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.