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Atlas Shrugged: Ayn Rand: 9780451191144: Amazon.com: Books

INTRODUCTION: Ayn Rand held that art is a re-creation of reality according to an artist s metaphysical value judgments. By its nature, therefore, a novel (like a statue or a symphony) does not require or tolerate an explanatory preface; it is a self-contained universe, aloof from commentary, beckoning the reader to enter, perceive, respond. Ayn Rand would never have approved of a didactic (or laudatory) introduction to her book, and I have no intention of flouting her wishes. Instead, I am going to give her the floor. I am going to let you in on some of the thinking she did as she was preparing to write Atlas Shrugged. Before starting a novel, Ayn Rand wrote voluminously in her journals about its theme, plot, and characters. She wrote not for any audience, but strictly for herself that is, for the clarity of her own understanding. The journals dealing with Atlas Shrugged are powerful examples of her mind in action, confident even when groping, purposeful even when stymied, luminously eloquent even though wholly unedited. These journals are also a fascinating record of the step-by-step birth of an immortal work of art. In due course, all of Ayn Rand s writings will be published. For this 35th anniversary edition of Atlas Shrugged, however, I have selected, as a kind of advance bonus for her fans, four typical journal entries. Let me warn new readers that the passages reveal the plot and will spoil the book for anyone who reads them before knowing the story. As I recall, Atlas Shrugged did not become the novel s title until Miss Rand s husband made the suggestion in 1956. The working title throughout the writing was The Strike. The earliest of Miss Rand s notes for The Strike are dated January 1, 1945, about a year after the publication of The Fountainhead. Naturally enough, the subject on her mind was how to differentiate the present novel from its predecessor. Theme. What happens to the world when the Prime Movers go on strike. This means a picture of the world with its motor cut off. Show: what, how, why. The specific steps and incidents in terms of persons, their spirits, motives, psychology and actions and, secondarily, proceeding from persons, in terms of history, society and the world. The theme requires: to show who are the prime movers and why, how they function. Who are their enemies and why, what are the motives behind the hatred for and the enslavement of the prime movers; the nature of the obstacles placed in their way, and the reasons for it. This last paragraph is contained entirely in The Fountainhead. Roark and Toohey are the complete statement of it. Therefore, this is not the direct theme of The Strike but it is part of the theme and must be kept in mind, stated again (though briefly) to have the theme clear and complete. First question to decide is on whom the emphasis must be placed on the prime movers, the parasites or the world. The answer is: The world. The story must be primarily a picture of the whole. In this sense, The Strike is to be much more a social novel than The Fountainhead. The Fountainhead was about individualism and collectivism within man s soul ; it showed the nature and function of the creator and the second-hander. The primary concern there was with Roark and Toohey showing what they are. The rest of the characters were variations of the theme of the relation of the ego to others mixtures of the two extremes, the two poles: Roark and Toohey. The primary concern of the story was the characters, the people as such their natures. Their relations to each other which is society, men in relation to men were secondary, an unavoidable, direct consequence of Roark set against Toohey. But it was not the theme. Now, it is this relation that must be the theme. Therefore, the personal becomes secondary. That is, the personal is necessary only to the extent needed to make the relationships clear. In The Fountainhead I showed that Roark moves the world that the Keatings feed upon him and hate him for it, while the Tooheys are out consciously to destroy him. But the theme was Roark not Roark s relation to the world. Now it will be the relation. In other words, I must show in what concrete, specific way the world is moved by the creators. Exactly how do the second-handers live on the creators. Both in spiritual matters and (most particularly) in concrete, physical events. (Concentrate on the concrete, physical events but don t forget to keep in mind at all times how the physical proceeds from the spiritual.). However, for the purpose of this story, I do not start by showing how the second-handers live on the prime movers in actual, everyday reality nor do I start by showing a normal world. (That comes in only in necessary retrospect, or flashback, or by implication in the events themselves.) I start with the fantastic premise of the prime movers going on strike. This is the actual heart and center of the novel. A distinction carefully to be observed here: I do not set out to glorify the prime mover ( that was The Fountainhead ). I set out to show how desperately the world needs prime movers, and how viciously it treats them. And I show it on a hypothetical case what happens to the world without them. In The Fountainhead I did not show how desperately the world needed Roark except by implication. I did show how viciously the world treated him, and why. I showed mainly what he is. It was Roark s story. This must be the world s story in relation to its prime movers. (Almost the story of a body in relation to its heart a body dying of anemia.) I don t show directly what the prime movers do that s shown only by implication. I show what happens when they don t do it. (Through that, you see the picture of what they do, their place and their role.) (This is an important guide for the construction of the story.) In order to work out the story, Ayn Rand had to understand fully why the prime movers allowed the second-handers to live on them why the creators had not gone on strike throughout history what errors even the best of them made that kept them in thrall to the worst. Part of the answer is dramatized in the character of Dagny Taggart, the railroad heiress who declares war on the strikers. Here is a note on her psychology, dated April 18, 1946: Her error and the cause of her refusal to join the strike is over-optimism and over-confidence (particularly this last). Over-optimism in that she thinks men are better than they are, she doesn t really understand them and is generous about it. Over-confidence in that she thinks she can do more than an individual actually can. She thinks she can run a railroad (or the world) single-handed, she can make people do what she wants or needs, what is right, by the sheer force of her own talent; not by forcing them, of course, not by enslaving them and giving orders but by the sheer over-abundance of her own energy; she will show them how, she can teach them and persuade them, she is so able that they ll catch it from her. (This is still faith in their rationality, in the omnipotence of reason. The mistake? Reason is not automatic. Those who deny it cannot be conquered by it. Do not count on them. Leave them alone.) On these two points, Dagny is committing an important (but excusable and understandable) error in thinking, the kind of error individualists and creators often make. It is an error proceeding from the best in their nature and from a proper principle, but this principle is misapplied. The error is this: it is proper for a creator to be optimistic, in the deepest, most basic sense, since the creator believes in a benevolent universe and functions on that premise. But it is an error to extend that optimism to other specific men. First, it s not necessary, the creator s life and the nature of the universe do not require it, his life does not depend on others. Second, man is a being with free will; therefore, each man is potentially good or evil, and it s up to him and only to him (through his reasoning mind) to decide which he wants to be. The decision will affect only him; it is not (and cannot and should not be) the primary concern of any other human being. Therefore, while a creator does and must worship Man (which means his own highest potentiality; which is his natural self-reverence), he must not make the mistake of thinking that this means the necessity to worship Mankind (as a collective). These are two entirely different conceptions, with entirely (immensely and diametrically opposed) different consequences. Man, at his highest potentiality, is realized and fulfilled within each creator himself. Whether the creator is alone, or finds only a handful of others like him, or is among the majority of mankind, is of no importance or consequence whatever; numbers have nothing to do with it. He alone or he and a few others like him are mankind, in the proper sense of being the proof of what man actually is, man at his best, the essential man, man at his highest possibility. (The rational being, who acts according to his nature.) It should not matter to a creator whether anyone or a million or all the men around him fall short of the ideal of Man; let him live up to that ideal himself; this is all the optimism about Man that he needs. But this is a hard and subtle thing to realize and it would be natural for Dagny always to make the mistake of believing others are better than they really are (or will become better, or she will teach them to become better or, actually, she so desperately wants them to be better) and to be tied to the world by that hope. It is proper for a creator to have an unlimited confidence in himself and his ability, to feel certain that he can get anything he wishes out of life, that he can accomplish anything he decides to accomplish, and that it s up to him to do it. (He feels it because he is a man of reason. But here is what he must keep clearly in mind: it is true that a creator can accomplish anything he wishes if he functions according to the nature of man, the universe and his own proper morality, that is, if he does not place his wish primarily within others and does not attempt or desire anything that is of a collective nature, anything that concerns others primarily or requires primarily the exercise of the will of others. (This would be an immoral desire or attempt, contrary to his nature as a creator.) If he attempts that, he is out of a creator s province and in that of the collectivist and the second-hander. Therefore, he must never feel confident that he can do anything whatever to, by or through others. (He can t and he shouldn t even wish to try it and the mere attempt is improper.) He must not think that he can. somehow transfer his energy and his intelligence to them and make them fit for his purposes in that way. He must face other men as they are, recognizing them as essentially independent entities, by nature, and beyond his primary influence; [he must] deal with them only on his own, independent terms, deal with such as he judges can fit his purpose or live up to his standards (by themselves and of their own will, independently of him) and expect nothing from the others. Now, in Dagny s case, her desperate desire is to run Taggart Transcontinental. She sees that there are no men suited to her purpose around her, no men of ability, independence and competence. She thinks she can run it with others, with the incompetent and the parasites, either by training them or merely by treating them as robots who will take her orders and function without personal initiative or responsibility; with herself, in effect, being the spark of initiative, the bearer of responsibility for a whole collective. This can t be done. This is her crucial error. This is where she fails. Ayn Rand s basic purpose as a novelist was to present not villains or even heroes with errors, but the ideal man the consistent, the fully integrated, the perfect. In Atlas Shrugged, this is John Galt, the towering figure who moves the world and the novel, yet does not appear onstage until Part III. By his nature (and that of the story) Galt is necessarily central to the lives of all the characters. In one note, Galt s relation to the others, dated June 27, 1946, Miss Rand defines succinctly what Galt represents to each of them: For Dagny the ideal. The answer to her two quests: the man of genius and the man she loves. The first quest is expressed in her search for the inventor of the engine. The second her growing conviction that she will never be in love For Rearden the friend. The kind of understanding and appreciation he has always wanted and did not know he wanted (or he thought he had it he tried to find it in those around him, to get it from his wife, his mother, brother and sister). For Francisco d Anconia the aristocrat. The only man who represents a challenge and a stimulant almost the proper kind of audience, worthy of stunning for the sheer joy and color of life. For Danneskjld the anchor. The only man who represents land and roots to a restless, reckless wanderer, like the goal of a struggle, the port at the end of a fierce sea-voyage the only man he can respect. For the Composer the inspiration and the perfect audience. For the Philosopher the embodiment of his abstractions. For Father Amadeus the source of his conflict. The uneasy realization that Galt is the end of his endeavors, the man of virtue, the perfect man and that his means do not fit this end (and that he is destroying this, his ideal, for the sake of those who are evil). To James Taggart the eternal threat. The secret dread. The reproach. The guilt (his own guilt). He has no specific tie-in with Galt but he has that constant, causeless, unnamed, hysterical fear. And he recognizes it when he hears Galt s broadcast and when he sees Galt in person for the first time. To the Professor his conscience. The reproach and reminder. The ghost that haunts him through everything he does, without a moment s peace. The thing that says: No to his whole life. Some notes on the above: Rearden s sister, Stacy, was a minor character later cut from the novel. Francisco was spelled Francesco in these early years, while Danneskld s first name at this point was Ivar, presumably after Ivar Kreuger, the Swedish match king, who was the real-life model of Bjorn Faulkner in Night of January 16th. Father Amadeus was Taggart s priest, to whom he confessed his sins. The priest was supposed to be a positive character, honestly devoted to the good but practicing consistently the morality of mercy. Miss Rand dropped him, she told me, when she found that it was impossible to make such a character convincing. The Professor is Robert Stadler. This brings me to a final excerpt. Because of her passion for ideas, Miss Rand was often asked whether she was primarily a philosopher or a novelist. In later years, she was impatient