No Regrets

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Every year at about this time, Liberty’s Entertainment Editor, Jo Ann Skousen, produces a film festival in Las Vegas, in conjunction with the big gathering of libertarians and libertarian conservatives known as FreedomFest. Jo Ann is an expert at many things, but she can’t be a producer and a reporter at the same time, so I’ll poach on one of those territories and report on some things I witnessed in connection with this year’s Anthem, which happened on July 9–12.

One was Part 3, the final part, of the Atlas Shrugged movie, which will begin its public, theatrical run on September 12.

My impression was: not bad. Very good in many parts. None of the characters was cast in the way I would have done it; I would have made them look just like the people in the book. But good characters have more elasticity than that. In the tricky role of John Galt we have Kristoffer Polaha, who looks exactly like the dark, hunky, American boy you’d see in a truck commercial. Odd, but it’s possible and he makes it work. He even has a sense of humor. Laura Regan, as Dagny Taggart, is fine when she’s a bossy railroad executive; but when she’s a woman discovering Galt’s Gulch or being in love with John Galt, she’s commonplace, with the irritating whine that many commonplace women put in their voices these days.

These filmmakers don’t believe in just anything; they are attached to specific stories of specific people who are trying to be free.

The screenplay is more than competent, although strong deductions must be made for the overuse of a voiceover telling you what’s been happening to the country while the main characters are having their conversations and love affairs. The device is obviously appropriate for a story of this length and complexity, but I thought I saw more visual effects in Part 1 than in this part, and there need to be more. I wish the budget had provided for them, although I’ve got to say that the torture of John Galt is much more effective in the movie than it is in the book.

What about the Speech? Story consultant David Kelley, who’s a smart guy, noted with some satisfaction that 33,000 words had been cut to 600. How? By “dropping from the speech what wasn’t foreshadowed in the movie.” In other words, by cutting what wasn’t directly relevant to the action. Fine with me.

A very interesting preview. But as interesting to me, for some of the same reasons, were the films on themes of liberty that were entered in the festival by small independent filmmakers. By “small,” I don’t mean “narrow” or “unimportant.” I mean done on small budgets. These filmmakers are important. They are volunteers in the first line of defense of small (i.e., also on small budgets) Americans like you and me.

Here’s Sean Malone, who’s come out with a film called No Vans Land, which is about how commuter vans are illegal in a lot of places. And Drew Tidwell, who has lots of distinguished movie and TV experience and who once made a movie inspired by Leonard E. Read’s famous I, Pencil (the movie’s called by the same name), which is about how everyone who uses even such a simple thing as a pencil should understand how much capitalism is involved in the multitude of processes necessary to make it. Now he’s the producer of a film called Empire State Divide, about people in southern New York who want to enrich the state by extracting natural gas from their land, but aren’t allowed to do so. And a charming couple, Dean and Nicole Greco, who made 100 Signatures, a film about the ways in which various states render it virtually impossible to run for office unless you’re nominated by one of the two major parties.

I asked the Grecos who did what on their film, and Dean replied, “We filmed it, wrote it, edited it, everything.” Fortunately, they finished it in October, because their daughter Andie (who made no comment but seemed happy to be with us) arrived in November. Nicole was once a TV newscaster, directed by Dean, but they decided to go out and make this film “to be helpful to mankind.”

That’s pretty much the story I got from the other moviemakers, too. But it was never the vague, general “I want to help” that becomes so difficult to hear when the community-servers and program-pushers use it. At Anthem the desire to help always had a local habitation and a name. “What keeps you going?” I asked Sean and Drew. Drew answered, “I believe in these projects,” and Sean answered, “I believe in the stories.” Each nodded at the other’s answer. They don’t believe in just anything, or in the vast generalizations that too many libertarians clutch to their bosoms; they are attached to specific stories of specific people who are trying to be free.

The libertarian and libertarian-conservative filmmakers have one hell of a time raising just the minimum amount of money required to cover their costs.

One person I spoke with — Kels Goodman, maker of a not so fictional film called The Last Eagle Scout, which is “about how government tries to shut down the Boy Scouts” — saw it as a warning about an imminent future, “a what if?, not 1000 years in the future but the next stage of the political correctness we have now.”

