Gone with the Wind

Well, it’s February again. You know what that means? It’s time for Black History Month again. Don’t complain! You have to learn about History. Let’s begin with today’s review.

The classic 1939 epic, “Gone with the Wind” goes through the Old South, the Civil War and Reconstruction. The story of a selfish, stubborn Southern belle who gets her strength from the land, it’s a splendid costume drama and an elaborately entertaining movie.

By today’s standards, “Gone with the Wind” occasionally spaces into absolute melodrama and its often-stereotypical 1939 portrayal of black people annoy modern viewers. Despite the flaws of its time, this star-studded, big-budget spectacular is a classic of American moviemaking, and not to be looked over.

The film is quite faithful to the Margaret Mitchell’s best-selling novel, and follows the journey of Scarlett O’Hara, played by Vivien Leigh in her first role. Gorgeously beautiful and completely self-absorbed, Scarlett is the daughter of plantation owner Gerald O’Hara, played by Thomas Mitchell, and secretly in love with neighboring plantation owner Ashley Wilkes, played by Leslie Howard. Meanwhile, Ashley is enamored by his cousin, Melanie, played by Olivia De Havilland.

The movie opens with an extravagant description of the Old South as the place where “gallantry took its last bow,” and “a dream remembered, a civilization gone with the wind.” On the night of the Civil War, the wealthy families gather for a party at the Wilkes’ plantation, Seven Oaks, where Scarlett first sees Rhett Butler, played by the great Clark Gable. This confident and slightly disreputable gentleman is clearly interested in the pampered southern belle – and the only man who understands the North will overpower the South in a future conflict. And at that same night, the war is declared.

Rejected by Ashley, Scarlett hastily marries Melanie’s brother Charles, played by Rand Brooks, tying the two families together before Charles goes off to the war (where he quickly dies of pneumonia).

We follow the strong Scarlett through the terrors of the war, her reluctant protection of Melanie, the fall of Atlanta, the ruin of Tara and the near-salvation. Then it’s another marriage and her courageous and disgraceful behavior during the Reconstruction. She relies on Rhett the entire time – but continues to reject him and stubbornly stays attached to her original thinking that she loves Ashley.

Vivien Leigh didn’t get the role until after the filming had begun. In fact, she signed on during the day the famous Atlanta burning was filmed; using an actual fire of old sets in the studios back lots. Scarlett had a stunt double during those fire scenes.  Leigh was an excellent choice for this selfish, scheming Scarlett, a delicate beauty with a will of iron. She’s difficult to love, but must be admired.

Gable is irresistible as the scrape with a heart of gold and his own excellent code of principle. His confidence and easy masculinity so far outdo the pale appeals of Ashley Wilkes that Scarlett’s continued attachment damages innocence. You have to love him when Scarlett asks him, "But Rhett, where will I go? What will I do?" and he replies with the famous line, "Frankly my dear, I don't give a darn." Yes, I used a replacement word, so what?

De Havilland is strong as the almost too-good Melanie, and Howard is just the sort of pathetic man as Ashley. Hattie McDaniel almost walks away with the movie as Mammy, the family servant who sees through Scarlett’s methods and has more life and enthusiasm in her little fingers like half of the polite household. She was the first African American nominated for an Oscar, and the first to win one, as Best Supporting Actress. By contrast, Butterfly McQueen’s squeaky-voiced turn as the simple-minded Prissy has become the subject of satire, especially her “I don’t know nuthin’ ‘bout birthin’ no babies” line.

With more than 50 speaking roles, keeping all of the characters straight is a difficult task, but the huge cast adds to the capacity of the story. The abundant score by Max Steiner, detailed sets, spectacular costumes, superb art direction, and gorgeous Technicolor cinematography by Ernest Haller round out the clear of this epic film.

Years in the making, at $4 million it was one of the most expensive films ever made, and it held the record as highest-grossing movie for many years. Although the record has since been beaten, “Gone with the Wind” is still the box office winner for most theater tickets sold.

It won the Best Picture Oscar in one of the most artistically viable years ever seen in Hollywood. Other movies that came out in 1939 included “Ninotchka,” “Stagecoach,” Wuthering Heights,” and “Goodbye Mr. Chips.” Amazingly, the former stunt man who directed “Gone with the Wind,” Victor Fleming, is also credited with another classic that came out in 1939, “The Wizard of Oz.”

Final verdict: it’s a little overblown, with attitudes that are more than a little dated, yet “Gone with the Wind” is undeniably famous. Mostly for the better, and sometimes for the worse, this epic movie is a uniquely American story.

That's the first review for Black History Month. Stay tuned next week for two posts: one on another Valentine's Day movie that I hate and the usual Black History Month review.