with this question, but she gave her own answer, to and for herself, in a note dated May 4, 1946. The broader context was a discussion of the nature of creativity. I seem to be both a theoretical philosopher and a fiction writer. But it is the last that interests me most; the first is only the means to the last; the absolutely necessary means, but only the means; the fiction story is the end. Without an understanding and statement of the right philosophical principle, I cannot create the right story; but the discovery of the principle interests me only as the discovery of the proper knowledge to be used for my life purpose; and my life purpose is the creation of the kind of world (people and events) that I like that is, that represents human perfection. Philosophical knowledge is necessary in order to define human perfection. But I do not care to stop at the definition. I want to use it, to apply it in my work (in my personal life, too but the core, center and purpose of my personal life, of my whole life, is my work). This is why, I think, the idea of writing a philosophical nonfiction book bored me. In such a book, the purpose would actually be to teach others, to present my idea to them. In a book of fiction the purpose is to create, for myself, the kind of world I want and to live in it while I am creating it; then, as a secondary consequence, to let others enjoy this world, if, and to the extent that they can. It may be said that the first purpose of a philosophical book is the clarification or statement of your new knowledge to and for yourself; and then, as a secondary step, the offering of your knowledge to others. But here is the difference, as far as I am concerned: I have to acquire and state to myself the new philosophical knowledge or principle I used in order to write a fiction story as its embodiment and illustration; I do not care to write a story on a theme or thesis of old knowledge, knowledge stated or discovered by someone else, that is, someone else s philosophy (because those philosophies are wrong). To this extent, I am an abstract philosopher (I want to present the perfect man and his perfect life and I must also discover my own philosophical statement and definition of this perfection). But when and if I have discovered such new knowledge, I am not interested in stating it in its abstract, general form, that is, as knowledge. I am interested in using it, in applying it that is, in stating it in the concrete form of men and events, in the form of a fiction story. This last is my final purpose, my end; the philosophical knowledge or discovery is only the means to it. For my purpose, the non-fiction form of abstract knowledge doesn t interest me; the final, applied form of fiction, of story, does. (I state the knowledge to myself, anyway; but I choose the final form of it, the expression, in the completed cycle that leads back to man.) I wonder to what extent I represent a peculiar phenomenon in this respect. I think I represent the proper integration of a complete human being. Anyway, this should be my lead for the character of John Galt. He, too , is a combination of an abstract philosopher and a practical inventor; the thinker and the man of action together In learning, we draw an abstraction from concrete objects and events. In creating, we make our own concrete objects and events out of the abstraction; we bring the abstraction down and back to its specific meaning, to the concrete; but the abstraction has helped us to make the kind of concrete we want the concrete to be. It has helped us to create to reshape the world as we wish it to be for our purposes. I cannot resist quoting one further paragraph. It comes a few pages later in the same discussion. Incidentally, as a sideline observation: if creative fiction writing is a process of translating an abstraction into the concrete, there are three possible grades of such writing: translating an old (known) abstraction (theme or thesis) through the medium of old fiction means (that is, characters, events or situations used before for that same purpose, that same translation) this is most of the popular trash; translating an old abstraction through new, original fiction means this is most of the good literature; creating a new, original abstraction and translating it through new, original means. This, as far as I know, is only me my kind of fiction writing. May God forgive me (Metaphor!) if this is mistaken conceit! As near as I can now see it, it isn t. (A fourth possibility translating a new abstraction through old means is impossible, by definition: if the abstraction is new, there can be no means used by anybody else before to translate it.) Is her conclusion mistaken conceit ? It is now forty-five years since she wrote this note, and you are holding Ayn Rand s master-work in your hands. You decide. Leonard Peikoff September 1991. Chapter 1: THE THEME Who is John Galt? The light was ebbing, and Eddie Willers could not distinguish the bum s face. The bum had said it simply, without expression. But from the sunset far at the end of the street, yellow glints caught his eyes, and the eyes looked straight at Eddie Willers, mocking and still as if the question had been addressed to the causeless uneasiness within him. Why did you say that? asked Eddie Willers, his voice tense. The bum leaned against the side of the doorway; a wedge of broken glass behind him reflected the metal yellow of the sky. Why does it bother you? he asked. It doesn t, snapped Eddie Willers. He reached hastily into his pocket. The bum had stopped him and asked for a dime, then had gone on talking, as if to kill that moment and postpone the problem of the next. Pleas for dimes were so frequent in the streets these days that it was not necessary to listen to explanations and he had no desire to hear the details of this bum s particular despair. Go get your cup of coffee, he said, handing the dime to the shadow that had no face. Thank you, sir, said the voice, without interest, and the face leaned forward for a moment. The face was wind-browned, cut by lines of weariness and cynical resignation; the eyes were intelligent. Eddie Willers walked on, wondering why he always felt it at this time of day, this sense of dread without reason. No, he thought, not dread, there s nothing to fear: just an immense, diffused apprehension, with no source or object. He had become accustomed to the feeling, but he could find no explanation for it; yet the bum had spoken as if he knew that Eddie felt it, as if he thought that one should feel it, and more: as if he knew the reason. Eddie Willers pulled his shoulders straight, in conscientious self-discipline. He had to stop this, he thought; he was beginning to imagine things. Had he always felt it? He was thirty-two years old. He tried to think back. No, he hadn t; but he could not remember when it had started. The feeling came to him suddenly, at random intervals, and now it was coming more often than ever. It s the twilight, he thought; I hate the twilight. The clouds and the shafts of skyscrapers against them were turning brown, like an old painting in oil, the color of a fading masterpiece. Long streaks of grime ran from under the pinnacles down the slender, soot-eaten walls. High on the side of a tower there was a crack in the shape of a motionless lightning, the length of ten stories. A jagged object cut the sky above the roofs; it was half a spire, still holding the glow of the sunset; the gold leaf had long since peeled off the other half. The glow was red and still, like the reflection of a fire: not an active fire, but a dying one which it is too late to stop. No, thought Eddie Willers, there was nothing disturbing in the sight of the city. It looked as it had always looked. He walked on, reminding himself that he was late in returning to the office. He did not like the task which he had to perform on his return, but it had to be done. So he did not attempt to delay it, but made himself walk faster. He turned a corner. In the narrow space between the dark silhouettes of two buildings, as in the crack of a door, he saw the page of a gigantic calendar suspended in the sky. It was the calendar that the mayor of New York had erected last year on the top of a building, so that citizens might tell the day of the month as they told the hours of the day, by glancing up at a public tower. A white rectangle hung over the city, imparting the date to the men in the streets below. In the rusty light of this evening s sunset, the rectangle said: September 2. Eddie Willers looked away. He had never liked the sight of that calendar. It disturbed him, in a manner he could not explain or define. The feeling seemed to blend with his sense of uneasiness; it had the same quality. He thought suddenly that there was some phrase, a kind of quotation, that expressed what the calendar seemed to suggest. But he could not recall it. He walked, groping for a sentence that hung in his mind as an empty shape. He could neither fill it nor dismiss it. He glanced back. The white rectangle stood above the roofs, saying in immovable finality: September 2. Eddie Willers shifted his glance down to the street, to a vegetable pushcart at the stoop of a brownstone house. He saw a pile of bright gold carrots and the fresh green of onions. He saw a clean white curtain blowing at an open window. He saw a bus turning a corner, expertly steered. He wondered why he felt reassured and then, why he felt the sudden, inexplicable wish that these things were not left in the open, unprotected against the empty space above. When he came to Fifth Avenue, he kept his eyes on the windows of the stores he passed. There was nothing he needed or wished to buy; but he liked to see the display of goods, any goods, objects made by men, to be used by men. He enjoyed the sight of a prosperous street; not more than every fourth one of the stores was out of business, its windows dark and empty. He did not know why he suddenly thought of the oak tree. Nothing had recalled it. But he thought of it and of his childhood summers on the Taggart estate. He had spent most of his childhood with the Taggart children, and now he worked for them, as his father and grandfather had worked for their father and grandfather. The great oak tree had stood on a hill over the Hudson, in a lonely spot on the Taggart estate. Eddie Willers, aged seven, liked to come and look at that tree. It had stood there for hundreds of years, and he thought it would always stand there. Its roots clutched the hill like a fist with fingers sunk into the soil, and he thought that if a giant were to seize it by the top, he would not be able to uproot it, but would swing the hill and the whole of the earth with it, like a ball at the end of a string. He felt safe in the oak tree s presence; it was a thing that nothing could change or threaten; it was his greatest symbol of strength. One night, lightning struck the oak tree. Eddie saw it the next morning. It lay broken in half, and he looked into its trunk as into the mouth of a black tunnel. The trunk was only an empty shell; its heart had rotted away long ago; there was nothing inside just a thin gray dust that was being dispersed by the whim of the faintest wind. The living power had gone, and the shape it left had not been able to stand without it. Years later, he heard it said that children should be protected from shock, from their first knowledge of death, pain or fear. But these had never scarred him; his shock came when he stood very quietly, looking into the black hole of the trunk. It was an immense betrayal the more terrible because he could not grasp what it was that had been betrayed. It was not himself, he knew, nor his trust; it was something else. He stood there for a while, making no sound, then he walked back to the house. He never spoke about it to anyone, then or since. Eddie Willers shook his head, as the screech of a rusty mechanism changing a traffic light stopped him on the edge of a curb. He felt anger at himself. There was no reason that he had to remember the oak tree tonight. It meant nothing to him any longer, only a faint tinge of sadness and somewhere within him, a drop of pain moving briefly and vanishing, like a raindrop on the glass of a window, its course in the shape of a question mark. He wanted no sadness attached to his childhood; he loved its memories: any day of it he remembered now seemed flooded by a still, brilliant sunlight. It seemed to him as if a few rays from it reached into his present: not rays, more like pinpoint spotlights that gave an occasional moment s glitter to his job, to his lonely apartment, to the quiet, scrupulous progression of his existence. He thought of a summer day when he was ten years old. That day, in a clearing of the woods, the one precious companion of his childhood told him what they would do when they grew up. The words were harsh and glowing, like the sunlight. He listened in admiration and in wonder. When he was asked what he would want to do, he answered at once, Whatever is right, and added, You ought to do something great. I mean, the two of us together. What? she asked. He said, I don t know. That s what we ought to find out. Not just what you said. Not just business and earning a living. Things like winning battles, or saving people out of fires, or climbing mountains. What for? she asked. He said, The minister said last Sunday that we must always reach for the best within us. What do you suppose is the best within us? I don t know. We ll have to find out. She did not answer; she was looking away, up the railroad track. Eddie Willers smiled. He had said, Whatever is right, twenty-two years ago. He had kept that statement unchallenged ever since; the other questions had faded in his mind; he had been too busy to ask them. But he still thought it self-evident that one had to do what was right; he had never learned how people could want to do otherwise; he had learned only that they did. It still seemed simple and incomprehensible to him: simple that things should be right, and incomprehensible that they weren t. He knew that they weren t. He thought of that, as he turned a corner and came to the great building of Taggart Transcontinental. The building stood over the street as its tallest and proudest structure. Eddie Willers always smiled at his first sight of it. Its long bands of windows were unbroken, in contrast to those of its neighbors. Its rising lines cut the sky, with no crumbling corners or worn edges. It seemed to stand above the years, untouched. It would always stand there, thought Eddie Willers. Whenever he entered the Taggart Building, he felt relief and a sense of security. This was a place of competence and power. The floors of its hallways were mirrors made of marble. The frosted rectangles of its electric fixtures were chips of solid light. Behind sheets of glass, rows of girls sat at typewriters,

