Blog

Welcome to my blog, which is intended as an informal forum for my thoughts, subject to corrections and updates, on a variety of topics and with links to other points of interest.

4 February 2012

Books: Malcolm X by Manning Marable

In Malcolm X: A Life of Reinvention (Viking, 2011), Manning Marable (1950–2011) presents what appears to be a thorough and meticulous account of his subject, the assassinated black Moslem leader known as Malcolm X. That Marable, who unfortunately died days before the book’s publication, brings impressive credentials to his work – he was a professor of African American studies, history and public affairs at Columbia University, served as founding director of Columbia’s Black History center and is the author of 15 books – underscores the question of why the press and their favored black intellectuals all but ignored this volume, which was published last year with hardly any coverage. Marable, who had taught The Autobiography of Malcolm X, written with, and arguably authored by, Alex Haley (Roots) during Marable’s seminar at Ohio State, had the audacity to approach his topic with real curiosity. So he sheds new light on the facts surrounding Malcolm X’s unsolved assassination, which he hints may have involved the FBI. He further enlightens readers about Nation of Islam leader Louis Farrakhan, whom he states advocated Malcolm X’s death. In one of Marable’s more trivial assertions, which has sadly tapped an anti-gay prejudice among blacks, he tells us in a brief passage that his subject had been a hustler who probably had sex with men.

There is much to learn here about Malcolm X, whose views are likely to shock many on the left and the right, tracing his origins as an East Coast vagabond through his conversion to Islam, the religion of submission to God, and his advocacy of racial segregation – so-called black separatism – his early alliances with Moslems in Africa and his affiliation with, and split from, the Nation of Islam, a group which continues to exist in the United States with connections to Islamists. It’s a fascinating story, based on interviews with Farrakhan and Malcolm X’s letters and diaries, tracing 20th century American politics and culture, and it is impossible not to make crucial connections to today’s news and events. Not only does one gain insights into the man born Malcolm Little and how he went from birth in Omaha to being arrested in Detroit and assassinated in 1965 by fellow Moslems at the Harlem place where Duke Ellington and Count Basie had played, one will become better acquainted with the sordid story of post-slavery black Americans, once known as Negroes, from Frederick Douglass to Marcus Garvey to Martin Luther King, Jr. (whom Malcolm X sought to differentiate himself from) to today’s entrenched black intellectuals.

We learn that Alex Haley was a liberal Republican. That the Islamic terrorist-supporting Rev. Farrakhan was raised as an Episcopalian and discovered Islam as a Calypso singer known as Louis Eugene Walcott in Chicago at a nightclub called the Blue Angel. That on the night when thousands of federal troops were occupying the University of Mississippi to ensure the enrollment of a Negro named James Meredith, Malcolm X was on talk radio denouncing interracial marriage. But above all in this apparently straightforward and honest biography by an intellectual who expresses gratitude for Malcolm X, one comes away with a spine-chilling report on the insidious spread of collectivism – and an inextricable black American link to Islamism – that haunts us still. That the man who mainstreamed anti-American Moslems in America was downed by Moslems in America is but one of several twists that make more sense in reading Manning Marable’s Malcolm X: A Life of Reinvention, an ambitious book with a glossary, notes, photographs, index and bibliography.

2 February 2012

Happy 107th Birthday, Ayn Rand

On this date in 1905, Ayn Rand was born. She escaped slavery in Soviet Russia, came to America – to New York City, then Chicago and Los Angeles and back to New York City, where she died in 1982 – and wrote screenplays, best-selling novels, newspaper columns and plays consumed by millions. She challenged the world and her philosophy, Objectivism, has since advanced throughout the West and among intellectuals, thanks to the efforts of the Ayn Rand Institute and, in particular, its founder, Leonard Peikoff.