Of course, government has all the resources, and it’s a ratchet effect: the more money and power it takes, the more it has to maneuver us into letting it take more. The libertarian and libertarian-conservative filmmakers have one hell of a time raising just the minimum amount of money required to cover their costs. And besides the money, there’s the rejection. It has insidious effects. As Nicole said, “it creeps up in weird ways.” You have to believe in a story a lot to keep coming back after being rejected by donors, film festivals, distributors, everyone but yourself. The people I talked to emphasized that. They didn’t like it. But they took it. And they responded by providing even more of their own energy and cleverness, and their money, if they still had any.

One person who had money was John Aglialoro, producer of Atlas Shrugged. When asked about the financing of the movie’s three parts, he said: “Part 1, $10 million, all by me. Part 2, $20 million, five by me. Part 3, $10 million, two-thirds by me.”

It’s a symbol of the libertarian movement. If you want to do something, you’ve got to do it yourself. Might be fun, though. Nobody expressed any regrets.




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The Second Reel of Atlas

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The two questions I have been hearing from my libertarian friends all week are these: Have you seen the new Atlas Shrugged? Is it any good?

My answers are Yes! And Ye-es.

I was invited to attend a posh private screening with the producers in Manhattan two days before the official opening. David Kelley, founder of the Atlas Society (neé the Institute for Objectivist Studies) and script consultant on the film, introduced the screening to a friendly audience of Rand enthusiasts. Esai Morales, who plays Francisco d’Anconia to perfection, also attended. It was a festive event honoring the Herculean efforts of producer John Aglialoro to bring this book to the screen.

As the lights dimmed and the film began, my biggest concern was whether the film could stand on its own merits, despite its being the middle chapter of a three-part story. Adding to the difficulty is the fact that the entire cast and director were changed from Part I, making it virtually impossible to use flashbacks for exposition.

I am happy to report that it does indeed work as a standalone film. Three main subplots drive this episode: Dagny Taggart’s quest to uncover the secret of a mysterious engine that could solve the world’s energy crisis; the government’s enactment of “Directive 10-289,” which freezes all employment, wages, and even personal spending at the previous year’s rate, thus making it illegal for anyone to quit, retire, be fired, be promoted, earn less, earn more, or even spend less or more than in the previous year; and the inexplicable, almost spiritual, disappearance of the world’s brightest and most creative thinkers at the hands of a mysterious stranger.

I would love to see a film inspired by Ayn Rand’s Atlas Shrugged, but not wedded to it.

Rand purists will be relieved to hear that the plot remains faithful to the original (almost to a fault). Some lines of dialogue have been inserted intact from the novel, and even the changes made in the name of streamlining remain true to Rand’s intent. Hank Rearden’s speech in front of Congress, in which he defends (or, rather, refuses to defend) his right to determine who will buy the metal he produces, is powerful and thrilling. It should resonate even with viewers who have never heard of Ayn Rand.

A few welcome adjustments have been made in the casting to acknowledge 21st-century racial integration, without drawing special attention to race. Dagny’s assistant, Eddie Willers (Richard T. Jones), for example, is black, but the film places no greater significance on the fact than if he were blonde or brunette. He just is.

Similar updating of the story itself would make this film more accessible to non-Randians. Yes, Ayn Rand loved trains. Without trains, Atlas Shrugged would not be Atlas Shrugged. And yet, for audiences who don’t care one whit about the author of the foundational work, a 21st-century setting in which trains are the primary mode of transportation simply doesn’t make sense. The film’s producers attempt to explain this with a note in the opening credits saying that in the future, trains have become the most economical form of travel, but come on. No one is going to buy that. Train travel is luxurious and impractical, especially in a country as vast as the United States. Cars and planes can go almost anywhere; trains are limited to where the tracks can take them. It’s especially laughable when Dagny travels by herself to Colorado in her private rail car. How could it possibly be more economical for one person to take a train than a car?

Modern audiences will also have a hard time believing that a single man — such as Rearden (Jason Beghe), Ellis Wyatt (Graham Beckel), Ken Danagger (Arye Gross), and Francisco d’Anconia, could control the entire markets in metal, shale oil, coal, and copper respectively. I think my friends and colleagues, the ones I would like to convince by inviting them to see a film like this, would be able to relate to the story more if the heroes were adapted so as to represent smaller, more sympathetic businesses. I would love to see a film inspired by Ayn Rand’s Atlas Shrugged, but not wedded to it. Such a film would be true to the purpose of the book, but would not be held back by the setting and technology of 60 years ago. Rand set her novel in a dystopian near future; it is disconcerting to find it mired in the technology of the past.