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Atlas Shrugged: Ayn Rand: 9780451191144: Amazon.com: Books

Atlas Shrugged: Part I – Wikipedia

Atlas Shrugged: Part I is a 2011 American political science fiction drama film directed by Paul Johansson. An adaptation of part of Ayn Rand’s controversial 1957 novel of the same name, the film is the first in a trilogy encompassing the entire book. After various treatments and proposals floundered for nearly 40 years,[4] investor John Aglialoro initiated production in June 2010. The film was directed by Paul Johansson and stars Taylor Schilling as Dagny Taggart and Grant Bowler as Hank Rearden.

The film begins the story of Atlas Shrugged, set in a dystopian United States where John Galt leads innovators, from industrialists to artists, in a capital strike, “stopping the motor of the world” to reassert the importance of the free use of one’s mind and of laissez-faire capitalism.[5]

A sequel film, Atlas Shrugged: Part II was released on October 12, 2012. The third part in the series, Atlas Shrugged Part III: Who Is John Galt? was released on September 12, 2014.[6]

In 2016, the United States is in a sustained economic depression. Industrial disasters, resource shortages, and gasoline prices at $37 per gallon have made railroads the primary mode of transportation, but even they are in disrepair. After a major accident on the Rio Norte line of the Taggart Transcontinental railroad, CEO James Taggart shirks responsibility. His sister Dagny Taggart, Vice-President in Charge of Operation, defies him by replacing the aging track with new rails made of Rearden Metal, which is claimed to be lighter yet stronger than steel. Dagny, working for the sole purpose of fixing the rail, allows James Taggart to accept the appriasal of the major success. Dagny meets with its inventor, Hank Rearden, and they negotiate a deal they both admit serves their respective self-interests.

Politician Wesley Mouchnominally Rearden’s lobbyist in Washington, D.C.is part of a crowd that views heads of industry as persons who must be broken or tamed. James Taggart uses political influence to ensure that Taggart Transcontinental is designated the exclusive railroad for the state of Colorado. Dagny is confronted by Ellis Wyatt, a Colorado oil man angry to be forced to do business with Taggart Transcontinental. Dagny promises him that he will get the service he needs. Dagny encounters former lover Francisco d’Anconia, who presents a faade of a playboy grown bored with the pursuit of money. He reveals that a series of copper mines he built are worthless, costing his investors (including the Taggart railroad) millions.

Rearden lives in a magnificent home with a wife and a brother who are happy to live off his effort, though they overtly disrespect it. Rearden’s anniversary gift to his wife Lillian is a bracelet made from the first batch of Rearden Metal, but she considers it a garish symbol of Hank’s egotism. At a dinner party, Dagny dares Lillian to exchange it for Dagny’s diamond necklace, which she does.

As Dagny and Rearden rebuild the Rio Norte line, talented people quit their jobs and refuse all inducements to stay. Meanwhile, Dr. Robert Stadler of the State Science Institute puts out a report implying that Rearden Metal is dangerous. Taggart Transcontinental stock plummets because of its use of Rearden Metal, and Dagny leaves Taggart Transcontinental temporarily and forms her own company to finish the Rio Norte line. She renames it the John Galt Line, in defiance of the phrase “Who is John Galt?”which has come to stand for any question to which it is pointless to seek an answer.