I knew when I first read Ayn Rand’s Atlas Shrugged as a teen-ager that the world can be and ought to be as wonderful as Ayn Rand imagined and anyone who thinks her 1957 epic is strictly a dark prophecy of a nation in decline needs to think again. Atlas Shrugged is foremost an inspiring story of man at his best and it also offers an enriching philosophy for living on earth. Rand, who understood and fled Communism, saw that America was in deep trouble. Having seen the rise of the New Left first hand, and having been the recipient of its worst ideas, I also sensed, even 30 years ago, that the country was headed toward dictatorship. As I studied Objectivism, reading Dr. Peikoff’s philosophy books (The Ominous Parallels and Objectivism), attending lectures, courses and conferences, and engaged in what was really the first application of Objectivism to politics, a premature attempt to save medicine as a profession (in which some good was accomplished), I confirmed the worst. With the state-sponsored seizure of Elian Gonzalez, the Islamist attack on September 11, 2001, Black Tuesday, and today’s impending economic collapse, I must accept the fact that America is coming to an end, as Ayn Rand and Leonard Peikoff warned for decades.

But today brought good news. I’m not talking about the announcement that a second installment in a low-budget film series adaptation of Atlas Shrugged will be directed by Duncan Scott, who co-produced the restored film adaptation of We the Living, and released this fall (though with Scott on board, it may be an improvement over Atlas Shrugged, Part 1). Thanks to one of Objectivism’s new intellectuals, Tore Boeckmann (editor, The Art of Fiction by Ayn Rand), I learned that Leonard Peikoff’s forthcoming new book, The DIM Hypothesis: Why the Lights of the West are Going Out, is being published this fall and is available for pre-order on Amazon.com. Dr. Peikoff’s book is based on his final course, which I wrote about here, and I have every reason to think his third book will enlighten those who move the world. There are other reasons for encouragement, too many to mention, in several works – plays, exhibits, books, podcasts, movies, and I include my own work – by those influenced by the genius of Ayn Rand, including those who make no claim to be Objectivists. There isn’t much time to spare the United States of America, as far as I can tell, but her philosophy of reason, individual rights and egoism is making progress in changing the world. To which I can only say: Happy Birthday, Ayn Rand, in the name of the best within us.

31 January 2012

Movie Review: Big Miracle

Packed with subplots, politics and propaganda, the ecology movie Big Miracle is a big fish tale based on a true story from 1988. This Universal picture is brazenly loaded with more conflicts of interest than a politician, sprinkling in-bred spots from Comcast-owned NBC Universal’s other entertainment company, NBC News, whose presence in the film blatantly contradicts the anti-corporate theme. The movie manages to generate excitement in spite of itself.

The plot defies description but there are numerous forces that supposedly act in their self-interest to save three whales trapped under the ice near Barrow, Alaska. The incendiary spark is an unethical environmentalist (Drew Barrymore) who will do anything to achieve her ends and makes no bones about it. Part of the problem with Big Miracle is that it doesn’t know when it’s undercutting its ecological propaganda. It must be noted that children should not be exposed to this movie without a thorough grounding in the facts of nature, followed by a sober discussion about whether it’s moral to sacrifice humans to animals as the film repeatedly advocates.

But frankly half the fun is seeing multiple articles of leftist faith eviscerated; whether the tribe that hunts the mammals for its livelihood is subjugated to people who blindly follow the dogma that the individual and the collective – heck, anything human – must be subordinated to the whales. Besides the prospect of Ms. Barrymore’s Greenpeace activist being swatted to death and a helicopter full of humans deliberately being frozen to death, there are countless instances in which men, women and children are put at risk of death for the sake of the gray whales. Among the selfless are John Krasinski (Jarhead) as an affable local news reporter, Ted Danson as an oil titan married to a closeted Greenpeace accomplice (Kathy Baker), a cute tribal kid, a couple of dolts from Minnesota, a governor, a White House aide, competing reporters, tribesmen and village people and, of course, all of them are willing to risk death to save the whales. The most driven character is played by Dermot Mulroney as a National Guardsman. None of their efforts exactly succeeds but, lo and behold, Big Miracle saves the best for last, delivering ecologically inclined Communists who save the day with a Soviet icebreaker that takes us beyond moral equivalency and tops the Americans with a greater sense of duty to the whales, which are trapped by rapidly forming ice in the Arctic Circle.

