Posts tagged with: frank capra

The story of Myles Eckert giving a $20 bill to Lt. Col. Frank Dailey is deserving of the massive amount of attention it has received across the nation. Eckert’s powerful deed has been highlighted and shared frequently all over social media.

One of the great qualities I love about many of the old Frank Capra films is how he appealed to the moral conscience of his audience with authenticity and the power of giving. The hero character in Capra films often endured suffering or betrayal and harnessed their inner goodness to tell a powerful moral story about how America should be instead of the vain shallowness and evil that too often infects us. Capra was the master at capturing indictments of evil, greed, and the selfishness in our culture through film. Myles, in Capra like fashion, undoubtedly displays the great quality of the American Spirit and teaches us something in return.

This CBS Evening News report from Steve Hartman explains it all:

Blog author: jcarter
Friday, December 20, 2013
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[Note: A version of this article ran last year around Christmastime. I’m posting it again because I love talking about Frank Capra and everyone else seems to love talking about Ayn Rand.]

Frank Capra and Ayn Rand are two names not often mentioned together. Yet the cheery director of Capra-corn and the dour novelist who created Objectivism have more in common than you might imagine. Both were immigrants who made their names in Hollywood. Both were screenwriters and employees of the film studio RKO Pictures. And during the last half of the 1940s, both created works of enduring cult appeal, Capra with his film It’s a Wonderful Life and Rand with her novel The Fountainhead.

The pair also created two of the most memorable characters in modern pop culture: Howard Roark and George Bailey. To anyone familiar with both works, it would seem the two characters could not be more different. Unexpected similarities emerge, however, when one considers that Roark and Bailey are variations on a common archetype that has captured the American imagination for decades.

Howard Roark, the protagonist of Rand’s book, is an idealistic young architect who chooses to struggle in obscurity rather than compromise his artistic and personal vision by conforming to the needs and demands of the community. In contrast, George Bailey, the hero of Capra’s film, is an idealistic young would-be architect who struggles in obscurity because he has chosen to conform to the needs and demands of the community rather than fulfill his artistic and personal vision. Howard Roark is essentially what George Bailey might have become had he left for college rather than stayed in his hometown of Bedford Falls.
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Blog author: jballor
Friday, December 4, 2009
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Heather Wilhelm of the Illinois Policy Institute examines the usefulness of Ayn Rand for political engagement by friends of the market economy in a WSJ op-ed, “Is Ayn Rand Bad for the Market?” She concludes,

Rand held some insight on the nature of markets and has sold scads of books, but when it comes to shaping today’s mainstream assumptions, she is a terrible marketer: elitist, cold and laser-focused on the supermen and superwomen of the world.

Wilhelm’s picture of Rand underscores the distinction I’ve made between libertarianism as a world-and-life view and as a political philosophy. Rand is clearly of the former type: a Weltanschauunglich libertarian par excellence.

As Wilhelm writes, “For her fans, Rand’s appeal lies in her big-picture, unified, philosophical approach to man’s purpose and the meaning of life.” But this is also her greatest weakness, in that it opposes her to collaboration with those who might share inclinations toward limited government, but do not buy into the comprehensive “blend of atheism, absolutism and ruthless individualism.”

This is a more thorough-going critique of Rand’s viability as a model than simply noting the vigor of her polemic. As Acton Institute president Rev. Robert A. Sirico says, “If you want to offend, Rand accomplishes that. But if you want to convert—well, for instance, who could imagine Rand debating a health-care bill? I wouldn’t want to take an order from her in a restaurant, let alone negotiate a political point.”

Over at First Thoughts, Joe Carter juxtaposes Frank Capra’s George Bailey (of It’s a Wonderful Life) with Rand’s Harold Roark (of Fountainhead). Carter concludes that the two figures represent sharply different visions. Indeed, “Capra’s underlying message is thus radically subversive: it is by serving our fellow man, even to the point of subordinating our dreams and ambitions, that we achieve both true greatness and lasting happiness.”

This is something that Rand and her disciples would find odious. Thus “those who view Roark as a moral model—are not likely to appreciate Wonderful Life. Indeed, the messages are so antithetical that only a schizophrenic personality could truly appreciate both George Bailey and Howard Roark.”

Update: Reason‘s Katherine Mangu-Ward passes along the words of Rand’s “one-time intellectual heir” Nathaniel Branden, as a kind of addendum to Rev. Sirico’s comment:

The luckiest beneficiaries of [Ayn Rand’s] work are the people who read her and never see her, never meet her, never have any reason to deal with her in person. Then they get the best of what she was.