A new law forces Rearden to sell most of his businesses, but he retains Rearden Steel for the sake of his metal and to finish the John Galt Line. Despite strong government and union opposition to Rearden Metal, Dagny and Rearden complete the line ahead of schedule and successfully test it on a record-setting run to Wyatt’s oil fields in Colorado. At the home of Wyatt, now a close friend, Dagny and Rearden celebrate the success of the line. As Dagny and Rearden continue their celebration into the night by fulfilling their growing sexual attraction, the shadowy figure responsible for the disappearances of prominent people visits Wyatt with an offer for a better society based on personal achievement.

The next morning, Dagny and Rearden begin investigating an abandoned prototype of an advanced motor that could revolutionize the world. They realize the genius of the motor’s creator and try to track him down. Dagny finds Dr. Hugh Akston, working as a cook at a diner, but he is not willing to reveal the identity of the inventor; Akston knows whom Dagny is seeking and says she will never find him, though he may find her.

Another new law limits rail freight and levies a special tax on Colorado. It is the final straw for Ellis Wyatt. When Dagny hears that Wyatt’s oil fields are on fire, she rushes to the scene of the fire where she finds a handwritten sign nailed to the wall that reads “I am leaving it as I found it. Take over. It’s yours.”

Wyatt declares in an answering machine message that he is “on strike”.

In 1972, Albert S. Ruddy approached Rand to produce a cinematic adaptation of Atlas Shrugged. Rand agreed that Ruddy could focus on the love story. “That’s all it ever was,” Rand said.[9][10][11] Rand insisted on having final script approval, which Ruddy refused to give her, thus preventing a deal. In 1978, Henry and Michael Jaffe negotiated a deal for an eight-hour Atlas Shrugged television miniseries on NBC. Jaffe hired screenwriter Stirling Silliphant to adapt the novel and he obtained approval from Rand on the final script. However, in 1979, with Fred Silverman’s rise as president of NBC, the project was scrapped.[12]

Rand, a former Hollywood screenwriter herself, began writing her own screenplay, but died in 1982 with only one third of it finished. She left her estate, including the film rights to Atlas Shrugged, to her student Leonard Peikoff, who sold an option to Michael Jaffe and Ed Snider. Peikoff would not approve the script they wrote and the deal fell through. In 1992, investor John Aglialoro bought an option to produce the film, paying Peikoff over $1 million for full creative control.[12]

In 1999, under Aglialoro’s sponsorship, Ruddy negotiated a deal with Turner Network Television for a four-hour miniseries, but the project was killed after the AOL Time Warner merger. After the TNT deal fell through, Howard and Karen Baldwin, while running Phillip Anschutz’s Crusader Entertainment, obtained the rights. The Baldwins left Crusader, taking the rights to Atlas Shrugged with them, and formed Baldwin Entertainment Group in 2004. Michael Burns of Lions Gate Entertainment approached the Baldwins to fund and distribute Atlas Shrugged.[12] A two-part draft screenplay written by James V. Hart[13] was re-written into a 127page screenplay by Randall Wallace, with Vadim Perelman expected to direct.[14] Potential cast members for this production had included Angelina Jolie,[15] Charlize Theron,[16] Julia Roberts,[16] and Anne Hathaway.[16] Between 2009 and 2010, however, these deals came apart, including studio backing from Lions Gate, and therefore none of the stars mentioned above appear in the final film. Also, Wallace did not do the screenplay, and Perelman did not direct.[1][17] Aglialoro says producers have spent “something in the $20 million range” on the project over the last 18 years.[2]

In May 2010, Brian Patrick O’Toole and Aglialoro wrote a screenplay, intent on filming in June 2010. While initial rumors claimed that the films would have a “timeless” settingthe producers say Rand envisioned the story as occurring “the day after tomorrow”[18]the released film is set in late 2016. The writers were mindful of the desire of some fans for fidelity to the novel,[18] but gave some characters, such as Eddie Willers, short shrift and omitted others, such as the composer Richard Halley. The film is styled as a mystery, with black-and-white freeze frames as each innovator goes “missing”. However, Galt appears and speaks in the film, solving the mystery more clearly than in the first third of the novel.

Though director Johansson had been reported as playing the pivotal role of John Galt, he made it clear in an interview that with regard to who is John Galt in the film, the answer was, “Not me.”[7] He explained that his portrayal of the character would be limited to the first film as a silhouetted figure wearing a trenchcoat and fedora,[8] suggesting that another actor will be cast as Galt for the subsequent parts of the trilogy.

Though Stephen Polk was initially set to direct,[19] he was replaced by Paul Johansson nine days before filming was scheduled to begin. With the 18-year-long option to the films rights set to expire on June 15, 2010, producers Harmon Kaslow and Aglialoro began principal photography on June 13, 2010, thus allowing Aglialoro to retain the motion picture rights. Shooting took five weeks, and he says that the total production cost of the movie came in on a budget around US$10 million,[20] though Box Office Mojo lists the production cost as $20 million.[3]

Elia Cmiral composed the score for the film.[21] Peter Debruge wrote in Variety that “More ambitious sound design and score, rather than the low-key filler from composer Elia Cmiral and music supervisor Steve Weisberg, might have significantly boosted the pic’s limited scale.”[22]

Matt Kibbe, President of FreedomWorks[23]

The film had a very low marketing budget and was not marketed in conventional methods.[24] Prior to the film’s release on the politically symbolic date of Tax Day, the project was promoted throughout the Tea Party movement and affiliated organizations such as FreedomWorks.[23] The National Journal reported that FreedomWorks, the Tea Party-allied group headed by former House Majority Leader Dick Armey, (R-Texas), had been trying to get the movie opened in more theaters.[23] FreedomWorks also helped unveil the Atlas Shrugged movie trailer at the February 2011 Conservative Political Action Conference.[23] Additionally, it was reported that Tea Party groups across the country were plugging the movie trailer on their websites and Facebook pages.[23] Release of the movie was also covered and promoted by Fox News TV personalities John Stossel and Sean Hannity.[25][26]

The U.S. release of Atlas Shrugged: Part I opened on 300 screens on April 15, 2011, and made US$1,676,917 in its opening weekend, finishing in 14th place overall.[27] Producers announced expansion to 423 theaters several days after release and promised 1,000 theaters by the end of April,[28] but the release peaked at 465 screens. Ticket sales dropped off significantly in its second week of release, despite the addition of 165 screens; after six weeks, the film was showing on only 32 screens and total ticket sales had not crossed the $5 million mark, recouping less than a quarter of the production budget.[29]

Atlas Shrugged: Part I was released on DVD and Blu-ray Disc on November 8, 2011 by 20th Century Fox Home Entertainment.[30] More than 100,000 DVD inserts were recalled within days due to the jacket’s philosophically incorrect description of “Ayn Rand’s timeless novel of courage and self-sacrifice”.[31] As of April 2013, 247,044 DVDs had been sold, grossing $3,433,445.[32]

The film received overwhelmingly negative reviews. Rotten Tomatoes gives the film a score of 11% based on 47 reviews, with an average score of 3.6 out of 10. The site’s consensus was: “Passionate ideologues may find it compelling, but most filmgoers will find this low-budget adaptation of the Ayn Rand bestseller decidedly lacking.”[33] Metacritic gives the film a “generally unfavorable” rating of 28%, as determined by averaging 19 professional reviews.[34] Some commentators noted differences in film critics’ reactions from audience members’ reactions; from the latter group, the film received high scores even before the film was released.[35][36][37]

Let’s say you know the novel, you agree with Ayn Rand, you’re an objectivist or a libertarian, and you’ve been waiting eagerly for this movie. Man, are you going to get a letdown. It’s not enough that a movie agree with you, in however an incoherent and murky fashion. It would help if it were like, you know, entertaining?