Somehow, through the nonsense and preposterous or horrid themes and ideas – men are bad, white men are worse, productive white men are the worst – Big Miracle depicts townspeople coming together to make a profit off the media-hyped event, careers being made by the tragedy in the making, leftists clawing their way to the top much more voraciously than the capitalists, and, above all, that which is manmade conquering nature in order to suit man’s chosen purpose. That the machines serve an arguably irrational purpose – one person questions why the whales deserve more attention than the 30 wars on the planet – is emphatically not the point. Big Miracle is mystical about worshipping non-man on earth, complete with men on their knees in prayer – with entire families passively sitting on couches consuming food, entranced by the TV spectacle, as if in church, temple or mosque – but at least it shows, however accidentally, that what is truly miraculous is actually what is manmade.

29 January 2012

Star Wars Returns to Movie Theaters

Like most people I know, I was seriously disappointed in the Star Wars re-boot that creator George Lucas offered between 1999 and 2005. Of the second trilogy, I liked Attack of the Clones (2002) the best. But it was a snoozer, too, and the third and final installment, Revenge of the Sith (2005), was particularly bad. The first part of that series, The Phantom Menace (1999), arrives in movie theaters on February 10 at participating AMC Theatres for a special 3D re-release.

Besides an animated feature release called The Clone Wars (2008), the original three pictures (Star Wars, The Empire Strikes Back and Return of the Jedi), released for the first time on DVD in 2004 as I reported here, are the only other Star Wars films and they are an historic part of 20th century American culture. Like Disney classics, the original three pictures have also been re-released in theaters, and the return of Star Wars: Episode I The Phantom Menace to theaters, now in 3D, will undoubtedly be popular among Star Wars fans of all ages. Lucasfilm announced that it will give away an all-new Hasbro Star Wars Fighter Pod with the purchase of each RealD® 3D ticket for The Phantom Menace, all weekend long, February 10-12 only at AMC Theatres (limit one per ticket, while supplies last). Lucasfilm also issued a statement that, starting Saturday, Feb. 11 at 11 a.m. local time, select movie theaters will offer activities, giveaways and interactive experiences, including (while supplies last): exclusive Anakin Skywalker Podracer 3D glasses with ticket purchase; a Hasbro Star Wars Fighter Pods collectible toy with RealD 3D ticket purchase; a Lego® promotion; a Darth Maul face-painting; special character appearances for photo opportunities and promotional demonstrations of an upcoming Xbox Kinect™ Star Wars. Additionally, these ten AMC venues in the United States will host exclusive event screenings of Phantom Menace in RealD 3D: Atlanta: AMC Southlake 24; Boston: AMC Loews Liberty Tree Mall 20; Chicago: AMC South Barrington 30; Denver: AMC Highlands Ranch 24; Orange County: AMC Tustin 14 at The District; AMC Ontario Mills 30; New York: AMC Empire 25; AMC Garden State 16; Phoenix: AMC Mesa Grand 24; San Francisco: AMC Emeryville Bay Street 16. Visit StarWars.com for more information.

I did not write reviews of the original movies (which pre-date my film journalism) or either The Phantom Menace and Attack of the Clones (which were released between my newspaper and online film criticism) but I succumbed to the mystique and attended opening weekends for all six movies. I must admit that, by the time I was assigned to review the last movie, the series had all but played out, as I wrote in a 2005 commentary. I disliked Phantom Menace enormously, and still do, with the needless and boring podracing and the moronic Jar-Jar Binks, whom I still joke about with friends, so there’s that (Darth Maul is the best thing about the movie). Being romantic to a fault, I enjoyed the grand-scale romance of Attack of the Clones, contrasted to the rise of fascism, and still think it holds up well compared to the others. Revenge of the Sith, was, well, the proper capstone to the whole series, which is to say it was an exercise in faith-based, malevolent monster moviemaking. While I wish the series well and respect the right of its creator to fuss with his movies all he wants (read my “George Lucas vs. the Stormtroopers“), I look to Marvel Studios and others for heroic, larger-than-life, grand-scale motion pictures, such as Captain AmericaStar Wars was a milestone in its day – an escape in dark, dreary times – and, if you’ve already seen The Artist and The Iron Lady, the thrilling lightsaber duel between Liam Neeson’s Jedi knight and Darth Maul (to an exciting musical score), minus the annoying bell-bottomed alien and the half-hour artificial podrace, might offer a decent value in movie theaters.

