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Clark Gable, Vivien Leigh, Leslie Howard, Olivia de Havilland, Hattie McDaniel ... see more see more... , Thomas Mitchell , Lee Murray , Barbara O'Neil , Marjorie Reynolds , Evelyn Keyes , Frank Faylen , Ann Rutherford , Frank Coghlan Jr. , Philip Trent , George Reeves , Fred Crane , Guy Wilkerson , Oscar Polk , Butterfly McQueen , Victor Jory , Harry Strang , Everett Brown , Howard Hickman , Alicia Rhett , Rand Brooks , Carroll Nye , Laura Hope Crewes , Eddie 'Rochester' Anderson , Harry Davenport , Jane Darwell , Mary Anderson , Ona Munson , Ward Bond , Cammie King , Mickey Kuhn , Paul Hurst , Isabel Jewell , Yakima Canutt , Zack Williams , Marcella Martin , Jackie Moran , Leona Roberts , Alberto Morin , Terry Shero , William McClain , Lee Phelps , Irving Bacon , Tom Tyler , William Bakewell , Robert Elliott , Si Jenks , Emerson Treacy , Lester Dorr , John Wray , Trevor Bardette , Tom Seidel , James Bush , Eddy Chandler , George Hackathorne , Ralph Brooks , Cliff Edwards , Roscoe Ates , Louis Jean Heydt , John Arledge , Eric Linden , Tommy Kelly , William Stack , Ernest Whitman , Wallis Clark , William Stelling , George Meeker , Adrian Morris , J.M. Kerrigan , Olin Howland , Blue Washington , Lillian Kemble-Cooper , Louise Carter , Hattie McDaniels , Butterfly Mc Queen , Laura Hope Crews

Gone With the Wind boils down to a story about a spoiled Southern girl's hopeless love for a married man. Producer David O. Selznick managed to expand this concept, and Margaret Mitchell's best-sellin... read more read more...g novel, into nearly four hours' worth of screen time, on a then-astronomical 3.7-million-dollar budget, creating what would become one of the most beloved movies of all time. Gone With the Wind opens in April of 1861, at the palatial Southern estate of Tara, where Scarlett O'Hara (Vivien Leigh) hears that her casual beau Ashley Wilkes (Leslie Howard) plans to marry "mealy mouthed" Melanie Hamilton (Olivia de Havilland). Despite warnings from her father (Thomas Mitchell) and her faithful servant Mammy (Hattie McDaniel), Scarlett intends to throw herself at Ashley at an upcoming barbecue at Twelve Oaks. Alone with Ashley, she goes into a fit of histrionics, all of which is witnessed by roguish Rhett Butler (Clark Gable), the black sheep of a wealthy Charleston family, who is instantly fascinated by the feisty, thoroughly self-centered Scarlett: "We're bad lots, both of us." The movie's famous action continues from the burning of Atlanta (actually the destruction of a huge wall left over from King Kong) through the now-classic closing line, "Frankly, my dear, I don't give a damn." Holding its own against stiff competition (many consider 1939 to be the greatest year of the classical Hollywood studios), Gone With the Wind won ten Academy Awards, including Best Picture, Best Director, Best Screenplay, Best Actress (Vivien Leigh), and Best Supporting Actress (Hattie McDaniel, the first African-American to win an Oscar). The film grossed nearly 192 million dollars, assuring that, just as he predicted, Selznick's epitaph would be "The Man Who Made Gone With the Wind." ~ Hal Erickson, Rovi

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G, 3 hr. 42 min.

Directed by: George Cukor, Sam Wood, Victor Fleming

Release Date: December 15, 1939

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DVD Release Date: March 7, 2000

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Flixster Reviews (23,652)

