriarch, and is so hammy, he recalls the latter day Orson Welles. And veteran actress Lurene Tuttle as Adam’s “grandmother,” who actually kidnapped him as a baby, is so amateurish, it’s comical. 

You will be amazed at how many familiar names appeared on Dynasty. Here’s the IMDB link to the full cast and crew: https://www.imdb.com/title/tt0081856/fullcredits

Diahann Carroll & Billy Dee Williams were one of the very few black couples on TV in the 1980s.

When Dynasty was at its peak, the stylish soap had energy, humor, and style. Even when the later seasons were a letdown, you could enjoy the cast and the show on a camp level. The less said about the depressing, two-part TV reunion movie, the better! And the recent Dynasty reboot looks tacky and cheap. If you’re going to go for the cheese, go with the tasty original.

Alexis get your gun! A classic 'Dynasty' moment, with ex-wife taking the new bride on a ride!

Krystle loses her baby after getting thrown from her horse,
and bitch Alexis shows no remorse! 

Lombard & Stewart are ‘Made for Each Other’ 1939

Carole & Jimmy are looking for a Happy New Year in 'Made for Each Other.'

The rap on 1939’s Made for Each Other reminds me of the ‘glass is half empty/half full’ mindset. Many movie viewers and writers consider the film an unworthy, dated soap opera. Others love the movie for its iconic stars, Carole Lombard and Jimmy Stewart, adoring its old-fashioned entertainment value. I fall somewhere in the middle with Made for Each Other: I’m aware that certain aspects are dated, but can suspend my disbelief for what’s pleasurable about this film.

Young couple John and Jane Mason, with their baby boy...who was played by a girl!

The charismatic stars, strong supporting cast, and skilled production values, all make Made for Each Other a worthwhile watch. Yes, it’s old-fashioned (over 80 years old!) and unabashedly soapy (just like certain mainstream movies today!), but that’s part of its charm. I find the conventions that no longer exist fascinating. It’s like looking at an old photo album. Yet, despite the old-style suds, the core story is still universal. Made for Each Other could easily be updated. The story of newlyweds struggling over marriage, money, career, bosses and bossy in-laws, would still pack them in theaters if two young rom-com stars were attached.

Carole & Jimmy on the set. Both were 30 at the time. Life would drastically
change for them in a few short years.

There’s a melancholy tinge to 1939’s Made for Each Other, aside from its bittersweet story, which is heightened by hindsight. Two years later, Jimmy Stewart joined the Army, was off-screen for five years, and returned a changed man, for It’s a Wonderful Life. Carole Lombard died in a plane crash three years later, Jan. 16, 1942, returning from a war bonds rally. Ironically, the cliffhanger of Made for Each Other involves a plane crash, caused by dire winter weather.

Stewart & Lombard play newlyweds
who must cope after their whirlwind romance.

Though Stewart and Lombard were born the same year, Carole had been in the movies since the silent days, and she seems more sophisticated. Her wit and energy are a great contrast to Jimmy’s folksy, boyish demeanor, and it’s appealing.

Carole's Jane is not happy that her honeymoon is put on hold for a court case.

As a newly independent star, Carole Lombard was opting away from comedy for serious roles. She appeared in two films in ’39, both soaps: Made for Each Other and In Name Only. Carole is rightly regarded as a classic comic actor, but I think she was just as effective as a dramatic actress. Back when actresses postured and whose faces were plastered with glamour masks, no matter what the role, Lombard’s acting and visual style looks distinctly modern. While the era’s insistence on glamour made its way in this film, it’s comparatively toned down. Carole’s hair, makeup, and clothes are simple for the movie era, and when the film shows her keeping vigil for her deathly ill child, she’s dressed in black, with little makeup, and hair combed back. Most importantly, Lombard’s acting is realistic. When the young couple faces a marital and later, a medical emergency, Lombard’s usual high spirits are almost unnervingly hysterical. Side note: Has anyone ever noticed that Carole Lombard’s speaking voice sounds a great deal like Joanne Woodward’s?

This film was Carole's desire to do more dramatic roles, & one of 5 films Jimmy made in 1939.

James Stewart made five films in 1939. Typical of the era, Jimmy did better on loan out, including two pictures that put him on the map, Destry Rides Again and Mr. Smith Goes to Washington. Made for Each Other was considered ‘disappointing.’ But the last two were duds, It’s a Wonderful World, a comedy with Claudette Colbert, and Ice Follies of 1939 with Joan Crawford, at home studio MGM. Jimmy and Joan on ice!

