by Elaine Matlock
Little did Nathaniel Blumenthal (Eric Stoltz) and Barbara Wiedmann (Julie Delpy) realize as they stepped into Ayn Rand's California home how completely their lives would be consumed by hers. Not only for the seventeen years of their personal relationship but indeed the rest of their lives would be defined by their association with Rand. Ayn nurtured their romance, eventually they wed and took a new last name. When the Brandens moved to New York Ayn (Helen Mirren) and her husband, Frank O'Connor (Peter Fonda) soon followed. They became her proteges, neighbors and much more.

Though twenty-five years his senior, Ayn was in love with Nathaniel and he returned her affection in some measure. Being rational and not wishing to lie to their spouses they sought the approval of Frank and Barbara for twice weekly trysts to last a year. Permission was granted, though grudgingly. Thus began a nightmare which would last for fifteen years and cause pain to all involved. Otherwise logical and rational, Ayn was still a woman and insecure about her relationship with the much younger Nathaniel. Intellectually she must have known it could not go on forever but she was unable to see the absurdity of the whole situation. When the affair does end her fury is frightening, her pain palpable. Produced for Showtime, The Passion of Ayn Rand premiered at the Sundance Film Festival in January, 1999. The film is good, though the supporting characters could use more development, Frank O'Connor, in particular. What really motivated him, why he stayed is not completely explained. As is, he just seems a pitiful shell of a man.

Another problem is the score, the lazy jazz music seems at odds with the passion on the screen and the song over the end credits defies description. Considering the powerful emotions involved an operatic score would seem more appropriate.

Any flaws in the film matter little so vividly is the title character brought to life. Simply put, this is one of Helen Mirren's best performances. That you are able to completely forget who you are watching is astounding. With short black hair, dark eyebrows and brown contacts, Mirren is almost unrecognizable. Add to that a deeper voice and a thick Russian accent and the illusion is complete. When Rand confronts Nathaniel about his affair with a younger woman the fury seems to fly off the screen. Ayn Rand's intellect is not on display here, just raw human emotion. As the scene ends she is a defeated, pathetic old woman. This performance ranks with all the other HMAS favorites (Prime Suspect, Losing Chase, Cal, The Cook, The Thief, His Wife and Her Lover, etc.)

A towering performance - highly recommended!