  • fb100002359227440
    March 25, 2012
    fb100002359227440
    A perfect direction with perfect actings and screenplay, Gone With the Wind is a four hours testimony of a mess love story and a part of the American story. Maybe the best romantic/dramatic motion picture made by Hollywood industry. Fleming's, Cuckor's and Wood's masterpiece it's... read more a exemple of the time, when Hollywood have the privilege of really make art films and true classics. Fresh.
  • axadntpron
    March 16, 2012
    axadntpron
    After years of pushing this film further and further down in my Netflix queue, I finally caved and gave this much celebrated epic four hours of my life. While I can see why this film has been held in high-regard over the ages, the historian in me rejects it's entire premise.
    Rig... read moreht from the introduction, we are told that this time period saw the passing of a great way of life. That the Antebellum South, replete with docile slaves, plantation gentility, & rollicking dance halls brimming with aristocratic romance, is worthy of our nostalgia and it's ruin, our pity.
    In reality, the institution of slavery was a system of honor through domination and while not all plantations were ruthless in their treatment of slaves, this mythical remembrance clouds the reality of the situation.
    In fact, it not only clouds the reality, but seems to ignore parts of it altogether. The script doesn't even try to make sense of the war, which weighs so heavily in this picture. The Northern army aren't even treated as people. They are described as an "Oncoming Juggernaut." Slaying helpless townspeople & destroying their placid places of worship. While I am not looking for a documentary-style re-telling of events, I would have liked to feel even a modicum of balance. Instead, what the viewer gets is an apocalyptic story of paradise lost.
    However, if one can separate the history and the fiction, there is at times an enchanting film underneath. The process of technicolor is used to great effect here. Director Victor Fleming & crew deftly contrast these saturated & brilliant colors with a very creative use of shadows.
    On top of this, there are some stunning shot compositions for a film created in 1939. One especially notable scene features a crane shot that slowly reveals not only the countless casualties of one small town, but also a tattered and torn Confederate flag that slowly enters the left side of the frame.
    Another particularly well-done sequence is the carriage escape through the blazing town. Sequences of this magnitude are especially breathtaking for a time when filmmakers couldn't rely on CGI to bring their stories to life.
    While the film has a lot to offer visually, the performances are not of the highest quality. Sadly, it seemed like the activity that our protagonist Scarlett O'Hara partakes in the most, violent sobbing, is the one thing that Vivien Leigh isn't particularly proficient at. Now this wouldn't be much of a problem if, let's say, Leigh wasn't balling for three-quarters of the film. But, with nearly four hours of screen time and the Northern powers seemingly hellbent on her personal ruin, Leigh has myriad opportunities to start the waterworks.
    Yet, one can at least be thankful that she has charisma. Her co-star Clark Gable has about as much charm as a bowl of fruit salad.
    Needless to say, if you are an Alabama native, despise historical accuracy, admire women with over-active tear ducts, & love a beautiful looking film, then Gone With The Wind is something to be cherished.
  • moonrivers
    November 25, 2011
    moonrivers
    The American Civil War, a contest so piddling that we are still contesting its basic arguments even today (hello Tea Partiers!), is only a blurry background and mere plot device in this lavish chick flick dedicated to perhaps the screen's largest anti-heroine, Scarlett O'Hara, wh... read moreo pointedly makes her selfishness a cult religion. How a work about a soul so unappealing can still be attractive is the magic here.
  • fb1341085175
    October 4, 2011
    fb1341085175
    Restritos são os filmes que conseguem a façanha de tornarem-se lendas em seu próprio tempo. ...E o Vento Levou pode ser considerado um desses raros exemplos. Tido como uma das representações máximas de como um épico cinematográfico deve ser, o filme é provavelmente o maior repres... read moreentante da Era de Ouro de Hollywood. Uma produção que conseguiu estabelecer uma conexão com a platéia como poucos antes ou depois de si ao ponto de entrar para a cultura popular, com seus inúmeros relançamentos provando repetidamente sua enorme popularidade - de fato, se ajustarmos os números pela inflação, ...E o Vento Levou ocupa o posto de maior bilheteria de todos os tempos. O filme também aparece na quarta posição na lista do American Film Institute dos 100 melhores filmes americanos de todos os tempos.