26 January 2012

Movie Review: Undefeated

One of the Oscar-nominated documentaries, Undefeated, sounds more dramatic and engrossing than it turns out to be: set in north Memphis, Tennessee, in the arena of inner-city high school football players during the chronically losing Manassas Tigers’ 2009 football season, a tough coach steps in to inspire the students to win the first playoff game in the high school’s 110-year history.

Critics are gushing over this real-life Blind Side-type picture and it’s easy to see why. The coach, a Christian named Bill Courtney who volunteered to coach the boys’ team, is very dedicated according both to this movie and to an interviewed newspaper reporter who, the press notes disclose while the film does not, wrote an article that inspired the film. But Coach Courtney is a mixed case for coaching and Undefeated raises questions about its approach.

From the start, Coach Courtney is a bit theatrical, telling the players that he will kill himself for the team. Exaggeration continues, which is fine for a coach who needs to stir his team to victory, but rigorous training does not, judging by what we see. Undefeated is less interested in the athletics of football than it is in proselytizing its themes of selflessness, forgiveness and sacrifice. Also, with no pretext to why this documentary was made, by whom, or in what context, the perspective is blurred; in one scene, a kid’s in trouble yet in the next scene, the coach finds out from another player and we’re left to wonder why facts and sequence were edited out. And with a coach at the center who apparently attends a religious camp called ManRise, takes public school kids to church and leads them in prayer with not a peep from anyone in a state where the Scopes trial took place, Coach Courtney probably violates the law and certainly grates on the nerves.

As Undefeated tracks three players, big lug tackle O.C., criminally-inclined linebacker Chavis, and a smaller kid called “Money” who plays offensive lineman, it’s easy to get into this story of a sad, poor team and its feisty coach who preaches that character counts. We want to root for the kids, see them win and we’re so invested in their tales and troubles that we start to forget it’s a movie. Supposedly a documentary, though important action happens offscreen, as when Chavis assaults another player but not before the screen goes blank for no apparent reason, and Undefeated ultimately feels as real and authentic as so-called reality television. That’s not to say it’s without value, and I’m glad these kids apparently learned something and did well. But between references to “haves and have-nots” and fairy tale endings where anonymous rich people pay for an entire college education and thugs turn into humble servants, I noticed that preachy Coach Courtney never had time for his wife and kids, which he eventually admits, and that for all his preaching he sets a poor example as a father.

All of which is a shame because how schools conduct sports is a serious issue that deserves a serious documentary. We are currently plagued with news about concussions in football players (which never comes up here) and what may be a link to a form of encephalitis, sex abuse scandals and arrests at Penn State, Syracuse and the Amateur Athletic Union (whose director was fired after he was accused of abuse by former basketball players during his youth sports work in Memphis). Instead, Undefeated offers prayers, bromides and slogans, like an episode of Huckabee without the fiddlers, banjo playing and aw shucks grins.

23 January 2012

Anti-Hero Worship

“You’re our hero,” read a sign at a statue of the late government-college football coach Joe Paterno, who died on Sunday at the age of 85. But Paterno, who by his own admission sidestepped, ignored or evaded allegations of child rape, is not a hero. He was a football coach at a state college and he made crucial errors of judgment which, by the kindest interpretation of his involvement, which was under investigation, may have aided or abetted serious crimes against children. Nevertheless, government-financed Penn State declared that it will hold a public memorial service, where signs, photography and video will be forbidden. The governor, Tom Corbett, ordered state flags to fly at half-staff. Joe Paterno, an employee of the college for 61 years who by most accounts did his job and coached football better than most, does not in my estimation deserve the accolades. He worked for a well-respected college and his primary responsibility was to teach students and provide an example and, whatever the outcome of the charges against his former colleague, Jerry Sandusky, whom I think is guilty, he failed. “I was afraid to do something that might jeopardize what the university procedure was,” he told the Washington Post about his actions in his final interview. So, he made a mistake and did so at a place for higher learning on the taxpayers’ dime, which, while it does not make him a monster, makes Paterno a non-hero and undeserving of worship by people in the Keystone State and everywhere else. We don’t yet have all the information about Sandusky’s alleged crimes or Paterno’s actions, but, increasingly, sports spectators worship thugs, not heroes, as pro hockey team owner Mario Lemieux said when he threatened to quit. Given what we do know, Paterno worship is more of the same.