An emergency with the their baby brings the couple closer.

Movie fans have noticed the similarity in Stewart’s character in Made for Each Other with his signature role as George Bailey in ‘46’s It’s a Wonderful Life. There are indeed likenesses, such as Johnny’s self-doubt over marital, career and money woes. Stewart is honing his folksy persona here and he is most ingratiating. At key moments, Jimmy as Johnny rises above the image and is refreshingly natural as he lets his guard down and expresses his fears to loving wife Jane. Stewart held his own with Lombard, as well as Jean Arthur, Marlene Dietrich, Claudette Colbert, and Joan Crawford—all in the same year. I hope he got a vacation in 1940!

Lucile Watson is a scenestealer as the overbearing mother-in-law.

Lucile Watson made a career of playing imperious old women, sympathetic or otherwise. The same year, she was Norma Shearer’s no-nonsense mother in The Women. Here she plays Carole’s royal pain of a mother-in-law. Watson is quite the comedic scene stealer without becoming a caricature. Near the finale, there’s a lovely scene when Jane and Mrs. Mason comfort each other during the one of the film’s bleakest moments.

Charles Coburn is the other scenestealer, as Jimmy's irascible boss.

Watching Charles Coburn, as Jimmy’s irascible boss, Mr. Doolittle, I wondered if he was EVER young in movies. Nope! He was 61 when Made for Each Other was filmed and absolutely ancient by the time Marilyn Monroe’s Loralei got her gloves on him, as Binky, in Gentlemen Prefer Blondes.

Eddie Quillan is the cocky but brave pilot. A veteran
character actor, Eddie should have had bigger roles.

I recognized only the name Eddie Quillan, but probably saw the prolific character actor on TV when he was older. Here, as the brash pilot who delivers the baby’s pneumonia serum, Eddie is a charmer. I love wisecracking guys from classic movies, and Quillan does it so well. Brought up in vaudeville, Eddie later appeared in classics like Mutiny on the Bounty and The Grapes of Wrath to “B” movies and serials, to later TV shows like Rifleman and Little House on the Prairie. At 5’6” and 140 lbs., he was not leading man material, but with his twinkling dark eyes and smile, Eddie was absolutely adorable in his youth.

Louise Beavers and Carole Lombard have a heart to heart.

Louise Beavers has a small role, which she lights up the screen with warmth and wisdom. Yes, there’s a wince-worthy scene where she compares spitting out the bad in life like watermelon seeds, but I’ve seen far worse in better movies. Esther Dale is a hoot as Annie, the first maid who quits before the important dinner party is over. “I’m a human being!” is her hilarious refrain. Other familiar faces in Made for Each Other include Ward Bond as the older pilot who won’t fly during the storm, and Harry Davenport as the baby’s doctor.

Off-camera, Carole Lombard's dream
was to have a baby by hubby Clark Gable.

Made for Each Other moves along at brisk clip for its 90 minute running time. The film’s look is imaginative, from the fun opening credits, to the great camera work of Leon Shamroy. His camera captures the cramped but cozy apartment, the baby’s arrival, the characters’ physical interaction, and especially, the still-realistic plane delivery. Production design was by the great William Cameron Menzies, who always worked close with the director and camera man. John Cromwell seems like a good director of actors judging from his output (such as Of Human Bondage, Caged, and The Goddess.) The entire cast is strong, even those performing stereotypical roles; they are acted with empathy and humanity.

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There are some clever lines by screenwriter Jo Swerling and the humor that arises from universal situations is still funny. The last 15 minutes of the movie deals with their baby’s health crisis and feels tacked on, though staged and performed strongly. This may have been producer and professional meddler David O. Selznick’s doing, as he did this with many of his post-MGM films, where he had free rein to run rampant.

Jimmy & Carole's characters get dressed to impress, for a dinner with his boss.

There are some great little moments in this movie: the couple’s chaotic dinner party that ends with the boss giving the promotion to the office suck-up still stings. Or when Johnny comes home late from a class reunion and Jane awakens, with the fleeting change of expressions as she puts on her game face for Jimmy’s disappointed hubby, is marvelous acting moment by Lombard.

And baby makes three, and a happy ending for 'Made for Each Other.'

Is Made for Each Other a classic? No. Yet, Made has its merits—two great stars, a stellar supporting cast, and its look at a past era—and is worth a watch.

WB’s Feverish Film Version of ‘The Fountainhead’ 1949

The first time Patricia Neal's Dominique sees Coop's Howard Roark in action, it's with his mighty jackhammer!