    A concepção de ...E o Vento Levou originou com o romance literário de Margaret Mitchell de mesmo nome publicado em 1936. Um fenômeno literário comparável ao recente sucesso de O Código Da Vinci de Dan Brown, o livro teve seus direitos cinematográficos adquiridos pelo produtor David O. Selznick pelo então exorbitante valor de $50,000 dólares. Mesmo em uma época onde a Internet estava há décadas no futuro, a produção era acompanhada de perto pela imprensa e público, com a busca de uma atriz para interpretar a destemida Scarlett O'Hara se tornando uma obsessão nacional (acredita-se que mais de 400 atrizes foram testadas para o papel). A atriz inglesa Vivien Leigh ganhou aquele que é provavelmente o mais famoso papel feminino da história, enquanto o papel de seu interesse amoroso, o capitão Rhett Butler, foi inevitavelmente para Clark Gable (vale notar que, apesar de aparecer em praticamente todas as cenas do filme, o nome de Leigh é creditado em segundo, atrás de Gable). Após uma conturbada produção que passou por três diretores diferentes (apesar de apenas Victor Fleming ser creditado), o filme foi lançado em 1939, se tornando uma febre mundial ainda maior que a do livro que o originou, e logo ultrapassando Branca de Neve e os Sete Anões (Snow White and the Seven Dwarfs, 1937) como a maior bilheteria de todos os tempos.

    Seria fácil rebaixar ...E o Vento Levou como um melodrama manipulador, originário de uma série de elementos narrativos que se tornariam clichês em inúmeras outras produções dramáticas (como a telenovela). A verdade é que o filme foi produzido em uma época de diferentes percepções estéticas e culturais (tomamos em mente que esta é uma época prévia à linguagem cinematográfica moderna introduzida em Cidadão Kane), e para o público de 1939, esta era uma experiência como nenhuma outra vista anteriormente. O fato de que sua fórmula seria repetida à exaustão apenas comprova o quão inserido na cultura popular a obra se tornou. Outras superproduções tentaram repetir o mesmo ângulo de romance contra cenário histórico (como Doutor Jivago de David Lean e, a certo ponto, Titanic de James Cameron), com resultados nem sempre tão positivos.

    A saga de Scarlett O'Hara e sua luta para subir na vida em meio à hostilidade da Guerra da Secessão atingiram um acorde em especial com as platéias de 1939. Ainda sofrendo os terríveis efeitos da Depressão, o público pôde identificar na protagonista sua própria imagem: alguém que vai à falência e chega ao mais profundo desespero, mas que não desiste de lutar apesar das maiores dificuldades. E é tal determinação que ajuda a tornar a tornar Scarlett uma das mais fascinantes e tridimensionais personagens na história do cinema. Provavelmente o maior exemplo de anti-heroína, eis uma mulher que é capaz de chegar a situações extremas para defender sua terra e sua família (como diz no seu apaixonado juramento, ela realmente "mente, rouba, trapaceia e mata"). Educada como uma típica "beldade do sul", Scarlett é uma jovem mimada e manipuladora que não se conforma quando suas vontades não são atendidas. Seu suposto amor por Ashley Wilkes, por exemplo, se revela ser nada mais do que a ilusão da mente de uma garota por algo que nunca existiu de verdade e um capricho por querer algo que ela não pode ter. A ambígua personalidade de Scarlett é demonstrada em diversas situações ao longo do filme: ela é capaz de ajudar e proteger Melanie (ainda que por dívida a Ashley), mas também é capaz de ser mesquinha e interesseira, chegando a se casar três vezes, sendo que nenhuma por amor verdadeiro. Tal ambigüidade ajuda a tornar a personagem real diante dos olhos do espectador, a afastando das tradicionais perfeitas e imaculadas heroínas.

    No papel que mais marcou a carreira de ouro de Clark Gable (e cujo Oscar ele inexplicavelmente perdeu, alguns acreditam que pelo fato de Gable estar interpretando ele mesmo), Rhett Butler é a versão masculina de Scarlett. Ambos são personagens teimosos, autônomos e destemidos, que lutam para sobreviver a seu próprio modo. Talvez por serem tão semelhantes, o casal vive uma relação tempestuosa ao longo do filme, relação esta que é selada com uma das mais célebres frases do cinema. Ainda assim, Rhett se revela uma melhor pessoa do que Scarlett: quando os dois têm uma filha, o capitão se mostra um pai carinhoso e amoroso, enquanto as maiores preocupações dela se referem ao tamanho de seu espartilho. Diversas são as suas tentativas de se aproximar de Scarlett e, quando ela percebe que realmente o ama, já é demasiadamente tarde.