Coincidentally, I happened to see Henrik Ibsen’s An Enemy of the People on Broadway the day after I saw Atlas Shrugged II. Several critics have complained about how the language of this classic play has been updated to modern vernacular for this production. I disagreed. Ibsen was a realist. He rejected the larger-than-life heroes and cosmic issues of classic drama to write about everyday people experiencing everyday conflicts. His protagonists spoke in current language about current issues. If he were writing today, he would be using today’s idioms and swear words. So while director Doug Hughes’ version is not true to the language of Ibsen’s play, it is true to the spirit and intent of Ibsen’s play. The result is fast-paced, tense, and very modern.

So YES! I have seen the new film, and I had a great time. And ye-es, it is good, but with some caveats. The story stands on its own. The main points about the sovereignty of the individual are strong and intact. It injects some delicious ironic humor, such as the placard held by a picketer that says, “We are the 99.98 percent!” John Galt is both mysterious and inspiriting — I can’t wait to see what D.B. Sweeney does with the role in the final installment. Exposition is handled deftly, using dialogue to bridge the gaps between Part I and Part II.

But I’m still not pleased with the casting. Diedrich Bader, best known for portraying intellectually challenged characters like Oswald on “The Drew Carey Show,” Jethro in The Beverly Hillbillies (1993), and Rex Kwon Do in Napoleon Dynamite (2004), draws laughter when he first appears as Quentin Daniels, the scientist working to unlock the secret of the engine. Similarly, Teller (the silent half of Penn and Teller) creates a stir with his small speaking role as Laughlin. Both acquit themselves well as dramatic actors, but they create a distraction when they appear onscreen, pulling audiences out of the scene.

Rand set her novel in a dystopian near future; it is disconcerting to find it mired in the technology of the past.

Far from being cool and sophisticated, the new Dagny (Samantha Mathis) is frumpy, and she lacks chemistry with Rearden. Nor is there any chemistry between Dagny’s brother James (Patrick Fabian) and his new wife Cheryl (Larisa Oleynik), the shopgirl with whom he falls in love, despite their social differences. In fact, none of the characters is particularly passionate, with the exception of Francisco, who moves and speaks with a natural intimacy, and Galt, who manages to inject more charisma and personality with his unseen, offstage voice than Dagny is able to create with all her screen time. Not surprisingly, Francisco and Galt are brought to life by the most seasoned actors of the crew, and it shows.

Despite these shortcomings, Atlas Shrugged II is an admirable work, made more difficult by the rigorous expectations of Rand’s hard-to-please fans. The original score by Chris Bacon is strong, and the special effects are impressive. I applaud the efforts of the producers and all those responsible for the script.


Editor's Note: Review of "Atlas Shrugged: Part II," directed by John Putch. Atlas Distribution Company, 2012, 112 minutes.



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Defending Capitalism against Ayn Rand

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The titles that Ayn Rand assigned to the three parts of Atlas Shrugged proclaim her insistence that logical contradictions cannot exist in reality. By contrast, the title of the magnum opus of the ultimate charlatan in Atlas Shrugged, Simon Pritchett, is The Metaphysical Contradictions of the Universe. Francisco d’Anconia and Hugh Akston explain to Dagny Taggart that whenever someone thinks he has encountered a contradiction, he must check his premises, and he will find that one of them is wrong (I.9, 7, 10).1

In this essay, I will follow d’Anconia’s and Akston’s advice. I will show that a fundamental contradiction pervades Atlas Shrugged because Rand failed to check her premises. She thought that the heroes she created were exemplars of pure, uncorrupted capitalism. In fact, the heroes she created in Atlas Shrugged came from her sense of life, which was not only un-capitalist but anti-capitalist. I will also show that this contradiction is extremely fortunate because it illuminates why capitalism is the most efficient and humane economic system ever implemented.

Rand often emphasized the importance of a person’s “sense of life” and of art as its expression (e.g., Rand 1975: 31, 33, 44). She defined her sense of life and its artistic expression most clearly in an essay she wrote on Victor Hugo (1975: 153–61). In it she said, “Victor Hugo is the greatest novelist in world literature” because his characters are “a race of giants,” who are not concerned with “penny ante.” “‘Grandeur’ is the one word that names the leitmotif . . . of all of Hugo’s novels — and of his sense of life.”

The heroes Rand created in Atlas Shrugged came from her sense of life, which was not only un-capitalist but anti-capitalist.