Roger Ebert, Chicago Sun-Times, April 14, 2011[1]

Roger Ebert of the Chicago Sun-Times gave the film only one star, calling it “the most anticlimactic non-event since Geraldo Rivera broke into Al Capone’s vault.”[1] Columnist Cathy Young of The Boston Globe gave the film a negative review.[38] Chicago Tribune published a predominantly negative review, arguing that the film lacks Rand’s philosophical theme, while at the same time saying “the actors, none of them big names, are well-suited to the roles. The story has drive, color and mystery. It looks good on the screen.”[39] In the New York Post, Kyle Smith gave the film a mostly negative review, grading it at 2.5/4 stars, criticizing its “stilted dialogue and stern, unironic hectoring” and calling it “stiff in the joints”, but also adding that it “nevertheless contains a fire and a fury that makes it more compelling than the average mass-produced studio item.”[40]

Reviews in the conservative press were more mixed. American economist Mark Skousen praised the film, writing in Human Events, “The script is true to the philosophy of Ayn Rand’s novel.”[41] The Weekly Standard senior editor Fred Barnes noted that the film “gets Rand’s point across forcefully without too much pounding”, that it is “fast-paced” when compared with the original novel’s 1200-page length, and that it is “at least as relevant today as it was when the novel was published in 1957.”[42] Jack Hunter, contributing editor to The American Conservative, wrote, “If you ask the average film critic about the new movie adaptation of Ayn Rand’s Atlas Shrugged they will tell you it is a horrible movie. If you ask the average conservative or libertarian they will tell you it is a great movie. Objectively, it is a mediocre movie at best. Subjectively, it is one of the best mediocre movies you’ll ever see.”[43] In the National Post, Peter Foster credited the movie for the daunting job of fidelity to the novel, wryly suggested a plot rewrite along the lines of comparable current events, and concluded, “if it sinks without trace, its backers should at least be proud that they lost their own money.”[44]

The poor critical reception of Atlas Shrugged: Part I initially made Aglialoro reconsider his plans for the rest of the trilogy.[45] In an interview with The Hollywood Reporter, he said he was continuing with plans to produce Part II and Part III for release on April 15 in 2012 and 2013, respectively.[46] In a later interview with The Boston Globe, Aglialoro was ambivalent: “I learned something long ago playing poker. If you think you’re beat[en], don’t go all in. If Part 1 makes [enough of] a return to support Part 2, I’ll do it. Other than that, I’ll throw the hand in.”[47]

In July 2011, Aglialoro planned to start production of Atlas Shrugged: Part II in September, with its release timed to coincide with the 2012 U.S. elections.[48] In October 2011, producer Harmon Kaslow stated that he hoped filming for Part II would begin in early 2012, “with hopes of previewing it around the time of the nominating conventions”. Kaslow anticipated that the film, which would encompass the second third of Atlas Shrugged, would “probably be 30 to 40 minutes longer than the first movie.” Kaslow also stated his intent that Part II would have a bigger production budget, as well as a larger advertising budget.[49]

On February 2, 2012, Kaslow and Aglialoro, the producers of Atlas Shrugged: Part II, announced a start date for principal photography in April 2012 with a release date of October 12, 2012.[50] Joining the production team was Duncan Scott, who, in 1986, was responsible for creating a new, re-edited version with English subtitles of the 1942 Italian film adaptation of We the Living. The first film’s entire cast was replaced for the sequel.

The sequel film, Atlas Shrugged: Part II, was released on October 12, 2012.[51] Critics gave the film a 5% rating on Rotten Tomatoes based on 22 reviews.[52] One reviewer gave the film a “D” rating,[53] while another reviewer gave the film a “1” rating (of 4).[54] In naming Part II to its list of 2012’s worst films, The A.V. Club said “The irony of Part II’s mere existence is rich enough: The free market is a religion for Rand acolytes, and it emphatically rejected Part I.”[55]

Read more here:

Atlas Shrugged: Part I – Wikipedia

SparkNotes: Atlas Shrugged: Themes

Themes are the fundamental and often universal ideasexplored in a literary work.The Importance of the Mind

The strike of the mind led by John Galt demonstratesthis central theme of the novel. When the best creative minds aresystematically removed from the world, their importance is laidbare. Without the great thinkers, society spirals quickly downward.The economy collapses, and irrational looters seize power. Randsbelief in the central importance of the mind opposes the prevailingwisdom that labor is responsible for prosperity. As the events ofthe novel show, the mind enables creation and innovation and powersthe engine of the world. Labor alone cannot achieve productivityand prosperity without the guidance of the mind.

Rand sets out to demonstrate through the novels actionwhat happens when governments follow socialist ideas. She arguesthat when men are compelled, through collectivisms forced moralcode, to place the needs of their neighbors above their own rationalself-interest, the result is chaos and evil. Incentive is destroyed,and corruption becomes inevitable. The story of the Twentieth Century MotorCompany illustrates this brilliantly. After the plant adopted amethod in which workers were paid according to perceived needs andordered to work based on perceived ability, the workers became depravedand immoral, each seeking to show himself or herself as most needyand least skilled. The plant failed, and the community was destroyedby mistrust and greed. For Rand, any economic or political planbased on sacrifice of the individual for the group leads to chaosand destruction.

Rand rejects the mind-body dichotomy that is central tomany philosophies and religions. She opposes the idea that the thoughtsand achievements of the mind are pure and noble, but the desiresof the body are base and immoral, and she presents Dagny as a character whoalso rejects the idea. Dagny is proud of her sexuality and sees herphysical desires flowing logically from the evaluations and rationalityof her mind. At first, Rearden accepts the mind-body split. His transformationoccurs when he comes to integrate the two facets of himself intoa rational whole.

Dr. Stadler represents another aspect of this mind-bodydichotomy. He sees the pure science of the mind as removedfrom practical affairs and wonders why the mind that made the motorwould bother with practical applications. For him, the mind is cutoff not just from the body but from practical life. Again, Dagnyrepresents the integrated whole when she concludes that the motorsinventor worked within the reality of practical life because heliked living on earth.

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SparkNotes: Atlas Shrugged: Themes

Atlas Shrugged: Part I (2011) – Rotten Tomatoes

Dagny Taggart (Taylor Schilling) runs Taggart Transcontinental, the largest remaining railroad company in America, with intelligence, courage and integrity, despite the systematic disappearance of her best and most competent workers. She is drawn to industrialist Henry Rearden (Grant Bowler), one of the few men whose genius and commitment to his own ideas match her own. Rearden’s super-strength metal alloy, Rearden Metal, holds the promise that innovation can overcome the slide into anarchy. Using the untested Rearden Metal, they rebuild the critical Taggart rail line in Colorado and pave the way for oil titan Ellis Wyatt (Graham Beckel) to feed the flame of a new American Renaissance. Hope rises again, when Dagny and Rearden discover the design of a revolutionary motor based on static electricity – in an abandoned engine factory – more proof to the sinister theory that the “men of the mind” (thinkers, industrialists, scientists, artists, and other innovators) are “on strike” and vanishing from society. — (C) Official Site

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Atlas Shrugged: Part I (2011) – Rotten Tomatoes

Atlas Shrugged Part III: Who Is John Galt? – Wikipedia

Atlas Shrugged Part III: Who Is John Galt? is a 2014 American science fiction drama film based on Ayn Rand’s novel Atlas Shrugged. It is the third installment in the Atlas Shrugged film series and the sequel to the 2012 film Atlas Shrugged: Part II, continuing the story where its predecessor left off. The release, originally set for July 4, 2014,[4] occurred on September 12, 2014.[1] The film used a completely different cast and crew from the first two in the series. [5]

The owner of the 20th-century Motor Company has died and his children have taken over, with a new plan to operate the company: that everyone work as hard as he can, but that salaries be “based on need”. A lab engineer named John Galt objects and announces, “I’ll stop the motor of the world.”

Twelve years later, the economy of the United States spirals downward. Shortages have grounded airlines and returned the railroads to dominance; over-regulation has led to financial disaster. Galt seems to be behind the disappearances of corporate executives and other experts. The latest disappearance is that of Dagny Taggart, the executive officer of the largest railroad company, Taggart Transcontinental. She had chased Galt in a private plane and crashed hers.

Dagny has reached Galt’s Gulch, and Galt himself rescues her from the crashed plane. She meets several “disappeared” achievers, such as banker Midas Mulligan, who say they quit after coming to believe that government was enslaving them. On the outside, government develops a classified new weapon called “Project F” and nationalizes the railroads, including Taggart Transcontinental.

The public grows increasingly frustrated with the central planning, comes to view Galt as the solution, and holds rallies calling for him to reform the government. Thompson, the Head of State,[6] offers Galt a job in the government, but Galt rebuffs the offer. Later, the government tortures Galt using the power of “Project F”. However, others from the gulch arrive to free him and they escape back to their refuge.

In an interview with Bill Frezza of Forbes, the producer John Aglialoro mentioned that the film would include a short dialogue between the heroine Dagny Taggart and a priest, a character which he said Rand struggled with and ultimately cut out of the original book.[8] This scene did not appear in the final cut.

A month prior to the release of Part I, Aglialoro suggested that Part III might be made into a musical.[9] In 2013 he promised to create “something closer to the book,” and predicted that critics would pan the film.[10] In a YouTube promotional piece where organizers discussed the film, he asserted that it was vital for the team to have a director who is professional, collaborative, and knows Rand’s work: “I don’t care if I’ve got to fire five directors that’s fine. We’re going to get it right.”[11]

The film was directed by J. James Manera, whose experience included directing a documentary in 2010 and a 1996 episode of the television show Nash Bridges.[12] The cinematographer was Gale Tattersall.