    Com personalidades tão definidas, Scarlett O'Hara e Rhett Butler formam um dos mais peculiares casais das telas, podendo ser considerados a antítese de um tradicional par romântico. Enquanto os diálogos de Scarlett e Ashley são exageradamente literários e melodramáticos, as cenas entre o casal interpretado por Leigh e Gable são carregadas de acidez e ironia. Tomemos por exemplo a cena na qual Butler pede a mão de O'Hara em casamento. Uma ocasião que em um filme tradicional poderia ser o momento mais romântico da película, aqui é encenada com uma viúva bêbada que acaba de enterrar o marido e um pretendente que propõe um casamento "apenas por diversão". Os dois se casam por maior questão de conveniência do que sentimento real: Rhett pelo desejo que nutre por Scarlett e ela pelo seu dinheiro. É dito que Leigh e Gable não tinham uma boa relação no set, mas o que vemos na tela é uma perfeita química entre a dupla, chegando a gerar certa dose de erotismo um tanto ousada para a época ("Ele me olha como se soubesse como fico sem roupas" ela diz ao trocar olhares pela primeira vez com o capitão). Em uma das mais polêmicas cenas do filme, Rhett força Scarlett a ter uma noite de sexo com ele após meses de negação. No dia seguinte, a expressão de satisfação no rosto dela não consegue esconder o prazer sentido na noite anterior.

    Os outros dois co-astros do filme, Leslie Howard e Olivia de Havilland, interpretam o casal Ashley Wilkes e Melanie Hamilton. Representando a imagem oposta de Scarlett e Rhett, Melanie é a única personagem realmente boa no filme, se importando com todos acima de si mesma, enquanto Ashley é um homem cujos princípios de honra o impedem de assumir uma relação com Scarlett, mas que se revela ser uma pessoa fraca que vive no passado. Infelizmente, é justamente no papel de Ashley que o filme apresenta uma de suas maiores falhas, tendo início com a escalação do ator. Leslie Howard, na época com quarenta e três anos de idade, não apenas era muito velho para interpretar alguém que deve contracenar com duas atrizes com pouco mais de vinte anos, mas também aparenta estar desconfortável no papel. Acaba tornando-se difícil para o público entender a fixação de Scarlett por Ashley, especialmente quando o roteiro dá ao personagem alguns dos mais fracos diálogos do filme (demasiadamente fabricados e românticos, se analisarmos com uma visão moderna).

    Famoso por seus excessos, ...E o Vento Levou faz jus ao seu rótulo de épico, tanto em escala quanto em duração. Sidney Howard, ao lado outros roteiristas não creditados, faz um competente trabalho na adaptação do romance com mais de mil páginas de Margaret Mitchell para as telas. Com quase quatro horas de duração (incluindo introdução e intervalo), é um esforço admirável que a atenção do espectador seja capturada até os últimos instantes do filme. Alguns problemas podem ser encontrados na segunda parte da obra, quando a narrativa se torna mais episódica e menos movimentada, mas ainda assim somos brindados com momentos de diálogos muito bem escritos e com reviravoltas o bastante para carregar o filme até seu derradeiro final. Enquanto é verdade que algumas cenas poderiam ter sido diminuídas ou totalmente excluídas, e que a parada de tragédias que atinge os personagens nos últimos minutos pode parecer excessiva, a longa duração contribui para a sensação final de que ...E o Vento Levou é realmente uma poderosa experiência.

    Há alguns elementos que não envelheceram tão bem aos olhos de nossa sociedade politicamente correta, a principal delas sendo a representação dos afro-americanos. Alguns criticam o filme por mostrar personagens negros estereotipados, e escravos que se mostram felizes por trabalharem para seus mestres brancos. Um fato que pode passar negligenciado é que Mammy (na atuação de Hattie McDaniel que lhe rendeu o Oscar) é uma das personagens mais sensatas do filme, constantemente repreendendo as canalhices de Scarlett e sendo muito querida pelos demais personagens. Algo a considerar é que ...E o Vento Levou foi produzido em uma época com sensibilidades diferentes, e seria errado julgá-lo com olhos atuais. Como disse Roger Ebert em seu livro Great Movies, "um ...E o Vento Levou politicamente correto não valeria a pena ser feito, e poderia enormemente ser uma mentira."