In Atlas Shrugged, Rand created heroes who embodied her sense of life and described how such heroes would fulfill their heroic natures if they engaged in economic activities. She thought that the sum of their economic activities and interactions provides a template of what laissez-faire capitalism would be like. She was wrong. When the heroes who embody her sense of life engage in economic activities, they function like Communist administrators, not capitalist businessmen.2

To paraphrase Rand, “Grandeur is the one word that names” the sense of life of Communist economies. They had no concern with anything “penny ante.” In the 1980s, when the economy of the Soviet Union was disintegrating, it was producing between 1.5 and two times more steel and cement than the United States and generating more electricity; it also had 2.5 times more machine tools. However, buttons, clothespins, babies’ pacifiers, and thermometers were always extremely difficult to find in the Soviet Union (Shmelev and Popov 1989: 82, 132, 144). Toilet paper and toilet seats were such rare and precious commodities that when McDonald’s opened a restaurant in Moscow, in 1990, its employees had to guard its restrooms to prevent customers stealing toilet paper and toilet seats (Goldman 1991: 166). The Soviet Union’s heroic economy also did not provide contraceptives or a single practical guide to contraception. As a result, Soviet women averaged at least four legal abortions during their lives; and the average was higher in the non-Muslim regions of the Soviet Union. In addition, large numbers of illegal abortions were performed. Anesthetics could be obtained only by a large bribe (Feshbach and Friendly 1992: 208–9).

In Rand’s novel The Fountainhead, the villain, Ellsworth Toohey, completely destroys Catherine Halsey’s soul, and the visible sign of her corruption is that her mouth has adapted to giving orders, “not big orders or cruel orders; just mean little ones — about plumbing and disinfectants” (IV.10). Toohey has turned her into the opposite of a Communist. The Communists gave big, cruel orders and had no concern with mean little considerations. The heroes of Atlas Shrugged are heroic because, like Communist bureaucrats, they produce or maintain impressive products, not mean little ones. It would be unimaginable for a Rand hero to be a manufacturer of “penny ante” products, such as disposable baby diapers, menstrual tampons, or dependable contraceptives. But these distinctively 20th-century inventions improved the quality of life immeasurably by freeing people from preoccupation with brute, animal existence.

Most services would be included among “mean little” occupations. The Communists’ heroic obsession with production caused them to ignore services, which, with a few exceptions, they did not even include in their gross domestic product statistics. In fact, Marxists always used the term “the means of production” as a synonym for “the economy.” In modern capitalist countries, most businesspeople provide services. With one exception that I will discuss below, the only service that a hero in Atlas Shrugged provides is running railroads. This is clearly not a “mean little” occupation, and it was one of the few services that the Soviet Union included in its gross domestic product statistics (weight of freight times kilometers carried).

Moreover, Rand ignored all services in her representation of history (1963: 10–57) as a battle between Attila and the Witch Doctor and their antithesis, the Producer. Indeed, her practice of using “industrialist” as a synonym for businessperson excludes businesspeople who produce “penny ante” products, along with those who provide services. In his long speech in Atlas Shrugged, John Galt (i.e., Ayn Rand) says, “Productiveness is your acceptance of morality . . . productive work is the process by which man’s consciousness controls his existence, a constant process of . . .  shaping matter to fit one’s purpose, of translating an idea into physical form, of remaking the earth in the image of one’s values;” and, “the industrialists, the conquerors of matter” “have produced all the wonders of humanity’s brief summer” (III.7).

It would be unimaginable for a Rand hero to be a manufacturer of disposable diapers, tampons, or dependable contraceptives.

It is true that the great philosopher Hugh Akston owns a diner and cooks its food, which he does with extraordinary skill, making “the best-cooked food she [Dagny] had ever tasted” (I.10). However, Rand does not let this fact affect her conceptualization of productive work when Galt tells Dagny, “We take nothing but the lowliest jobs and we produce by the effort of our muscles” (III.1).3

