Atlas Shrugged: Part I


Drama / Mystery / Sci-Fi

IMDb Rating 5.6 10 12,986


Downloaded times
November 27, 2020



Edi Gathegi as Beaumont 'Bo' Willis
Michael O'Keefe as Hugh Akston
Patrick Fischler as Paul Larkin
Taylor Schilling as Dagny Taggart
720p.BLU 1080p.BLU
890.4 MB
English 2.0
23.976 fps
97 min
P/S N/A / N/A
1.79 GB
English 2.0
23.976 fps
97 min
P/S N/A / N/A

Movie Reviews

Reviewed by valahey 5 / 10 / 10

Atlas Shrugged

The movie isn't awful, but it isn't that good. To anyone who has read the book, the movie lacks in several ways. The movie jumps in right at the point where the Taggert Transcontinental crashes after derailing. There's no background on the peoples' lives. You don't understand the relationships between Dagney, James (her brother), Francisco (her friend and first love) and Eddie (her friend and employee). You don't understand how much Dagney loves the railroad and how she took any job at the railroad when she was younger. It doesn't show how much the employees respect her versus James. You don't understand how intelligent and creative Francisco is and how he respects his ancestor who sacrificed everything for his love and his future generations so you're not confused (like you should be) why he's acting like he is. I didn't get the "feel" of how desperate the general public deals with everyday life. Yes, there were a lot of street people, but the viewer doesn't understand why or that not everyone is lazy and/or greedy. You don't "feel" the disintegration of everyone's life and the country. You see superficial greedy, politicians but you miss the fear in most everybody's eyes. Also, it doesn't show how hard Dagney works to save the railroad by building the "John Galt Line." It doesn't show her frustrations or the long hours she puts in and how weary she becomes, but doesn't give up. Also, her office in the basement of the Taggert Building is sparse and cramped in the book which adds to her strength, but in the movie it looks just like her regular office. The one scene that I think is important to the story is when Dagney is working very late one night and she sees a shadowy figure walk up to the door of her office and she thinks it might be Hank Reardon. The figure paces back and forth and then walks away. I think it's important to the story because later you find out it was John Galt and how he knew that it wasn't the right time to talk to her. The movie ends just like the book (part 1) with Dagney screaming "no!" at Wyatt's Torch. The movie is only 97 minutes long so they could have added more depth to the movie without tiring out the audience. I don't think the movie will recoup the expenses of making the movie. If not, it doesn't seem they will truly continue with part 2 or 3.

Reviewed by mnpollio 1 / 10 / 10

Atlas Sucks

I went into this film as a blank slate - someone completely unfamiliar with Ayn Rand and her philosophy. I am aware that there are a number of people who cite her novel Atlas Shrugged as a life-changing blue print for living and society and others who dismiss it as complete bilge with incredibly destructive properties. I cannot attest to how faithful this film remains to the source novel, but I can attest to the fact that it is an utterly deadening, mind-numbing and thoroughly unenjoyable viewing experience. If I understand the gist of the Rand philosophy embodied in Atlas Shrugged, it seems to be that personal self-aggrandizement, selfishness and greed are the most important aspects of society and should be encouraged, while the average working man is so much forgettable dross to be dismissed and trod over. I believe Michael Douglas encapsulated this in a memorable speech back in 1987s Wall Street. It only took him a moment to convey it, whereas it takes Atlas Shrugged the entire film (plus a projected two more) to convey the exact same message. If I am incorrect about the Rand philosophy, then blame the film as those I went with came away with the same impression. I find it deeply disturbing that anyone finds this lunacy a blue print for society. The story is pretty much a bunch of nonsense about uncompromising glacial blond Dagny Taggart teaming with Hank Reardon to build a new high speed rail system in the US against the obstacles placed there by the villainous government regulations. Anyone who disagrees with Dagny and Hank are depicted as either weaklings, villains or preferably both. The story is purportedly set in the near future, but it is utterly laughable because it seems to exist in a hermetic bubble that has no relation to the world we actually live in. The fact that so much of the story depends on the success of high speed rail transit is ironic considering that conservatives, libertarians and Randians alike are currently trying to throw assorted obstacles into the path of such a plan currently being developed. The lunacy the film spouts about regulation and Big Government is pure hilarity considering that regulation has become progressively extinct in the US since the 1980s and it has proved to be to the detriment of the country not to its success. The film fails to mention anything about such modern conveniences as the internet and mentions nothing about the progress of other industrialized nations. Whereas we are currently looking at a corrupt government weakened by corporate brown-nosers answering to the highest business bidder, Atlas Shrugged seems to present such a thing as a utopia. The film looks suspiciously like a made for TV movie, but made on the cheap. The cast is a wash-out with an array of unknowns and barely familiar faces trying to invest some degree of passion or emotion into the proceedings to little success. Taylor Schilling is hopelessly out of her element in the central role and she is ill-supported by the remainder of the cast. Director Paul Johansson casts himself as the elusive John Galt, an enigmatic mystery man behind the disappearance of the supposed cream of the crop in business, but this plot thread is so uncompelling as to be rendered comatose. Laughably, despite the reported nadir of the country in the film, everyone we meet is wealthy, well-to-do, dressed to the nines and impressed with themselves to the nth degree. The "action" is basically a series of business meetings set in different random places. If you think your average staff meeting is provocative and sexy, then this is definitely the film for you. Imagine an episode of Dallas or Dynasty with lower production values, an absence of the campy characters that make the shows a guilty pleasure, and completely set in boardrooms/meeting areas and you have Atlas Shrugged down pat. Considering one must imagine the producers had some degree of passion to bring this to the screen, it is woefully absent on screen. The film lumbers to an exhilarating crescendo wherein we see people ride a train...quickly. This realization of this dream is so much for Dagny and the married Hank that they must consummate their romantic ardor in a scene with all of the erotic splendor of a memorandum. The complete ennui which dogs this film leaves the viewer soporific by the time it grinds to a halt. Based on this initial effort, one can only wish that the world will not be victimized by Parts 2 and 3. As drama, it fails miserably. As a propaganda piece, it is more stillborn than the least interesting story from Pravda. As a life-changing film, one can only pity those who feel there is something of depth or worth here. Over the weekend I decided to give Rand another chance and caught The Fountainhead with Gary Cooper and Patricia Neal. The story was more nonsense which is purportedly about an uncompromising architect, but seems much more interested in jackhammers plunging into the earth while Patricia Neal lasciviously looks on posing provocatively in her impressive foundation garments next to the sky. It was foolish, but you know what? At least the overt sexuality was fun and Neal was amazing looking, both ingredients missing from this rotten mess.