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Film fans’ reactions to the movie version of The Fountainhead are as varied as those to Ayn Rand’s notorious novel. The 1949 adaptation has been called everything from a misfire to camp to a misunderstood classic. To call The Fountainhead high camp seems inadequate. In fact, you might feel high when you watch the WB melodrama, which stars Gary Cooper and Patricia Neal. This movie is so bizarre on every level that I find it a highly entertaining train wreck.

The controversial rape scene from the book and movie of 'The Fountainhead.'

While The Fountainhead was a bestseller, what possessed Jack Warner to make this politicized movie when Red Scare was terrorizing Hollywood by the late ‘40s? Ayn Rand was anti-communist, but to Middle America, Rand was Russian, and you’d think Jack would want to avoid anything controversial. Once Warner committed, the big issue was how to make Rand’s 700-page tome, which wasn’t exactly Gone with the Wind, into a movie. Jack hired Rand to write the screenplay, though she had prior written just two. Rand must have had an air-tight contract, because she prevailed when director King Vidor initially wanted to delete Gary Cooper’s five-plus minute court room speech. Maybe Warner was afraid that Rand would blow up WB if he tampered with her work!

Is director King Vidor kindly explaining what the hell is going on in 'The Fountainhead?'

So, what do you get when an author boils down her mammoth book into a movie just under the two hour mark? Mad Magazine once did a Reader’s Digest parody, a one-page version of Gone with the Wind. The Fountainhead film is not far off! A major problem is the characters that are symbols for various ideologies on the page, and become caricatures when they are written bare bones for the screen. Add to the dilemma that Rand’s dialogue is mostly speechifying. Toss in characters that make hairpin turns regarding their life decisions or bombastic beliefs. The result?

Does Cooper's Howard think Neal's Dominique just has a crack in her marble,
 or has lost her marbles?

I’ll give you MY Reader’s Digest version of The Fountainhead: Struggling architect Howard Roark has two strikes against him—his uncompromising values and unique architectural vision. These qualities bring out extreme reactions in others, such as egomaniacal columnist Ellsworth Toohey, rich dabbler Dominique Francon, and pompous publisher Gail Wynand. Every time Howard gets a foot hold in the building world, it’s two steps back. What success he has only inflames his enemies. Gradually, Roark’s love/hate relationship with Dominique turns to love, and he even befriends her husband, Gail. Howard’s extreme reaction to change made to a housing complex he designed leads to a near-operatic climax.

Dominique loves Howard's blueprints, but his jackhammer even more!

It’s hard to judge the acting, as the cast is given crazed characters and dialogue to play. Let’s just say the stars don’t help matters. Gary Cooper was massively miscast as Howard Roark. Coop was 47 during filming and like many stars of his era, looked prematurely aged. The solution to the early scenes, when Roark is a college lad, is to photograph him with his back to the camera, in silhouette. This makes the other characters haranguing of Coop’s shadow with expository dialogue especially hilarious. We get our first look at Gary when he’s finally hired, photographed in long shot, leaving at the door.

Unfortunately, at 47, Gary Cooper looks like Indiana Jones on his last crusade.

Still, when Coop gives Pat the look, it's pretty hot!

Overall, Gary Cooper was a fine film actor. He performed well in a variety of film genres and his understated performing style has aged well. Coop was also subtly charismatic, incredibly handsome in his youth, and despite his weathered appearance, still appealing through his film career. Proof of the latter: 22-year-old Patricia Neal fell madly in love with him. Coop is fine as usual in the romantic and more personal scenes. But as soon as Gary has to give a Rand rant, Coop sounds like he’s reading his lines phonetically. The courtroom defense speech that Roark gives is supposed to be so moving and eloquent that the jury finds him not guilty—Cooper’s halting line readings make you question Roark’s competency.

As Dominique, does Patricia Neal have crazy eyes or only eyes for hubby Raymond Massey? 

On the other end of the acting spectrum is Patricia Neal. This was one of Neal’s first films and supposed to make her WB’s new Bette Davis. Unfortunately, King Vidor directs Patricia the same way he directed the old Bette Davis that same year, in Beyond the Forest! Vidor lets novice Neal go way over the top, just as he let Davis overplay her neurotic character. Neal rolls her eyes, tosses her hair, snaps her lines, and so much more as the slightly deranged Dominique. Unlike other actresses, Neal’s latter husky voice is more appealing than hers as a young actress. Neal sounds clipped and metallic here, much like the ‘30s Katharine Hepburn. Like Cooper, Neal’s best in the quiet, romantic moments, and their chemistry is quite evident. Also, Patricia Neal rarely looked so lovely on film. Neal is photographed beautifully, styled simply, and her 5’ 8” figure looks lovely in Milo Anderson’s costumes (minus the white ermine-trimmed bosom number!).