In her short story “The Simplest Thing in the World” (1975: 173-85), Rand depicts a writer of fiction who cannot make a living because he has the same sense of life as Rand. The writer decides he has to create the type of story that will sell: “a simple, human story,” which consists of “lousy bromides.” “It mustn’t have any meaning,” and its characters must be petty because “[s]mall people are safe.” However, he is incapable of writing such a story. Every time he tries, his sense of life thwarts his conscious efforts, and he starts composing a story about heroes. The reason, as Rand explains in her introduction, is that his “sense of life directs . . . and controls his creative imagination.” To exemplify this fact, he begins to write “a story about a middle-aged millionaire who tries to seduce a poor young working girl.” He is “a big tycoon who owns a whole slew of five-and tens [i.e., discount stores].” But the author cannot write this story. As he develops the story in his mind, his sense of life makes him forget about the girl and transform the villain into a hero. As part of the transformation, he says to himself, “to hell with the five-and-ten!” The hero now builds ships because he is driven by “a great devotion to a goal.” He is motivated by “a great driving energy . . . the principle of creation itself. It’s what makes everything in the world. Dams and skyscrapers and transatlantic cables.” “[H]e wants to work — not to make money, just to work, just to fight” (emphasis added). So, an author with Ayn Rand’s sense of life could not make the hero of his works a retailer, no matter how successful he might be; not even Sam Walton, who founded Walmart and built it into the company with the greatest revenue of any company in the world.

Because the Soviets had the same sense of life as the author in this short story (i.e., the same as Rand), they were extremely proud of the enormous hydroelectric dams they built, and their retailing was horribly inefficient. In the Soviet Union, people had to wait in long lines for any purchase. If someone had time to spare, he would wait in a line to buy something he did not need, in order to barter it with someone who had waited in another line to buy something else. When McDonald’s opened its first restaurant in Moscow, it set all records for number of customers: 40,000 to 50,000 a day, even though its food cost twice as much as the food in state-run cafeterias. It had twenty-seven cash registers. In Communist countries, the length of a line of customers showed how valuable the merchandise was at the end of that line. So, McDonald’s had to have ushers to tell customers not to go to the longest line (Goldman 1991: 166–7; Blackman 1990).

The opening of this first McDonald’s — an event that, as much as any other, marked the end of Communism — illustrates another serious defect in Communist-Objectivist ideals. A small notice in a Soviet newspaper drew 27,000 applicants for jobs as counter clerks, even though the anticipated salary was only average by Soviet standards. Those who were chosen had to be trained to smile at customers and speak politely to them. Their training was so successful that customers could not believe that the clerks were Soviet-raised Russians (Blackman 1990; Goldman 1991: 166–7).

An author with Ayn Rand’s sense of life could not make the hero of his works a retailer, no matter how successful he might be.

Rand used “grocery clerk” to symbolize the antithesis of her ideal (1964: viii; 1975: 84). In her first novel, We the Living, when the heroine, Kira, sees her future lover Leo for the first time,she observes that “[h]is mouth . . . was that of an ancient chieftain who could order men to die, and his eyes were such as could watch it.” However, Leo says to Kira, with bitter humor, “I’m nothing like what you think I am. I’ve always wanted to be a Soviet clerk who sells soap and smiles at customers” (I.4). Again, Rand reversed Communism and capitalism. Men who could order others to die and watch their death calmly characterized Communism. Smiling clerks, who sell unimpressive products, characterize capitalism.

When Nathaniel Branden was the official Objectivist expert on psychology, he wrote, “[P]roductive work is the process through which a man achieves that sense of control over his life which is the precondition of his being able fully to enjoy the other values possible to him … [P]roductive . . . achievements lead to pride” (“Self-Esteem: Part IV,”The Objectivist, June 1967). Branden, as he himself later realized, was exaggerating. But he was exaggerating a truth. A feeling of control over one’s life and pride in productive achievements are certainly wonderful feelings. They can derive directly from the type of work done by Communist administrators and the heroes of Rand’s novels, especially if, like Howard Roark, they have an uncapitalist indifference to money and accept only those projects that appeal to them. However, a feeling of control over one’s life and pride in achievements do not follow directly from the type of work that most people in a capitalist society do: salesmen, accountants, insurance brokers, bank clerks, and manufacturers of “penny ante” products, like clothespins and underpants.

Nearly all readers of Rand’s novels, even those who disagree with her philosophy, recognize that she was a brilliant novelist. But not even her brilliance as a novelist could have made a gripping, inspirational novel about the work that is done in distinctively capitalist occupations, occupations that do not exist in Communist countries, such as advertising or being a real estate agent. In fact, the first jobs of the odious Wesley Mouch were in advertising (Atlas II.6).