Reviewed by kira02bit 1 / 10 / 10

What is this unimaginable flatulence?

I have little to no knowledge of Ayn Rand or her philosophy, but if this odious cheap-looking stool sample is an accurate depiction of her feverishly acclaimed novel, then there are a lot of delusional psychotic people in the world. The plot and action has all the momentum of winter sludge. Self-impressed icy blonde Dagny Taggart struts and preens all over the place in some daft effort to convince us that she is "uncompromising" and "bold" as she attempts to pursue high speed rail with an amazing new super-steel against the wicked machinations of the almighty government regulation and evil unions. The film is so laughably black and white in its depictions of everything that it fails to attain even the depth of a Dick and Jane preschool book. In short, Dagny and her married semi-lover/compatriot Hank Rearden are pinnacles of brilliance, while the rest of the world is comprised of either villains trying to stop them or an offensively simplistic depiction of the average working American as slovenly unimaginative ingrates whose fates are of no concern so long as Dagny gets her way. Given that Dagny and Hank are supposed to be such larger-than-life legends, it comes as a real shame that neither has a distinct personality. Incomprehensibly, the film is set in the future, yet the action centers on the importance of rail transport. It would be hilarious if the film obviously did not regard itself with such outlandish relevance and undeserved reverence. Minimal effort is made to update the story, with little to no acknowledgments of such issues as air travel, the internet and the technical advancements made since Rand wrote her tome. The material would have fared far better if it was set in the past, but then again that would only have exacerbated the idiocy that nothing predicted in the novel has come to pass and, in fact, many of the policies the book/film seems to advocate so strongly for have led to very real disasters out in the real world. Of course, that doesn't stop this myopic piece of fiction from steadfastly advocating them anyway. The country presented in Atlas Shrugged is supposed to be a notch above a wasteland, yet nearly every character that promenades across the screen seems to be a billboard for wealth and privilege. Admittedly, the film has little interest in the unwashed masses that it hold beneath contempt because it reasons they have no valuable contributions to make in the grand scheme of things. The events that do not unfold on the rails do so in ritzy clubs and swanky boardrooms, with the characters freely imbibing and trading such banter that sounds like it came from a particularly dry article of Money Magazine. A lot of what they spout is suitably incomprehensible gobbledy-gook, but then we average folk are not supposed to comprehend this level of brilliance. Given that this is only Part 1 of a planned trilogy, one can only hope that the action speeds up to a crawl by Part 2. The look and feel of the film definitely smacks of cheapness, and Paul Johansson's stagnant direction is a further detraction. The only cast members I vaguely recognized were Michael O'Keefe and Michael Lerner, both of whom have fallen a long way from their forgotten glory days as Oscar-nominated actors. Taylor Schilling and Grant Bowler are the ostensible leads of the piece - both are undemonstrative and forgettable. It is admittedly difficult to portray larger-than-life ideologues, but neither Schilling nor Bowler have the charisma to bridge the mammoth personality black holes that pass for characters. If you think they lack as singular characters, as a couple they have all the charm of inanimate titanium rods. Their "love" scene is not only one of the most chastely filmed in the history of cinema, but has all of the heat and passion one associates with clenching a block of ice between one's butt cheeks. The film does not so much build to a conclusion or a "cliffhanger", so much as it resembles a comatose patient that expires on the operating table in front of us with no warning or fanfare. For all of the film's bloated self-importance, it comes off a lot like that old relative that everyone dreads showing up at family events, who talks too loud and has a ragingly unpopular opinion on everything, and whose grip on reality is tenuous at the best of times. Yes, much like that relative, Atlas Shrugged is in dire need of being put in mothballs or consigned to the old age home of broken philosophies where it can mercifully fade away into the oblivion it so deserves. In the meantime, for those who similarly endured the torment of this film, you have my sympathy. And for fans of the film, you have my pity and I sincerely hope your therapist is a good one.

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