Robert Douglas has a hammy field day as evil architecture columnist Ellsworth Toohey.

Robert Douglas as Ellsworth Toohey, nemesis to Howard Roark, is outrageously hammy and amusing. Toohey is an architecture columnist who despises individualism and seeks unlimited power—quite a jump from critiquing skyscrapers. Toohey’s column is called “One Small Voice,” though “One Big Blowhard” would have been more apt. The character comes off like All About Eve’s Addison DeWitt off his meds. Toohey is obsessed with mankind being made servile and selfless, not himself, natch. He seeks to destroy individualist Howard. Reynolds has a field day, blowing cigarette smoke heavenward after smoking Roark at every turn. Inexplicably, Reynolds is dressed like a dandy from the previous century, not the late 1940s. If he had a monocle, he’d look like Mr. Peanut! 

Also maddening: what IS Toohey’s end game? The character is so unctuous and unlikeable, yet you’re supposed to believe that “The Banner’s” big newsroom staff walked out in protest of his firing. Why are the masses enthralled by this Clifton Webb wannabe? I think one prophetic point that Rand touches on is the cult of celebrity and the cunning use of it over the masses. We have certainly been living in that world for awhile. The thing is, for as many followers as certain TV political pundits have, equally as many despise them.

Henry Hull, just over a decade older than youngster Gary Cooper, plays his wizened mentor in 'The Fountainhead.'

Henry Hull is a hoot as Roark’s mentor, Henry Cameron, another architect who won’t compromise. Hull so overplays that he seems schizophrenic rather than eccentric. Hull dies in the first 15 minutes, but not before he rails at Roark, rips up newspapers snatched from a paperboy, and gives an ambulance deathbed aria.

Raymond Massey pompously plays the pompous news publisher in 'The Fountainhead.'

Raymond Massey plays yet another overbearing role as newspaper mogul Gail Wynand. The grandiose lines further make Massey look like a total gasbag. He smugly recalls how he pulled himself up from the bootstraps in Hell’s Kitchen, but his patrician tones suggest otherwise. His character goes through several about faces, the last of which is especially unbelievable. After defending Roark to the hilt, his paper in ruins, then he suddenly gives in when the board of directors threaten to fire him.

WB's Kent Smith plays Peter Keating, yet another pleasant but spineless role for the actor.
Here, he's under the thumb of Reynolds' ruthless Ellsworth Toohey.

Kent Smith, WB’s resident player of wimps, is weakling architect Peter Keating. The character becomes a success through compromise, and then is twisted like a pretzel by most of the other characters. Though younger than Cooper, Smith wasn’t exactly a spring chicken here, sporting a buzz cut for his ‘college years.’

The cinematography and production values are the real star of 'The Fountainhead.'

The best thing about The Fountainhead is the production values of the movie. Depicting great wealth and stupendous architecture, frugal WB stretched the dollars, but used imaginative ways to put it over. First is Robert Burks cinematography. There are moments that remind me of Citizen Kane, which also had to come up with ingenious ways to portray extreme wealth. Some of the scenes and sets are simple, made vivid by contrast of stark light and shadows. The art direction by Edward Carrere and set decoration by William L. Kuehl is top notch, in tandem with Burks’ camera work. Max Steiner’s score is typically dramatic, but for the romantic scenes, his music is most subtle.

Patricia Neal looks skyward to Gary Cooper in the finale of 'The Fountainhead.'

The Fountainhead found King Vidor right in the middle of his baroque period. Vidor had already directed the operatic western Duel in the Sun for David Selznick. In 1949, he performed the double header of The Fountainhead and Beyond the Forest, which amazingly didn’t end his contract at WB. The last of his manic movies was 1952’s Ruby Gentry, with Jennifer Jones as a lusty swamp girl.

Who decided this was an appropriately flattering last shot of Coop in 'The Fountainhead?'

The ending of The Fountainhead conveniently makes Massey go away, finds Neal’s Dominique looking radiant as she looks up, riding to the top of Roark’s latest project. Coop stands waiting, hands on his hips like Superman, looking unflatteringly down. Yet, if Cooper’s Roark had swooped down and flown away with Neal’s Dominique, I wouldn’t have been at all surprised. Enjoy every moment or avoid at all cost!

If 'The Fountainhead' gives you a headache, take this!