Let us consider briefly the novelist whom Rand (1975: 119) regarded as the best of the naturalists, Sinclair Lewis. When Lewis wanted to write novels about admirable protagonists, he made them a dedicated research scientist (Martin Arrowsmith) and the president of a car company (Sam Dodsworth), who began his career as assistant manager of production. When Lewis wanted a pathetic protagonist, he made him a real estate agent (George Babbitt). Babbitt, like Dodsworth, is successful at his work. But Lewis says in the first chapter that Babbitt “made nothing in particular, neither butter nor shoes nor poetry;” and he “detested the grind of the real estate business, and disliked his family, and disliked himself for disliking them.”

The discussion so far illuminates a crucial benefit of the love of money. It entices people into occupations that they may not find interesting or inspiring, but are socially necessary; and it exerts constant pressure on business owners to provide what the public wants, not what they enjoy doing.

In all of Rand’s novels, only one business owner completely embodies the capitalist ethos. That is the press tycoon Gail Wynand, in The Fountainhead, who becomes fabulously rich through selfless service to the public, by providing it with what it wants: a lowbrow, sentimental, lurid newspaper. As he says (IV.11), he has led a life of “[s]elflessness in the absolute sense.” He “erased [his] ego out of existence” by following the principle, “Give the greatest pleasure to the greatest number.” However, according to Rand, Wynand is guilty of the most horrible sin in her moral universe: betraying himself.

Men who could order others to die and watch their death calmly characterized Communism. Smiling clerks, who sell unimpressive products, characterize capitalism.

Wynand’s opposite is Nathaniel Taggart, in Atlas Shrugged, who is supposed to be the archetypal capitalist. As Dagny recalls (I.8), “He said that he envied only one of his competitors, the one who said, ‘The public be damned!’” Nothing could be more antithetical to the motivation of a successful business owner in a capitalist society. This is the ethos of the head of a production unit in a Communist economy, who derives exhilaration and pride from productive achievement without regard to providing the public with what it wants.

Rand’s story “The Simplest Thing in the World” is an excellent illustration of this point. It assumes that an author with Rand’s sense of life is compelled to create a protagonist who does not work for money and therefore chooses to build ships instead of discount stores. This contrast is factually accurate. Someone motivated by money would not consider shipbuilding as a business career since, in economically advanced countries, shipbuilders can stay in business only by means of tariff protection or government subsidies or both. But he would certainly consider the business of discount stores, since they have proved to be the most profitable (i.e., socially useful) branch of retailing.

The economic role of money in constantly driving economic participants to provide the public with what it wants is related to an admirable moral attribute of the free market. It is completely democratic and non-coercive; no one can interfere with other people spending their money on what they want. In her essay “What Is Capitalism?” (1967: 17, 20) Rand showed that she was fully aware of this fundamental attribute of capitalism (the italics are Rand’s):

[T]he works of Victor Hugo are objectively of immeasurably greater value than true-confession magazines. But if a given man’s intellectual potential can barely manage to enjoy true confessions, there is no reason why his meager earnings, the product of his effort, should be spent on books he cannot read.

The tribal mentalities attack this principle . . . by a question such as: “Why should Elvis Presley make more money than Einstein?” The answer is: Because men work in order to support and enjoy their own lives — and if many men find value in Elvis Presley, they are entitled to spend their money on their own pleasure.

It is the Gail Wynands who provide true-confessions magazines and Elvis Presley CDs.

At this point, many readers will object that Ayn Rand appreciated the value of money. She ended Atlas Shrugged with its hero tracing the sign of the dollar in space, made a gold dollar sign Atlantis’ “coat of arms, its trademark, its beacon” (III.1), and herself often wore a gold dollar sign pinned to her dress.

Yet in The Fountainhead, Toohey asks Peter Keating about Roark (II. 4), “Does he like money;” and Keating replies No. But long before that, the reader has learned that Roark’s abnormal indifference to money is one of the essential characteristics that make him the hero of this novel. Indeed, in “The Simplest Thing in the World,” Rand assumed that an author with her sense of life must write only about heroes who do not care about money.

Rand assumed that an author with her sense of life must write only about heroes who do not care about money.

In Atlas Shrugged, Rand sometimes has her heroes claim that their goal is to make money. At the opening of the John Galt Line, which is by far the greatest achievement of both Dagny and Hank Rearden (I.8), a reporter asks Dagny her “motive in building that Line.” She answers, “the profit which I expect to make.” Another reporter cautions her, “That’s the wrong thing to say.” But she repeats it. Yet before her trip begins, she looks at the crowd that has gathered and notices that they are there, not because these people expect to make a profit, but “because the sight of an achievement was the greatest gift a human being could offer to others.” The description of the ride on the John Galt Line is the most exhilarating fiction writing I can recall reading; and I have read a great deal of narrative fiction, in ancient Greek, Latin, English, and French. For Dagny, “It was the greatest sensation of existence; not to trust, but to know.” “She felt the sweep of an emotion which she could not contain, as of something bursting upward.” And what about the engine drivers? Every one of them who was available volunteered to drive the train despite persistent warnings of danger. Surely, they were not motivated by money.