Another non-hero is also a government employee. Her name is Gabrielle Giffords, the stricken Arizona congresswoman who was shot and survived in a lunatic’s attack in Tucson, Arizona, last year. It was a good call for her to quit, as she recently announced, though it would have been better had she done it sooner. Her district has essentially been without representation since she was injured in a terrible tragedy in which lives were lost. It is a representative’s job to serve the republic and represent constituents and she should have quit her job months ago. Instead, Congresswoman Giffords, too, is being treated as some sort of heroine. I am sure there are millions of Americans like me who are sorry she was shot and wish her well. But it doesn’t make her a heroine or excuse the lack of representation for Americans who deserve full, congressional representation during the nation’s darkest times since the Depression.

A third government non-hero, Kentucky Senator Rand Paul, a Christian libertarian son of a GOP presidential candidate, was detained earlier today by the TSA for refusing a government-dictated security pat-down. While Sen. Paul exercised his individual rights and I hope (and doubt) his act of civil disobedience encourages people to act to kill the TSA, Matt Drudge’s red-colored headline, “TSA DETAINS U.S. SENATOR”, should read: TSA DETAINS U.S. CITIZEN. The outrage is that Americans are submitted to the tyranny of unconstitutional restrictions on travel and association every day. That a politician is affected, too, should be of no concern to anyone except the politician. Any decent politician would use the detainment as an opportunity to build support for a law abolishing the government agency.

Because praise for non-heroes trivializes the concept of heroism, glorifying these three government workers – Coach Paterno, Congresswoman Giffords, Senator Paul – redounds to anti-hero worship. Real heroes are those who consistently live life at their best; men such as Andrew Carnegie, Steve Jobs and John Lewis. Real hero-worshippers refuse to raise a glass to mediocrity. They know the difference.

21 January 2012

Movie Review: The Artist

Small, abstract and intimate, the thoroughly contrived and well-constructed silent movie that’s the talk of Tinseltown deserves its gold-plated reputation. The Artist, which begins in Hollywood in the year 1927, is a layered and complicated love story that breaks your heart and dares to exact a happy ending. As silent movie star George Valentin, Jean Dujardin is at once commanding, agile and irresistible. When rising young dancer and actress Peppy Miller (Berenice Bejo) daydreams about being in his arms and caresses his face, it isn’t difficult to see why; she is a hero-worshipper at the core of her being, from showing up at the premiere of a picture in which he makes a mockery of torture by Soviet Russians to returning a favor that marks their shared sense of life.

Handsome, married actor and plucky, struggling actress fall in love but their goodness keeps them apart (until their vanity does, too). Upon reflection, The Artist portrays the artist as rather desperate and shallow and terribly insecure. He is wedded to a matronly ice queen in an apparent marriage of convenience which we’re left to project from scratch. As talkies and economic collapse emerge, he is plunged into false pride and despair in a way that contradicts his light, debonair sophistication and well-deserved stardom. George’s internal struggle is the film’s focus, really, with an adorable dog to magnify the conflict, and his journey takes psychologically deep, dark and twisting turns that ultimately lead to a more realistic approach to his art and to the art of living. The Artist depicts the intersection of art and life and how one ought to do both.

