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Day 39 on the series from “The Great Movies: Volume I” by Roger Ebert. All of his movies are listed alphabetically. (NOTE: There will be some overlapping with the “Essentials,” but his essays bring a completely different point of view.)
"Gone with the Wind" (1939) produced by David O. Selznick of Selznick International Pictures and directed by Victor Fleming, starring Vivien Leigh, Clark Gable, Olivia de Havilland, and Leslie Howard. Also co-starring Hattie McDaniel, Butterfly McQueen, and Thomas Mitchell.
“‘Gone with the Wind (1939) presents a sentimental view of the Civil War, in which the ‘Old South’ takes the place of Camelot and the war was fought not so much to defeat the Confederacy and free the slaves as to give Miss Scarlett O'Hara her comeuppance. We've known that for years; the tainted nostalgia comes with the territory. Yet after all these years, GWTW remains a towering landmark of film, because it tells a good story, and tells it wonderfully well.
“For the story it wanted to tell, it was the right film at the right time. Scarlett O'Hara is not a creature of the 1860s, but of the 1930s: a free-spirited, willful modern woman. The way was prepared for her by the flappers of Fitzgerald's jazz age, by the bold movie actresses of the period, and by the economic reality of the Depression, which for the first time put lots of women to work outside their homes. Scarlett's lusts and headstrong passions have little to do with myths of delicate Southern flowers, and everything to do with the sex symbols of the movies that shaped her creator, Margaret Mitchell: actresses like Clara Bow, Jean Harlow, Louise Brooks, and Mae West. She was a woman who wanted to control her own sexual adventures, and that is the key element in her appeal. She also sought to control her economic destiny, in the years after the South's collapse, first by planting cotton and later by running a successful lumber business. She was the symbol the nation needed as it headed into World War II: the spiritual sister of Rosie the Riveter.
“There is a joyous flamboyance in the visual style that is appealing in these days when so many directors have trained on the blandness of television. Consider an early shot where Scarlett and her father look out over the land, and the camera pulls back, the two figures and a tree held in black silhouette with the landscape behind them. Or the way the flames of Atlanta are framed to backdrop Scarlett's flight in the carriage.
“I've seen ‘Gone with the Wind’ in five of its major theatrical revivals— 1954, 1961, 1967 (the abortive ‘wide-screen’ version), 1989, and the 1998 restoration. It will be around for years to come, a superb example of Hollywood's art and a time capsule of weathering sentimentality for a Civilization gone with the wind, all right-gone but not forgotten.” (p. 199, 203)
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