At least in their economic interactions, money should be the primary consideration of the heroes of a novel that ends with the dollar sign traced in the air. In Part I, Chapter 1, Dagny’s parasitical brother James says to her, “I don’t like Hank Rearden.” Dagny replies, “I do. But what does that matter, one way or another? We need rails and he is the only one who can give them to us.” James Taggart, typically of him, replies, “You have no sense of the human element at all.” This conversation crystallizes capitalist and uncapitalist mentalities.

Nevertheless, the economic decisions of the heroes of Atlas Shrugged are constantly motivated by the human element. That is true even of the one major character in Atlas Shrugged who is a pure capitalist, Midas Mulligan. He says he joined the strike because of a vision, in which he “saw the bright face and the eyes of young Rearden . . . lying at the foot of an altar . . . and what stood on that altar was Lee Hunsacker, with the mucus-filled eyes” (III.1). In Part II, Chapter 3, Francisco asks Rearden: did you want the rail you made for the John Galt Line used by your equals, like Ellis Wyatt, and by men such as Eddie Willers, who do not match your ability but who “equal your moral integrity” and “riding on your rail — give a moment’s silent thanks”? Rearden answers Yes. Francisco then asks, “Did you want to see it used by whining rotters?” Rearden answers, “I’d blast that rail first.” Francisco then explains that by "whining rotter" he means “any man who proclaims his right to a single penny of another man’s effort.” But no economy, whether socialist or capitalist, could function for one day if producers acted in this way. In Part II, Chapter 10, Dagny says that Nathaniel Taggart, supposedly the archetypical capitalist, “couldn’t have worked with people like these passengers. He couldn’t have run trains for them.” But no one running a train line, even in a socialist economy, could possibly consider the moral worth of its passengers, or any consideration besides their paying for the ride.

No one running a train line, even in a socialist economy, could possibly consider the moral worth of its passengers, or any consideration besides their paying for the ride.

I will conclude with the most frequently quoted explanation of why the market is the most effective means of providing people with what they want. It is by Adam Smith, in Book I, Chapter II of The Wealth of Nations: “It is not from the benevolence of the butcher, the brewer, or the baker that we expect our dinner, but from their regard for their own interest. We address ourselves . . . to their self-love.” Butchers, brewers, and bakers had a very low priority in Communist countries. When McDonald’s opened its first restaurant in Moscow, it had to train its own butchers (Goldman 1991: 166). It is also unimaginable for an Ayn Rand hero to be a butcher, brewer, or baker. The self-interest and self-love that induces people to become butchers, brewers, and bakers and to perform those jobs well is totally different from the heroic self-love of Rand’s heroes. It is an unheroic desire to support themselves and their families in comfort and security.

In her essay “What Is Capitalism?” Ayn Rand showed that she understood as well as Smith why love of money is wonderfully socially beneficial. In her fiction, however, her anti-capitalist sense of life obliterated that knowledge.

***

Footnotes
1. I cite passages in Rand’s novels by the part of the novel in which they occur and the chapter in that part. I do not cite page numbers because there are many editions, and each has different pagination from the others.
2. I write “Communist” with a capital “C” to indicate a member of a Marxist-Leninist Communist Party. Many people have championed a communist society (with a small “c”), beginning with the first two extant projections of an ideal society: Plato’s Republic and Aristophanes’ Ecclesiazusae, both from the 4th century BC.
3. Several of the heroes provide services while they are in Galt’s Gulch. But these jobs are merely stopgaps until they return to the world and use their talents again in their real work.

Bibliography
Blackman, Ann 1990: “Moscow’s Big Mak Attack.” Time (February 5).
Feshbach, Murray and Friendly, Alfred Jr. 1992: Ecocide in the USSR: Health and Nature under Siege. London: Aurum Press.
Goldman, Marshall 1991: What Went Wrong with Perestroika. New York: W.W. Norton & Company.
Rand, Ayn 1963: For the New Intellectual. New York: Signet.
Rand, Ayn 1964: The Virtue of Selfishness. New York: Signet.
Rand, Ayn 1967: Capitalism: The Unknown Ideal. New York: Signet.
Rand, Ayn 1975: The Romantic Manifesto, revised edition. New York: Signet.
Shmelev, Nikolai and Popov, Vladimir 1989: The Turning Point: Revitalizing the Soviet Economy, translated by Michele A. Berdy. New York: Doubleday.