Peppy, for her part, is always on display, from her first audition to her first act of empowerment against a studio executive, ever armed with a grease pencil and guarding her true love for George while facing the consequences of her own short-range thoughtlessness. As Peppy ascends, George descends, with the always reliable Missi Pyle, James Cromwell and John Goodman and others perfectly suited to punctuate their psycho-drama, and the movie’s not nearly as manic as the trailer suggests.

Writer and director Michel Hazanavicius delivers endless sensory material with which to process the artist’s powerful transformation. A closing door signals exactly that. A silently mirrored scream signals an inaudible eruption of pent-up egotism. A studio staircase symbolizes that business is cyclical; some go up while others come down. A blindingly white hospital gives us light and life. None of this is presented in pretentious terms. The players’ dancing laughter has a lightness, gaiety and innocence throughout, in black and white silence, with Ludovic Bource’s score, with nods to Bernard Herrmann and Douglas Fairbanks, Jr., whom George most closely resembles.

The screenplay is more plain than obvious yet its simplicity is deceptive. A movie that evokes sadness when the hero is losing in a scene in which he is literally sinking – or places a little red wagon on a city sidewalk – or leaves the woman wanting and waiting patiently for the man – and manages to leave us tap dancing with the conviction that art requires effort and that making art like life, and life like art, is hard, is modern in theme, old-fashioned in form and both in the best sense. Wrenching and delightful, The Artist does to us what it does to its characters. It takes our breath away.

19 January 2012

Frank Lloyd Wright in Illinois

Having toured the Ennis and Hollyhock houses in Los Angeles and Taliesin West in Scottsdale, I finally crossed an item off my bucket list when I toured some works by Frank Lloyd Wright in Illinois. It was around Christmastime, and the winter in northern Illinois was unseasonably kind, so I was able to embark on the audio walking tour in Oak Park.

The reasonably priced tour comes with an audio electronic device similar to an iPod, which was explained in a tutorial, a map in brochure and a set of headphones. They were all sufficient, though the device didn’t always work as intended and the headphones are one size fits all, so constant adjustments were necessary. The autonomy of walking through Oak Park’s wide, tree-lined neighborhoods is worth the hassle and the package includes a guided tour of Wright’s 1889-1898 home at 951 Chicago Avenue. Here, he raised six children with his first wife and added a studio, where he created a new American architecture, the Prairie style, and designed 125 structures, including such famous buildings as the Robie House, the Larkin Building and Unity Temple. The restored site is presented as it appeared in 1909, the last year that Wright lived in the home and worked in the studio. The house and studio are simple, clearly and thoughtfully planned and everything I’d always imagined they would be. My favorite parts of the home and studio tour were the children’s playroom and the studio workspace, best described as a place designed for man at his best. Standing at the drafting tables is an exalted experience. The whole experience stirs the senses and makes you want to get to work and create.

From there, the audio walking tour, which does require coordination and syncing the pedestrian with the technology, cycles to ten Wright houses and the Unity Temple, which remains an active religious facility that offers a separate tour for a fee. Individually, each is striking in its own way, and I’ve included a snapshot here as a sample. The audio provides a strictly architecture-oriented lesson, not an historical or biographical narration, and I found myself wanting to know more about how the commission was developed and for whom and how Wright regarded each finished work. The tour loops along Forest Avenue to Austin Gardens and up Kenilworth Avenue back to Wright’s home and studio past several other interesting houses designed by various architects. Overall, this is the largest concentration of Wright-designed structures in existence. All the houses are privately owned and occupied by residents and visible from Oak Park’s public sidewalks.

18 January 2012

Supreme Court: Congress May Re-Copyright Public Domain Works

In an interesting decision today, the Supreme Court ruled that Congress has the power to re-copyright public domain works. I have not read the decision and I am not a legal expert, but I am concerned that this ruling, which as I understand it effectively prohibits public use of works such as composer Sergei Prokofiev’s Peter and the Wolf and director Fritz Lang’s Metropolis, elevates international law above U.S. law and may amount to granting the government the power to dictate perpetual copyright terms. In dissent, Justices Stephen Breyer and Samuel Alito said the upheld law goes against copyright theory and “does not encourage anyone to produce a single new work.” The dissenting judges note that copyright is part of the United States Constitution to promote the arts and sciences.