    Independente de deficiências históricas e narrativas, é inegável que estamos falando de um dos filmes mais cuidadosamente produzidos da história. Desde os créditos iniciais onde os títulos se arrastam pela tela acompanhados da épica trilha sonora de Max Steiner, o espectador pode ter a certeza de que está na presença de algo verdadeiramente grande. Na época de seu lançamento, ...E o Vento Levou elevou a arte dos independentes departamentos do cinema ao máximo do que podia ser alcançado. Apresentando uma visão romântica do Velho Sul, o filme é extremamente detalhista em seus grandiosos cenários repletos de figurantes e seus belos figurinos. Um meticuloso estudo de mise em scène revela composições que variam da simples beleza efetiva de um close dos atores a ousados e grandiosos planos abertos. A marcante cena em que Scarlett parte em busca do Dr. Meade em um grande campo aberto, por exemplo, tem início com um plano fechado no rosto de Vivien Leigh reagindo ao que vê a sua frente. Aos poucos o plano é aberto em travelling para revelar uma interminável fila de corpos de soldados mortos e feridos dispostos ao chão, enquanto a câmera se afasta o bastante para revelar a bandeira dos confederados balançando alto contra o vento. As belíssimas pinturas mate (matte paitings) de Jack Cosgrove preenchem cenários e paisagens inexistentes, criando impressionantes visões como as vastas terras das plantações de Tara.

    Um elemento que não passa despercebido aos olhos é o marcante uso do Technicolor no filme. ...E o Vento Levou foi o primeiro filme colorido a ganhar o Oscar de Melhor Filme, e também é uma das primeiras obras cinematográficas a mostrar uma preocupação em utilizar as cores para obter um efeito psicológico no espectador. Marcantes são as cenas em que os personagens são destacados em silhueta contra vastos céus avermelhados, estas que contrastam com os frios azuis que acompanham a volta de Scarlett na estrada à sua Tara destruída. O vermelho se faz presente em momentos chave da relação entre Rhett e Scarlett, acentuando o misto de paixão e fúria de seu relacionamento: no céu do crepúsculo durante a cena onde os dois se beijam na ponte após a fuga de Atlanta; na grande escadaria onde Scarlett sofre seu acidente e onde Rhett a leva para o quarto à força. Esta última cena em especial demonstra o virtuosismo técnico e o casamento perfeito entre os departamentos de figurino, fotografia e direção de arte. Não bastasse a natureza polêmica da cena, seu staging faz o uso dramático de sombras e da iluminação oriunda de castiçais e de um enorme lustre que paira sobre a grande escadaria. O vermelho das escadas casa com o vermelho do vestido de Scarlett e, quando Rhett a carrega no colo degraus acima, os dois somem em meio à penumbra.