Editor's Note: This article is part of a much longer monograph with the same title. It can be obtained from the author at stevenfarron@gmail.com.



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The Anthem Film Festival — A Report from the Scene

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This month in Las Vegas, The Afghan Nightmare took the FreedomFest Grand Prize at the annual Anthem Libertarian Film Festival. The film is remarkable for its stunning cinematography, dramatic story arc, and powerful message. Director Klaus Erik Okstad spent four months embedded with the Norwegian army as they labored to prepare Afghan forces for NATO troop withdrawal in 2014. This intense, eye-opening documentary demonstrates the futility of modern "nation-building" warfare. We see how ill prepared the Afghans are to defend their own people after more than a decade of someone else’s doing it for them. In one telling example, the Afghan soldiers refuse to walk from the main headquarters to an outpost just one kilometer — barely more than half a mile! — away, and demand that the Norwegian soldiers build them a road and give them a Jeep. It's the welfare principle in practice, destroying courage, skill, and self-reliance.

Documentaries stood out at Anthem this year. Films took viewers around the world as they explored issues of freedom, choice, self-reliance, and accountability. In addition to "visiting" Afghanistan, attendees met seven unlikely Detroit entrepreneurs in Men at Work. Entered the fascinating world of business in Ayn Rand & The Prophecy of Atlas Shrugged. Visited four continents with best-selling author Dinesh D'Souza in his pursuit of Obama's past. Explored the facts surrounding global warming in An Inconsistent Truth. Debated the risks and rewards of vaccinations in The Greater Good. Learned more about states' rights and the constitution in Nullification: The Rightful Remedy. And visited a tiny village in Honduras where a disabled man has been building a helicopter for the past 50 years. In his shed.

Anthem is in its second year as part of FreedomFest, "the world's largest gathering of free minds," where over 2,000 attendees and 150 speakers gather each year to discuss politics and economics, science and healthy living, arts and history — and now, movies.

Anthem's goal is to give libertarian filmmakers a venue and a community. Janek Ambros came last year as an attendee and went home with the determination to make a film that would be accepted for screening at Anthem. This year he submitted his short narrative Closing Bell, which takes viewers inside the mind of a stockbroker in the final four minutes of trading as the market was collapsing in 2008. Closing Bell was not only accepted; it won the award for excellence in filmmaking in that category. Others attending Anthem and FreedomFest this year expressed a similar determination to make worthwhile films with self-reliant protagonists and libertarian values. They also networked with seasoned film makers and producers.

Husband and wife film makers Ted and Courtney Balaker each submitted films, albeit in noncompeting categories. Courtney's short narrative The Conversation, about a likable college couple discussing libertarian principles over coffee and tea, won the award for Best Libertarian Ideals. Not to be outdone, Ted won the same award for his short documentary Don't Mess with Firefly, about a professor at the University of Wisconsin who was forced to remove a poster of the cult classic TV show Firefly from his office door because it posed a threat of violence. Yes, the poster was considered armed and dangerous. FIRE (Foundation for Individual Rights in Education) stepped in to safeguard the professor's right to free speech, with a little Twitter help from the TV show's stars, Adam Baldwin and Nathan Fillion, and bestselling writer Neil Gaiman.

Harmon Kaslow and John Aglialoro, producers of the Atlas Shrugged movies, closed the festival with a preview of Part 2, which will open in theaters October 12 of this year. Part 2 has a new cast, new director, new scriptwriter, and even a modern setting, "the day after tomorrow," as Rand wrote in the book. They also updated the cast to include ethnic diversity that would be more reflective of a modern near future. How might Ayn Rand, who demanded (but was never granted) script approval in her lifetime, feel about this change in her characters? "Rand's all-Caucasian cast was realistic in the 1950s," Kaslow explained, "but it would not be realistic for the day after our tomorrow." Part 2 will be screened at Anthem next year.

The Anthem Film Festival was one of the most popular events at FreedomFest. Films were screened to SRO crowds who lined the walls and sat on the floor, even after additional seating was provided. It is providing a venue for libertarian filmmakers and film lovers alike. What will next year bring? We can't wait to see.




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