18 January 2012

Movie Review: Ayn Rand & the Prophecy of Atlas Shrugged

Surprisingly, there’s a lot I don’t like about the new Ayn Rand documentary, which I watched with a sold-out audience, including friends who worked on the 84-minute film, at a special screening at the ArcLight Hollywood last night. Because I know many of those who appear in or worked on it, I wanted to like every second of Ayn Rand & the Prophecy of Atlas Shrugged and there is much to like in this movie, which I enjoyed as an experience of seeing Ayn Rand on the big screen again. By the time we see what relevance Rand’s epic novel has to today’s dark times, there are many good points, read directly from her 1957 Random House bestseller and contrasted with well-chosen works of art depicting opposing ideas. But the good points get bogged down in an overbearing movie.

With a booming male narrative, breakneck pace and incessant score, the independent documentary is better suited to the intimacy and immediacy of television. Writer and director Chris Mortensen achieves amazing results given the ground he has to cover in this short time frame. There’s just too much material crammed into the movie, which covers the truly prophetic Atlas Shrugged, set in what novelist and philosopher Rand called the day after tomorrow and dramatizing America collapsing under a corrupt establishment of government regulators and their favored businessmen who prey on individual achievement. Nothing wrong with being ambitious, but the unfortunately named Ayn Rand & the Prophecy of Atlas Shrugged, which at its worst plays like a bombastic infomercial, delves into the book’s history at the expense of explaining key connections to today’s events.

The film relies too heavily upon two discredited Rand biographers, Jennifer Burns and Anne Heller, both of whom wrote deeply flawed accounts of Rand’s life in 2009, though they don’t repeat their worst errors or transgressions here. Presumably, they’re included for balance, the lack of which was a criticism of Michael Paxton‘s excellent Oscar-nominated 1997 documentary, Ayn Rand: A Sense of Life, but this effort is best when it sticks to people who know and grasp Rand’s life, art and ideas, such as former Ayn Rand Institute (ARI) director Mike Berliner (editor of Rand’s Russian Writings on Hollywood and Letters of Ayn Rand) and current ARI President Yaron Brook. What most Atlas Shrugged readers know, that reading Ayn Rand makes you feel awake and alive and achieves a sense of weightlessness, is left to Burns for observation. But neither Burns nor Heller has much credibility on the subject.

A steady stream of scholars and students and businessmen capably discuss Rand’s ideas and the students’ insights are most effective in demonstrating the relevance of Atlas Shrugged. The most prophetic points are in abundant evidence and the discussion of the tunnel scene is particularly clear and compelling. However, Objectivists will want to know where is English literature professor Shoshana Milgram, who has lectured extensively on Rand and her greatest literary influence, Victor Hugo, or philosophy professor Robert Mayhew, who has edited several volumes on Rand’s courses and writings, or Rand’s heir, Leonard Peikoff? Each of them has produced outstanding material about Atlas Shrugged. General fans of the book may simply wonder at the absence of literary scholars in a film about the power of a novel.

As propaganda for an exceptional book that runs over a thousand pages, contains larger-than-life themes that challenge the dominant ideas of our times and tells the unforgettable story of the mind on strike, Ayn Rand & the Prophecy of Atlas Shrugged partially succeeds. Among the assets are images of Ayn Rand in rare footage, including the author at a press conference with the film’s comic relief, a colorful movie producer named Al Ruddy (The Godfather), who pitched a movie version of Atlas Shrugged to her until she pitched it back (and did he drop the ball). Other footage includes scenes from the first cinematic adaptation of Rand’s novel, last year’s unsuccessful Atlas Shrugged, Part 1, and a rarely seen clip from President Dwight Eisenhower’s farewell speech, in which Ike essentially warned about encroaching total government control of industry. So there is plenty of good, insightful material here, and Mortensen’s judgment can be impeccable, but there is too much of it, it is too imposing, and, as usual, Ayn Rand’s Atlas Shrugged, which has remained in print, sold over a million copies and should be read and studied by every rational man and woman, deserves better.