We the Living

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What happens to the defiant ones? What happens to those who succumb? Against a vivid panorama of political revolution and personal revolt, Ayn Rand shows what the theory of socialism means in practice. Anthem followed in It was with the publication of The Fountainhead and Atlas Shrugged that she achieved her spectacular success. They are all available in Signet editions, as is the magnificent statement of her artistic credo, The Romantic Manifesto. Title Page. The fine musical score containing two dramatic leitmotifs I often find myself humming was by Renzo Rossellini, brother of famed director Roberto.

In an interview, Ferrara told a surprising story. When he experienced difficulty getting the project approved by the Fascist officials who controlled the movie industry, he enlisted the aid of his friend Vittorio Mussolini, son of the dictator and a film producer himself. With the intercession of this VIP, the necessary approvals were obtained. An earlier screenplay had departed from the book so egregiously that the director had rejected it.

There was no time to commission a new one. Majano [Anton Giulio Majano, credited as screenwriter] and Alessandrini wrote the day before what we were going to do the day after. The schedule was grueling: four and a half months of shooting, sometimes requiring hour days.

When censors visited, a set of innocuous scenes was quickly cobbled together and screened for them. Reportedly, they were always satisfied and departed without suspicions. In November of , when We the Living opened in Rome — and then throughout Italy — audiences were entranced by the story of three young people courageously defying the state. The original film ran four hours — so long that it was released in two parts, with the titles Noi Vivi and Addio, Kira.

After a few weeks, both were playing simultaneously in different theaters in Rome.

We the Living was a huge box-office success. In perhaps the most amazing turn of events, the film was screened in Berlin for Joseph Goebbels, the Nazi Minister of Propaganda. Back in Italy, audiences got the point. They quickly recognized that the film was a clever indictment of the Mussolini regime. But it was too good to last. Several months later, the authorities finally figured things out. Fortunately, however, the original negatives were hidden in the cellar of one of the crew members.

According to one version of events, someone cagily pulled a switch, substituting another film among those en route to be burned. Fast forward to May of The war had ended the year before. Ayn Rand learned that her book had been ripped off. Understandably, she was furious and contacted her attorney to discuss taking legal action. A year later, she saw the film for the first time.

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Then, in July of , Valli and Brazzi visited America and gave her a first-hand report. In , Rand filed a claim against the Italian government.

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She decided to use the windfall extravagantly, buying a mink coat and other luxuries. For more details on these events, in her own words, see Letters of Ayn Rand Dutton, They were intrigued and excited, and they resolved to track it down. They were connected with a pair of Romans who claimed to possess the film. Hank and Erika wanted proof, so one of the Romans offered to drive them to a screening room. Fortunately, everyone survived, as did We the Living. What did Ayn Rand think of this pirated version of her novel? And she recognized the drama inherent in the unintended demonstration of the parallels between Italian Fascism and Soviet Communism, shrewdly suggesting that this would make a good publicity hook.

In , restoration and re-editing began. Rand personally supervised the process, working with Duncan Scott, a young Objectivist who later became a Hollywood producer-director. Together, they watched the film on a Moviola — a now-antique device, equipped with a tiny screen, that allows a film to be viewed and spliced, frame by frame. Rand, a former screenwriter, instantly understood the craft of editing and offered intelligent guidance on cuts and other changes. Even more important, some Fascist propaganda had been inserted after all.

To rectify that problem, Duncan flew to Italy and hired an actor to re-record the audio in problematic scenes to be consistent with the novel. And of course, all the dialogue had to be translated into English and turned into subtitles. Duncan and the Holzers were reluctant to proceed without her participation.

Because the film was initially made without her involvement or approval, they were hesitant to, in effect, repeat that offense. So everything was put on hold. This is where I come in. I had encountered mentions of the film in Objectivist publications, but knew almost nothing about it. A friend of mine, Dyanne Petersen, who was also a friend of the Holzers, invited me to the screening.

The film had not yet been subtitled. For close to three hours, Duncan stood in the back of the screening room and recited the English dialogue, working from a bilingual script. Occasionally, the audience saw red and green splotches appear on frames — temporary marks used in the editing process. Yet even viewed under these less-than-ideal circumstances, I knew that this film was extraordinary.

Afterward, Dyanne and I asked the Holzers if they were seeking investors. They were.

We, the Living

We each took a small stake. She died unexpectedly in Many of us loved her and still miss her. Once a mere cinephile, I was suddenly behind the scenes of an important motion picture. It turned out to be one of the most exciting intellectual adventures of my life. Initially, We the Living was screened to acclaim at several major film festivals — in Boston, Miami, and Telluride, Colorado. The objective of filmmakers who attend these events is to find distributors and exhibitors. Not a bad run for a little-known independent movie, almost three hours long, in black-and-white and a foreign language.

A young fellow visiting from Australia was such a enthusiastic fan that he followed the film from city to city, just as groupies trail their favorite touring rock bands. But the evening it opened at the latter venue, I walked a few blocks from my apartment to a restaurant directly across the street. Yes, the theater was in the same building as that Carnegie Hall. At , I found a table near the window, ordered coffee, and watched the queue.

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Predictably, critics at a few liberal newspapers in New York and Los Angeles panned the film. Indeed, when I wrote the advertising materials, it was often difficult to select blurbs to quote, because so many were ecstatic. Director Alessandrini brilliantly blends glamour, romance, politics, intrigue and danger. I loved every minute of it.

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The film was exhibited in other countries — Canada, England, Australia — also to favorable media notices. Duncan even took it to Moscow. That, in a way, brought the film and the book full circle. Why does We the Living , both novel and film, resonate with so many? My theory: Rand wrote the book before she had developed the philosophy she called Objectivism, some of the tenets of which are, to say the least, controversial. But who could object to the inspiring story of three young people struggling to find happiness and freedom in a soul-crushing collectivist society?

Jerry was writing a book called Great Italian Films Citadel, We supplied him with background information and stills. In , the DVD came out , including a bunch of special features — see the description below. Reviews for the video were equally enthusiastic. At Forbes. Brazzi is perfect as the dashing, arrogant, charismatic Leo. Their onscreen chemistry sizzles, and this pair alone makes the film worth watching I may be biased, but I think We the Living is one of the best films ever made.

The dramatic arc, the performances, direction, cinematography, music — everything is beautifully done.

We, the Living | novel by Rand | niteacendont.cf

This is certainly the best film version of an Ayn Rand novel. In contrast, she wrote the screenplay for The Fountainhead , was frequently on the set, and had at least some influence on that production. As a tyro movie producer of sorts, I may never recoup my investment.

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A riveting, heroic story of the eternal battle for individual liberty against the oppressive fist of the state. Filmed illegally under the noses of tyrants unconsciously sabotaging their own regime. Rediscovered and restored.

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From all of us who treasure this magnificent film: Thank you! Don Hauptman is an advertising copywriter and humorist based in New York City. It includes a bonus disc packed with special features: Deleted scenes that have never before been seen by American audiences. The original ending. And a new minute documentary, exclusive to the DVD release, detailing the astonishing history of the film.

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