    Talvez uma das chaves para se apreciar ...E o Vento Levou corretamente é se desarmar de maiores preconceitos e aceita-lo como um produto de sua época: uma grande saga sobre pessoas apaixonadas em tempos de guerra como apenas Hollywood sabia fazer. Independente de alguns elementos datados, o filme não perdeu seu poder e a capacidade de prender aos que se renderem à sua dramaticidade. Assim como Scarlett na cena final do filme, indestrutível e incapaz de se render, ...E o Vento Levou continua a se firmar como um dos grandes marcos na história do cinema.
  • DreamExtractor
    October 1, 2011
    DreamExtractor
    Gone With the Wind is one of the greatest films of all time, such a wonderful legend this movie is. The plot is a work of pure wonder and genius, it was great. The cast was beautiful and memorable. This movie was too amazing for words to describe.
  • spielberg00
    September 13, 2011
    spielberg00
    There are three main quotes from GONE WITH THE WIND that really caught me: "I will never go hungry again", "Frankly, my dear; I don't give a damn", and "After all, tomorrow is another day". Those three quotes truly define the tension and dramatic power of such a classic, memorab... read morele epic romance masterpiece. An adaptation of Margaret Mitchell's Civil War novel, even nearly four hours isn't too long to depict such marvelousness of this 1939 Hollywood gem. When the beginning music came on and the introductory text for this film rolled in, I was thinking, "If this is going to be another one of those corny, terribly-made, ancient love stories starring people who are now dead, then please God, allow my vomit to come out well, and don't let me feel it." Needless to say, I didn't vomit, and I had no reason to, or else there would be a viral, four-hour YouTube video of me, sitting in front of my TV, watching GONE WITH THE WIND, a huge bucket in my lap. All right, now the message may be really subtle, but this was a fantastic, fantastic film.
  • fb100000145236770
    July 25, 2011
    fb100000145236770
    Number 6 on AFI's top 100, and if you add in inflation, the highest grossing movie of all time. After 70+ years, this movie is like a fine wine. It's aged very well. While very long, and too heavy on dialogue, the story and performances are near perfect. The old south still l... read moreooks amazing, and when you consider this was made in 1939 some of the effects are just so ahead of their time. I don't remember ever watching this and really only knowing one thing about the movie, "Frankly my dear, I don't give a damn." Hell, that's the AFI number 1 quote of all time(my awesome sister-in-law Jenny bought me a poster board that has all the quotes). I used to believe this was like the ultimate romance movie, but really it's the anti-romance movie. I was genuinely surprised by some of the twists, and damn near cheered when Rhett delivered that famous quote. Clark Gable("Rhett") may be the coolest male character ever. The stuff he says to Scarlett is awesome. The fact that he didn't win the Oscar for this is insane. "Scarlett" was a great character as well, and the way she and "Rhett" bantered is just classic. Other than those two characters, the best is "Mammy." She has some great one liners as well. The length of the movie is ridiculous(nearly four hours long), but once you start it, you'll have to finish it. One of the few movies everyone should watch at least once, and I'm glad I finally got around to watching it.
  • groaningbitch
    July 6, 2011
    groaningbitch
    producer david o selznick once said to elia kazan (the prestigious director of a streetcar named desire) that the secret to make a best-selling movie is blend the ingredient of romance into any social or historical background while creating various issues of chaos, but eventually... read more everything would reach a fine closure and each problem would be solved (in the eye of audience) as the romance consummates. kazan dismisses it as mundane non-senses. but in the case of "gone with the wind", it is true. (we audience are, after all, MUNDANE) you ask yourself a question after watching this, do you really care about the meaning of civil war more than the romantic triangle between clark gable, viven leigh and leslie howard?

    the segment before the civil war was directed by george cuckor (dinner at eight, the women) but cuckor centers upon the delicate developments between female characters (for example, the banquent at twelve oaks when rhett and scarlett firstly meet) and he makes slow progress, that unnerves david o selznick. besides cuckor also has some discords with clark gable by calling him HONEY. (cuckor is gay). thus in the middle of the movie, selznick fires cuckor and replaces him with victor fleming whose style is more efficient and "testicular" (means he's hot-tempered tyrant who would do anything and be mean to the crew just to have the film made in time).

    now let's get down to the main dish: the romantic triangle, the audience's major concern. scarlett o'hara is the daughter of wealthy landowner in the south, and she has carried the torch of passion for her cousin ashley (leslie howard). she's held great expectation to become his dear little wife until he breaks her heart by announcing his marriage engagement to his another cousin melanie (olivia de haviland) who is a much less glamourous, not so coquettish woman but much more virtuously selfless and disciplined. briefly, a bible-leafing plain jane. to entince ashley's jealousy, scarlett marries melanie's brother immediately before he goes on the battle-field for the civil war. the first husband dies during the war. then after civil war, scarlett loses everything, to keep her land, she steals her sister's fiance just to pay the tax. the second husband also dies in a local duel. finally scarlett marries rhett butler (clark gable) who has courted her for almost a decade, a man is shrewd and ballsy enough to emulate her.

    but the only obstacle in her marriage with rhett is the existence of ashley, who she claims as the love of her life, the man she wants most but cannot have. the death of scarlett and rhett's child, bonnie, freezes the relationship into another icy point. then the whole relationship disintegrates after the death of melanine who gives scarlett her consent to marry ashley before her last dying breath. strangely, scarlett is still not happy in the end because she just finds out ashely never loves her and he's been too gentlemanly to tell her bluntly to her face. therefore, her one great love is only a fictional mirage lack of consensuality. all of a sudden, she realizes she has only loved rhett!!! but it's too late because rhett is leaving her after being fed up with her obssessions with ashley. clark gable's last line of the movie is: FRANKLY, MY DEAR, I DON'T GIVE A DAMN when scarlett inquires him what she should do without him.

    despite the fact that this woman is a great survivor during the meager time and a great individual with consuming passion, her patterns of romance are most confusing than ever. she literally spends the whole movie loving ashley, mourning the loss of her one great love, then boom! suddenly, she comes to an understanding that she actually loves someone else instead, someone who's just right next to her! she's absolutely illogical and not sensible at all when it comes to love in spite of her strong will and unwavering determination to obtain the things she wants. generally, it's a sympton of prolonged peseudo-romance during adolescence, which tends to cast an idealized light to the notion of love. she sinks into the scenario of performing a lovelorn protagonist who suffers for love until she discovers her partner has never responded, and she's doing the monologues all by herself. thus she awakens to the late-blooming adulthood of romance.

