Gone with the Wind (Victor Fleming, 1939)

Gone with the Wind demands the cinema experience. Now, we argue about films like Gravity and Avatar. But the argument still stands for films including 2001: A Space Odyssey and - with a re-release at the BFI and nationwide - Gone with the Wind. The very definition of Hollywood Epic, Gone with the Wind is one of the most successful films of all-time. Partly due to its longevity, Gone with the Wind, when ticket prices are adjusted for inflation, remains the top of the box-office – followed by Star Wars, The Sound of Music and E.T. Modern viewers, when faced with a four-hour, sprawling civil-war romance, will cringe at the thought. But it must be seen to be believed - Gone with the Wind lives up to its reputation.

Set prior to the American Civil War, we are introduced to spoiled Southerner Scarlett O’Hara (Vivien Leigh) as she ponders which of two twin brothers she will dance with. Her father’s plantation, Tara, is her home and she is besotted with Ashley Wilkes (Leslie Howard) from the ‘Twelve Oaks’ plantation close-by. Unfortunately for Scarlett, Ashley is due to wed his cousin Melanie Hamilton (Olivia de Havilland). Enter Rhett Butler (Clark Gable), a cocky and confident sniper; a friend from Charleston to the Wilkes. His self-serving attitude seems to be the perfect match for Scarlett, but she is not impressed. She seeks Ashley, a man who wants a gentle lady – opposed to the brash, forward and demanding attitude Scarlett has. The civil war takes the men to war – a war Rhett believes is foolhardy for the Southerners – and Scarlett impulsively marries. He dies in the war and this becomes only the beginning of Scarlett’s constant struggle with love. Patiently, Rhett waits in the wings for her to become a woman with a heart – and we wonder whether a destroyed family home, the death of thousands following the war or Rhett’s immoveable presence will change her.

The time-period is fraught with tension as slaves are common-place, and in Gone with the Wind, they only seem awkwardly happy to help. While likeable characters use terms like “darkie” and “white-trash”, there is clearly a contextual issue we need to consider. Written in 1936, Margaret Mitchell’s novel portrays the upper-class white lifestyle in the South, as seen by the upper-class in the South. Though strange to watch, the lack of an honest perspective from others may be the only true concern - I doubt the slaves were as content in their ‘ownership’ as depicted in the Tara homestead. By the same token, the aggressive and expected sexist attitudes need to be put in context. Rhett’s unforgettable expectations of Scarlett as he carries her into the shadows of sex are deeply unsettling: “This is one night you're not turning me out.” he demands. But again, his treatment of her paints darker tones to the story, creating a fascinating conflict between two lead characters that shows how self-serving they are.

Vivien Leigh is flawless in the role and this re-release kicks off a BFI season on Vivien Leigh. Considering the search for Scarlett O’Hara is infamous unto itself, the casting of Leigh and the character she creates could not be more perfect – watch her brief acceptance of her Academy Award to see how different she is in reality. Clark Gable, a fan’s favourite, seems to plays it smug and satisfied which works for the role while Olivia deHavilland holds such sincerity that she is a perfect counterpoint to Leigh’s dastardly ways. Leslie Howard feels underserved, but he truly creates a character besieged by his lust for Scarlett against his upper-class ideals of love with Mellie. Maybe Ashley and Mellie are “right” for each other but he never truly rejects Scarlett.

The first act is clearly the strongest and includes iconic moments including Scarlett walking through thousands of injured and dead soldiers as they are slowly revealed through a steady camera moving higher into the sky. These shots alongside the vivid, burning oranges and red that light up the sky as characters stand in silhouette are almost exclusively attributed to Gone with the Wind. This new 4k restoration of the original 70mm print that, though square, is larger than the cropped widescreen version is simply mesmerising. Combine the awesome scale of the shots and incredible detail with Max Steiner’s unforgettable score, therein are the two additional elements that ensure Gone with the Wind remains a classic.