David Kelley, founder of The Atlas Society and an expert on the philosophical themes of Atlas Shrugged, consulted on the script, as he did for Parts I and II.[13]

As with the second part, a new set of actors was cast to play the major characters.[14] Former Congressman and Presidential candidate Ron Paul, and network commentators Glenn Beck and Sean Hannity, played themselves giving responses to John Galt’s speech.[15]

The trade press reported that filming began in January 2014,[1] after the film posted on Facebook that its target start date was Autumn 2013.[16] The budget was partially funded by a Kickstarter campaign that raised $446,907 against a goal of $250,000.[17]

On July 9, 2014, a sneak preview was shown at the Anthem Film Festival in Las Vegas, Nevada.[18]

The film opened on September 12, 2014 on 242 screens and grossed $461,179 during its opening weekend.[19] Total gross was $851,690 against a budget of $5,000,000.[3]

The film holds a 0% at review aggregator website Rotten Tomatoes, based on 10 reviews for an average rating of 1.4/10.[20] On Metacritic, the film has a 9/100 rating based on 7 critics, indicating “overwhelming dislike”.[21] Alan Scherstuhl of the Village Voice wrote: “Rand’s parable is meant to showcase just how much our world needs the best of us, but this adaptation only does so accidentally by revealing what movies would be like if none of the best of us worked on them.”[22]

Writing for the Austin Chronicle, Louis Black said “In 1949, when Warner Bros. filmed The Fountainhead, Rand threatened to burn down the studio if they compromised her novel. I’d like to think that if she were alive she’d be looking for lighter fluid for this one.”[5]

Atlas Shrugged: Part III was nominated for Worst Prequel, Remake, Rip-off or Sequel at the 35th Golden Raspberry Awards.[23]

Read more here:

Atlas Shrugged Part III: Who Is John Galt? – Wikipedia

Atlas Shrugged Movie (Official Site)

04.19.18

Little Pink House is in theaters Friday, April 20th!

02.01.18

Watch the new “Draw My Life” video, featuring Envy, from The Atlas Society.

12.13.17

The Atlas Society warns us all of some very serious diseases: STDs (Socially Transmitted Diseases).

11.24.17

Midas Mulligan’s Black Friday Sale is back for its 7th year!

10.14.17

Read a speech by Atlas Shrugged Producer John Aglialoro.

09.28.17

The Atlas Society founder, Dr. David Kelley, is retiring.

08.31.17

Anthem is being made into a graphic novel!

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Atlas Shrugged Movie (Official Site)

Atlas Shrugged: Part I (2011) – IMDb

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It was great to be alive, once, but the world was perishing. Factories were shutting down, transportation was grinding to a halt, granaries were empty–and key people who had once kept it running were disappearing all over the country. As the lights winked out and the cities went cold, nothing was left to anyone but misery. No one knew how to stop it, no one understood why it was happening – except one woman, the operating executive of a once mighty transcontinental railroad, who suspects the answer may rest with a remarkable invention and the man who created it – a man who once said he would stop the motor of the world. Everything now depends on finding him and discovering the answer to the question on the lips of everyone as they whisper it in fear: Who *is* John Galt? Written byRobb

Taglines:Who is John Galt?

Budget:$20,000,000 (estimated)

Opening Weekend USA: $1,686,347,17 April 2011, Limited Release

Gross USA: $4,752,353

Runtime: 97 min

Aspect Ratio: 2.35 : 1

View post:

Atlas Shrugged: Part I (2011) – IMDb

Atlas Shrugged | AynRand.org

Reason and freedom are corollaries, Ayn Rand holds, as are faith and force. Atlas Shrugged showcases both relationships.

The heroes are unwavering thinkers. Whether it is a destructive business scheme proclaimed as moral, the potential collapse of the economy, or a personal life filled with pain, the heroes seek to face the facts and understand. To them, reason is an absolute. Politically, therefore, what they require and demand is freedom. Freedom to think, to venture into the new and unknown, to earn, to trade, to succeed and fail and pursue their own individual happiness.

The villains, by contrast, reject the absolutism of reason. They want a world ruled by their feelings, in which wishing makes it so. James Taggart, for instance, wants to be the head of a railroad without the need of effort. No amount of thinking can bring such a world about he must attempt to bring it about by force. As Rand puts it elsewhere, Anyone who resorts to the formula: Its so, because I say so, will have to reach for a gun, sooner or later.

View post:

Atlas Shrugged | AynRand.org

SparkNotes: Atlas Shrugged: Plot Overview

In an environment of worsening economicconditions, Dagny Taggart, vice president in charge of operations,works to repair Taggart Transcontinentals crumbling Rio Norte Lineto service Colorado, the last booming industrial area in the country.Her efforts are hampered by the fact that many of the countrysmost talented entrepreneurs are retiring and disappearing. The railroadscrisis worsens when the Mexican government nationalizes TaggartsSan Sebastian Line. The line had been built to service Francisco dAnconias copper mills, but the mills turn out to be worthless.Francisco had been a successful industrialist, and Dagnys lover,but has become a worthless playboy. To solve the railroads financialproblems, Dagnys brother Jim uses political influence to pass legislationthat destroys Taggarts only competition in Colorado. Dagny mustfix the Rio Norte Line immediately and plans to use Rearden Metal,a new alloy created by Hank Rearden. When confronted about the SanSebastian mines, Francisco tells Dagny he is deliberately destroyingdAnconia Copper. Later he appears at Reardens anniversary partyand, meeting him for the first time, urges Rearden to reject thefreeloaders who live off of him.

The State Science Institute issues a denunciation of Rearden metal,and Taggarts stock crashes. Dagny decides to start her own companyto rebuild the line, and it is a huge success. Dagny and Reardenbecome lovers. Together they discover a motor in an abandoned factorythat runs on static electricity, and they seek the inventor. Thegovernment passes new legislation that cripples industry in Colorado.Ellis Wyatt, an oil industrialist, suddenly disappears after settingfire to his wells. Dagny is forced to cut trains, and the situationworsens. Soon, more industrialists disappear. Dagny believes thereis a destroyer at work, taking men away when they are most needed.Francisco visits Rearden and asks him why he remains in businessunder such repressive conditions. When a fire breaks out and theywork together to put it out, Francisco understands Reardens lovefor his mills.

Rearden goes on trial for breaking one of the new laws,but refuses to participate in the proceedings, telling the judgesthey can coerce him by force but he wont help them to convict him.Unwilling to be seen as thugs, they let him go. Economic dictatorWesley Mouch needs Reardens cooperation for a new set of socialistlaws, and Jim needs economic favors that will keep his ailing railroadrunning after the collapse of Colorado. Jim appeals to Reardenswife Lillian, who wants to destroy her husband. She tells him Rearden andDagny are having an affair, and he uses this information in a trade.The new set of laws, Directive 10-289,is irrational and repressive. It includes a ruling that requiresall patents to be signed over to the government. Rearden is blackmailedinto signing over his metal to protect Dagnys reputation.

Dagny quits over the new directive and retreats to a mountain lodge.When she learns of a massive accident at the Taggart Tunnel, shereturns to her job. She receives a letter from the scientist shehad hired to help rebuild the motor, and fears he will be the nexttarget of the destroyer. In an attempt to stop him from disappearing,she follows him in an airplane and crashes in the mountains. Whenshe wakes up, she finds herself in a remote valley where all theretired industrialists are living. They are on strike, calling ita strike of the mind. There, she meets John Galt, who turns outto be both the destroyer and the man who built the motor. She fallsin love with him, but she cannot give up her railroad, and she leavesthe valley. When she returns to work, she finds that the governmenthas nationalized the railroad industry. Government leaders wanther to make a speech reassuring the public about the new laws. Sherefuses until Lillian comes to blackmail her. On the air, she proudlyannounces her affair with Rearden and reveals that he has been blackmailed. Shewarns the country about its repressive government.

With the economy on the verge of collapse, Francisco destroys therest of his holdings and disappears. The politicians no longer evenpretend to work for the public good. Their vast network of influencepeddling creates worse chaos, as crops rot waiting for freight trainsthat are diverted for personal favors. In an attempt to gain controlof Franciscos mills, the government stages a riot at Rearden Steel.But the steelworkers organize and fight back, led by Francisco,who has been working undercover at the mills. Francisco saves Reardenslife, then convinces him to join the strike.

Just as the head of state prepares to give a speech onthe economic situation, John Galt takes over the airwaves and deliversa lengthy address to the country, laying out the terms of the strikehe has organized. In desperation, the government seeks Galt to makehim their economic dictator. Dagny inadvertently leads them to him,and they take him prisoner. But Galt refuses to help them, evenafter he is tortured. Finally, Dagny and the strikers rescue himin an armed confrontation with guards. They return to the valley,where Dagny finally joins the strike. Soon, the countrys collapseis complete and the strikers prepare to return.

Originally posted here:

SparkNotes: Atlas Shrugged: Plot Overview

Atlas Shrugged | AynRand.org

Reason and freedom are corollaries, Ayn Rand holds, as are faith and force. Atlas Shrugged showcases both relationships.

The heroes are unwavering thinkers. Whether it is a destructive business scheme proclaimed as moral, the potential collapse of the economy, or a personal life filled with pain, the heroes seek to face the facts and understand. To them, reason is an absolute. Politically, therefore, what they require and demand is freedom. Freedom to think, to venture into the new and unknown, to earn, to trade, to succeed and fail and pursue their own individual happiness.

The villains, by contrast, reject the absolutism of reason. They want a world ruled by their feelings, in which wishing makes it so. James Taggart, for instance, wants to be the head of a railroad without the need of effort. No amount of thinking can bring such a world about he must attempt to bring it about by force. As Rand puts it elsewhere, Anyone who resorts to the formula: Its so, because I say so, will have to reach for a gun, sooner or later.

See the original post here:

Atlas Shrugged | AynRand.org

SparkNotes: Atlas Shrugged: Plot Overview

In an environment of worsening economicconditions, Dagny Taggart, vice president in charge of operations,works to repair Taggart Transcontinentals crumbling Rio Norte Lineto service Colorado, the last booming industrial area in the country.Her efforts are hampered by the fact that many of the countrysmost talented entrepreneurs are retiring and disappearing. The railroadscrisis worsens when the Mexican government nationalizes TaggartsSan Sebastian Line. The line had been built to service Francisco dAnconias copper mills, but the mills turn out to be worthless.Francisco had been a successful industrialist, and Dagnys lover,but has become a worthless playboy. To solve the railroads financialproblems, Dagnys brother Jim uses political influence to pass legislationthat destroys Taggarts only competition in Colorado. Dagny mustfix the Rio Norte Line immediately and plans to use Rearden Metal,a new alloy created by Hank Rearden. When confronted about the SanSebastian mines, Francisco tells Dagny he is deliberately destroyingdAnconia Copper. Later he appears at Reardens anniversary partyand, meeting him for the first time, urges Rearden to reject thefreeloaders who live off of him.

The State Science Institute issues a denunciation of Rearden metal,and Taggarts stock crashes. Dagny decides to start her own companyto rebuild the line, and it is a huge success. Dagny and Reardenbecome lovers. Together they discover a motor in an abandoned factorythat runs on static electricity, and they seek the inventor. Thegovernment passes new legislation that cripples industry in Colorado.Ellis Wyatt, an oil industrialist, suddenly disappears after settingfire to his wells. Dagny is forced to cut trains, and the situationworsens. Soon, more industrialists disappear. Dagny believes thereis a destroyer at work, taking men away when they are most needed.Francisco visits Rearden and asks him why he remains in businessunder such repressive conditions. When a fire breaks out and theywork together to put it out, Francisco understands Reardens lovefor his mills.

Rearden goes on trial for breaking one of the new laws,but refuses to participate in the proceedings, telling the judgesthey can coerce him by force but he wont help them to convict him.Unwilling to be seen as thugs, they let him go. Economic dictatorWesley Mouch needs Reardens cooperation for a new set of socialistlaws, and Jim needs economic favors that will keep his ailing railroadrunning after the collapse of Colorado. Jim appeals to Reardenswife Lillian, who wants to destroy her husband. She tells him Rearden andDagny are having an affair, and he uses this information in a trade.The new set of laws, Directive 10-289,is irrational and repressive. It includes a ruling that requiresall patents to be signed over to the government. Rearden is blackmailedinto signing over his metal to protect Dagnys reputation.

Dagny quits over the new directive and retreats to a mountain lodge.When she learns of a massive accident at the Taggart Tunnel, shereturns to her job. She receives a letter from the scientist shehad hired to help rebuild the motor, and fears he will be the nexttarget of the destroyer. In an attempt to stop him from disappearing,she follows him in an airplane and crashes in the mountains. Whenshe wakes up, she finds herself in a remote valley where all theretired industrialists are living. They are on strike, calling ita strike of the mind. There, she meets John Galt, who turns outto be both the destroyer and the man who built the motor. She fallsin love with him, but she cannot give up her railroad, and she leavesthe valley. When she returns to work, she finds that the governmenthas nationalized the railroad industry. Government leaders wanther to make a speech reassuring the public about the new laws. Sherefuses until Lillian comes to blackmail her. On the air, she proudlyannounces her affair with Rearden and reveals that he has been blackmailed. Shewarns the country about its repressive government.

With the economy on the verge of collapse, Francisco destroys therest of his holdings and disappears. The politicians no longer evenpretend to work for the public good. Their vast network of influencepeddling creates worse chaos, as crops rot waiting for freight trainsthat are diverted for personal favors. In an attempt to gain controlof Franciscos mills, the government stages a riot at Rearden Steel.But the steelworkers organize and fight back, led by Francisco,who has been working undercover at the mills. Francisco saves Reardenslife, then convinces him to join the strike.

Just as the head of state prepares to give a speech onthe economic situation, John Galt takes over the airwaves and deliversa lengthy address to the country, laying out the terms of the strikehe has organized. In desperation, the government seeks Galt to makehim their economic dictator. Dagny inadvertently leads them to him,and they take him prisoner. But Galt refuses to help them, evenafter he is tortured. Finally, Dagny and the strikers rescue himin an armed confrontation with guards. They return to the valley,where Dagny finally joins the strike. Soon, the countrys collapseis complete and the strikers prepare to return.

Read this article:

SparkNotes: Atlas Shrugged: Plot Overview

SparkNotes: Atlas Shrugged: John Galt

Galt is the most important character in the novel andthe driving force behind its action. The strike that he conceives,organizes, and carries out is the books central, defining event.But his identity remains a mystery until two-thirds of the way throughthe novel, lending him a mythical stature. In Galt, Rand has setout to present man in his most ideal form. She describes him asphysically beautiful, profoundly brilliant, and enormously accomplished.Not only has he been able to develop a revolutionary motor, he hasalso created a philosophy of reason and become a statesman capableof leading the worlds most talented men. Most importantly, Galtis unwaveringly rational and deals directly with the objective factshe encounters. In him, rationality and emotion are fully integrated. Thoughruled by reason, he is able to express and experience his emotionsas well. Just as Rand uses Dagny to shatter the mind-body dichotomythat separates physical pleasure from higher thought, she employsGalt to reject the split between reason and emotion.

Galt represents the main theme of the novel and of Randsphilosophy: the idea that the mind is the only means by which mancan achieve prosperity. The mind is the motive power that drivescivilization, just as the motor Galt develops can drive industry.Galt embodies the mind, and the question Who is John Galt? isnot only a literal question about the mysterious man who has disappeared,but a figurative question as well. The question asks whatis the mind? and what happens when the mind disappears? Galt knowsthat without his mind and the minds of the worlds great thinkers,the motive power of the world will be lost and the motor of theworld will stop.

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SparkNotes: Atlas Shrugged: John Galt

Atlas Shrugged Movie (Official Site)

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Atlas Shrugged Movie (Official Site)

Atlas Shrugged | AynRand.org

Reason and freedom are corollaries, Ayn Rand holds, as are faith and force. Atlas Shrugged showcases both relationships.

The heroes are unwavering thinkers. Whether it is a destructive business scheme proclaimed as moral, the potential collapse of the economy, or a personal life filled with pain, the heroes seek to face the facts and understand. To them, reason is an absolute. Politically, therefore, what they require and demand is freedom. Freedom to think, to venture into the new and unknown, to earn, to trade, to succeed and fail and pursue their own individual happiness.

The villains, by contrast, reject the absolutism of reason. They want a world ruled by their feelings, in which wishing makes it so. James Taggart, for instance, wants to be the head of a railroad without the need of effort. No amount of thinking can bring such a world about he must attempt to bring it about by force. As Rand puts it elsewhere, Anyone who resorts to the formula: Its so, because I say so, will have to reach for a gun, sooner or later.

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Atlas Shrugged | AynRand.org

Atlas Shrugged: Part I (2011) – IMDb

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It was great to be alive, once, but the world was perishing. Factories were shutting down, transportation was grinding to a halt, granaries were empty–and key people who had once kept it running were disappearing all over the country. As the lights winked out and the cities went cold, nothing was left to anyone but misery. No one knew how to stop it, no one understood why it was happening – except one woman, the operating executive of a once mighty transcontinental railroad, who suspects the answer may rest with a remarkable invention and the man who created it – a man who once said he would stop the motor of the world. Everything now depends on finding him and discovering the answer to the question on the lips of everyone as they whisper it in fear: Who *is* John Galt? Written byRobb

Taglines:Who is John Galt?