This is the time to see Gone with the Wind. Spielberg’s Lincoln last year set within the same time-period, both noting the importance of Gettysberg and the outcome of the civil war, would make an epic double-bill. Though the length of time it would take would surely remain a challenge. Returning to cinemas, Gone with the Wind has pace and scale, and an ideal way into the Golden Age of Hollywood. It deserves its praise and accolade. Recently, critics and audiences aggressively argue to others how important it is to watch Gravity at the cinema; Gone with the Wind is equally important to view in the cinema – and this is the moment to watch it.

This post was originally written for Flickering Myth

Again, I wrote a brief analysis on Gone with the Wind in 2010...

Incredible Soundtrack #13: Gone with the Wind (Steiner)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

I have been meaning to crack open a classic soundtrack and Max Steiners score for Gone with the Wind, I think is epic and grand enough to continue the soundtrack series with. It was tough to choose the soundtrack because nothing matches the iconic theme tune - but, I did manage to find a couple of tracks that seemed to have some interesting points for discussion.

[I have just found out that the tracks are not available on YouTube! But still ...]

Highlights from the Soundtrack available on itunes:

12. I'll Never Be Hungry Again - small hints of the theme litter this track until the final thirty seconds whereby the strings take second-place to the brass belting out the Main Theme from Gone with the Wind.

10. Escape from Atlanta - Only a short track - 2mins 48secs, but the stringed beginning has a incredible fast pace and a strange similarity to the scores Hans Zimmer and James Newton Howard completed for Nolan's Batman films. Until it becomes very 'epic' and dated ...

1. Main Title - the only one I could find on YouTube...

It Happened One Night (Frank Capra, 1934)

You know, I had you pegged right from the jump. Just a spoiled brat of a rich father. The only way you get anything is to buy it, isn't it? You're in a jam and all you can think of is your money. It never fails, does it? Ever hear of the word humility? No, you wouldn't. I guess it would never occur to you to just say, 'Please mister, I'm in trouble, will you help me?'

Introduction

I watched this initially on DVD many years ago anf fully enjoyed it. I think, us young folks, who watch many films from decades ago have a certain problem feeling the context - as we are so removed from the year of release (1934... fifty years before I was even born). But we still have the stereotype 'classic' film expectation - a romance with facsinating leads and some quirky, comedic moments. It Happened One Night is one of those films that has all of that - and more. Clark Gable pre-Gone With The Wind and at a point whereby talkies were becoming the norm ... this was a film that was always going to last for generations and now has the added element of historical-importance. LIke Casablanca and Citizen Kane - this could never be remade because the context and the actors is what makes the film so good. Both aspects could never be reproduced.

Fact is, when I rewatched this during a Claudette Colbert season at BFI Southbank, I took good friend Jenkins and Sarah... both told me post-viewing that it was a rubbish use of a Friday night. I think they are wrong.

Across The Blogosphere...

I am fnding this not-got-the-internet-at-home situation ongoing and, as frustrating as it is, it seems to be making me more prolific (though I am aware I missed the favourite faces this week, I have It ready - i just have to 'freeze-frame' the shot)! With all that Danny Boyle and Coen's coverage, even Jo has written a review! So hopefully everything on here - especially the Jurassic Park Special Podcast - is appreciated by everyone!

But what about everyone elses blogs!

Univarn, so I see, has a 'final line' project that appears to analyse the final lines of actors, I guess before they died. This week is Clark Gable - one of my favourite actors - with a short interpretation of the meaning. It is strange to know that Marilyn Monroe's 'final line' was preceded Gable's ...

The Great White Dope brags about a hefty-haul of movies - some Woody Allen's I see - but also an Ed Wood Collection ... I have to admit, thats a difficult watch.

Finally... a non-Movie blog I am following ... from 'Gin and Gentility', a Christian is offended by the rats in Ratatouille not wearing undergarments...

Happy times!