Budget:$20,000,000 (estimated)

Opening Weekend USA: $1,686,347,17 April 2011, Limited Release

Gross USA: $4,752,353

Runtime: 97 min

Aspect Ratio: 2.35 : 1

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Atlas Shrugged: Part I (2011) – IMDb

Atlas Shrugged: Part I (2011) – IMDb

Edit Storyline

It was great to be alive, once, but the world was perishing. Factories were shutting down, transportation was grinding to a halt, granaries were empty–and key people who had once kept it running were disappearing all over the country. As the lights winked out and the cities went cold, nothing was left to anyone but misery. No one knew how to stop it, no one understood why it was happening – except one woman, the operating executive of a once mighty transcontinental railroad, who suspects the answer may rest with a remarkable invention and the man who created it – a man who once said he would stop the motor of the world. Everything now depends on finding him and discovering the answer to the question on the lips of everyone as they whisper it in fear: Who *is* John Galt? Written byRobb

Taglines:Who is John Galt?

Budget:$20,000,000 (estimated)

Opening Weekend USA: $1,686,347,17 April 2011, Limited Release

Gross USA: $4,752,353

Runtime: 97 min

Aspect Ratio: 2.35 : 1

Read more:

Atlas Shrugged: Part I (2011) – IMDb

Atlas Shrugged: Part I (2011) – IMDb

Edit Storyline

It was great to be alive, once, but the world was perishing. Factories were shutting down, transportation was grinding to a halt, granaries were empty–and key people who had once kept it running were disappearing all over the country. As the lights winked out and the cities went cold, nothing was left to anyone but misery. No one knew how to stop it, no one understood why it was happening – except one woman, the operating executive of a once mighty transcontinental railroad, who suspects the answer may rest with a remarkable invention and the man who created it – a man who once said he would stop the motor of the world. Everything now depends on finding him and discovering the answer to the question on the lips of everyone as they whisper it in fear: Who *is* John Galt? Written byRobb

Taglines:Who is John Galt?

Budget:$20,000,000 (estimated)

Opening Weekend USA: $1,686,347,17 April 2011, Limited Release

Gross USA: $4,752,353

Runtime: 97 min

Aspect Ratio: 2.35 : 1

Read the rest here:

Atlas Shrugged: Part I (2011) – IMDb

Atlas Shrugged | AynRand.org

Reason and freedom are corollaries, Ayn Rand holds, as are faith and force. Atlas Shrugged showcases both relationships.

The heroes are unwavering thinkers. Whether it is a destructive business scheme proclaimed as moral, the potential collapse of the economy, or a personal life filled with pain, the heroes seek to face the facts and understand. To them, reason is an absolute. Politically, therefore, what they require and demand is freedom. Freedom to think, to venture into the new and unknown, to earn, to trade, to succeed and fail and pursue their own individual happiness.

The villains, by contrast, reject the absolutism of reason. They want a world ruled by their feelings, in which wishing makes it so. James Taggart, for instance, wants to be the head of a railroad without the need of effort. No amount of thinking can bring such a world about he must attempt to bring it about by force. As Rand puts it elsewhere, Anyone who resorts to the formula: Its so, because I say so, will have to reach for a gun, sooner or later.

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Atlas Shrugged | AynRand.org

Atlas Shrugged II: The Strike (2012) – IMDb

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‘Ayn Rand & the Prophecy of Atlas Shrugged is a feature length documentary film that examines the resurging interest in Ayn Rand’s epic and controversial 1957 novel and the validity of its dire prediction for America.

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Revealing the surprising life story of one of the world’s most influential minds, this unprecedented film weaves together Ayn Rand’s own recollections and reflections, providing a new understanding of her inspirations and influences.

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The rather eccentric (especially in her thinking) author of “The Fountainhead” and “Atlas Shrugged” becomes involved with a much younger, and married man… to the dismay of those close to her.

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The global economy is on the brink of collapse. Unemployment tops 24%. Gas is $42 per gallon. Railroads are the main transportation. Brilliant creators, from artists to industrialists, are mysteriously disappearing. Dagny Taggart, COO of Taggart Transcontinental, has discovered an answer to the mounting energy crisis – a prototype of a motor that draws energy from static electricity. But, until she finds its creator, it’s useless. It’s a race against time. And someone is watching. Written byProducers – Atlas Shrugged

Budget:$10,000,000 (estimated)

Opening Weekend USA: $1,746,025,14 October 2012, Wide Release

Gross USA: $3,333,823, 23 November 2012

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Atlas Shrugged II: The Strike (2012) – IMDb

SparkNotes: Atlas Shrugged: Plot Overview

In an environment of worsening economicconditions, Dagny Taggart, vice president in charge of operations,works to repair Taggart Transcontinentals crumbling Rio Norte Lineto service Colorado, the last booming industrial area in the country.Her efforts are hampered by the fact that many of the countrysmost talented entrepreneurs are retiring and disappearing. The railroadscrisis worsens when the Mexican government nationalizes TaggartsSan Sebastian Line. The line had been built to service Francisco dAnconias copper mills, but the mills turn out to be worthless.Francisco had been a successful industrialist, and Dagnys lover,but has become a worthless playboy. To solve the railroads financialproblems, Dagnys brother Jim uses political influence to pass legislationthat destroys Taggarts only competition in Colorado. Dagny mustfix the Rio Norte Line immediately and plans to use Rearden Metal,a new alloy created by Hank Rearden. When confronted about the SanSebastian mines, Francisco tells Dagny he is deliberately destroyingdAnconia Copper. Later he appears at Reardens anniversary partyand, meeting him for the first time, urges Rearden to reject thefreeloaders who live off of him.

The State Science Institute issues a denunciation of Rearden metal,and Taggarts stock crashes. Dagny decides to start her own companyto rebuild the line, and it is a huge success. Dagny and Reardenbecome lovers. Together they discover a motor in an abandoned factorythat runs on static electricity, and they seek the inventor. Thegovernment passes new legislation that cripples industry in Colorado.Ellis Wyatt, an oil industrialist, suddenly disappears after settingfire to his wells. Dagny is forced to cut trains, and the situationworsens. Soon, more industrialists disappear. Dagny believes thereis a destroyer at work, taking men away when they are most needed.Francisco visits Rearden and asks him why he remains in businessunder such repressive conditions. When a fire breaks out and theywork together to put it out, Francisco understands Reardens lovefor his mills.

Rearden goes on trial for breaking one of the new laws,but refuses to participate in the proceedings, telling the judgesthey can coerce him by force but he wont help them to convict him.Unwilling to be seen as thugs, they let him go. Economic dictatorWesley Mouch needs Reardens cooperation for a new set of socialistlaws, and Jim needs economic favors that will keep his ailing railroadrunning after the collapse of Colorado. Jim appeals to Reardenswife Lillian, who wants to destroy her husband. She tells him Rearden andDagny are having an affair, and he uses this information in a trade.The new set of laws, Directive 10-289,is irrational and repressive. It includes a ruling that requiresall patents to be signed over to the government. Rearden is blackmailedinto signing over his metal to protect Dagnys reputation.

Dagny quits over the new directive and retreats to a mountain lodge.When she learns of a massive accident at the Taggart Tunnel, shereturns to her job. She receives a letter from the scientist shehad hired to help rebuild the motor, and fears he will be the nexttarget of the destroyer. In an attempt to stop him from disappearing,she follows him in an airplane and crashes in the mountains. Whenshe wakes up, she finds herself in a remote valley where all theretired industrialists are living. They are on strike, calling ita strike of the mind. There, she meets John Galt, who turns outto be both the destroyer and the man who built the motor. She fallsin love with him, but she cannot give up her railroad, and she leavesthe valley. When she returns to work, she finds that the governmenthas nationalized the railroad industry. Government leaders wanther to make a speech reassuring the public about the new laws. Sherefuses until Lillian comes to blackmail her. On the air, she proudlyannounces her affair with Rearden and reveals that he has been blackmailed. Shewarns the country about its repressive government.

With the economy on the verge of collapse, Francisco destroys therest of his holdings and disappears. The politicians no longer evenpretend to work for the public good. Their vast network of influencepeddling creates worse chaos, as crops rot waiting for freight trainsthat are diverted for personal favors. In an attempt to gain controlof Franciscos mills, the government stages a riot at Rearden Steel.But the steelworkers organize and fight back, led by Francisco,who has been working undercover at the mills. Francisco saves Reardenslife, then convinces him to join the strike.

Just as the head of state prepares to give a speech onthe economic situation, John Galt takes over the airwaves and deliversa lengthy address to the country, laying out the terms of the strikehe has organized. In desperation, the government seeks Galt to makehim their economic dictator. Dagny inadvertently leads them to him,and they take him prisoner. But Galt refuses to help them, evenafter he is tortured. Finally, Dagny and the strikers rescue himin an armed confrontation with guards. They return to the valley,where Dagny finally joins the strike. Soon, the countrys collapseis complete and the strikers prepare to return.

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SparkNotes: Atlas Shrugged: Plot Overview


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