    "gone with the wind" also has one of those politically incorrect rape scenes in cinematic history. clark gable, driven by alcohol and anguish, forcefully carries vivien leigh through the red-carpeted stairs to ravish her. somehow the woman is not angered but quite joyful instead on the following day, chirping a cheerful song as if she just has one of those tremendously satisfying orgasm ever in her life!!! (i truly wonder, maybe ancient woman rarely came, so such aggressive gesture from man strangely gave them some peculiar satisfaction). to put it in an overtly simplified manner, it would be that this scene contains a poisonous gender-ideology by telling the audience that woman loves to get raped, and the only way to conquer a woman is to show her that you're a mighty man who takes her by force..blah blah blah...actually it's more complicated than you assume. it is an un-disputed fact that our culture is built in the way that man is the dominant and woman is subordinated, right? just as woman prefers man taller than herself, and man favors woman smaller then himself, right? (in most cases). in a way, it's all complicit game-playing, like you play the mighty conquerer, me, who plays the helpless victim who awaits to be vanquished even i'm not really that helpless as i seem. this kind of rape-scenario is not really rape but part of a mutually consented foreplay since both you and i are aware that there has been some attraction going on between rhtett and scarlett, and the "rape" is just an entincing stimulus, an add-spice to the relationship.

    "gone with the wind" is released in 1939, and its premiere is in riverside, california. (unknown to most)..during almost the end of great depression. it features the ultimate declaration of the depression mindset, which is waiting for the messiah (the best exemplification would be steinbeck's the wrath of grapes) as scarlett exclaims in the end of the movie after her beloved rhett has gone: "after all, tomorrow is another day!!!"
  • mumby1988
    May 23, 2011
    mumby1988
    There's no getting away from Gone with the Wind, either as a darling of the Academy or as one of the most commercially successful films of all time. Nor is there any escaping its influence on filmmaking, from its direct impact on the golden age of Hollywood, through to less desir... read moreable legacies in the shape of Out of Africa and Heaven's Gate. With a reputation exceeding that of almost any other film, it is something that everyone should see once - but probably only once.

    Apart from anything else, you have to admire the sheer ambition of Gone with the Wind from a production point of view. The scale of filming is immense, taking in huge barren plains, long warm sunsets, sprawling towns and every kind of weather other than snow. At a budget of $3.9m in 1939, it was already the third most expensive film ever made, behind only Hell's Angels and the 1925 version of Ben-Hur. There is nothing about the production which feels cheap or half-hearted, with impeccable craftsmanship in every set and shot.

    This is more remarkable when you consider the film's complex and convoluted production history. David O. Selznick purchased the rights to Margaret Mitchell's Pulitzer Prize-winning novel for a record $50,000 in 1936. What followed was two years of bartering and in-fighting where Selznick and the executives at MGM and Warner Bros. grappled over matters of budgeting and distribution rights.

    Gone with the Wind took nearly two years to cast, with Vivian Leigh only being installed as Scarlett a week before shooting started. Filming began in January 1939 and last for five months, during which time Selznick fired both the cinematographer Lee Garmes and original director George Cukor. His replacement, The Wizard of Oz director Victor Fleming, expressed dissatisfaction with the script, so Selznick and screenwriter Ben Hecht re-wrote the entire film in five days. In May, Fleming briefly left the production due to exhaustion, with Sam Wood being drafted in to cover.

    This version of events would seem to paint the production as one of ego gone mad - Selznick's, namely - and would set the film up to be a total catastrophe. But it's worth remembering just how radical aspects of Gone with the Wind were when it was first released, and how it courted controversy with the censors. This was the age of the MPAA's Production Code, in which there were clear lines between what could and could not be said or shown in a film. Clarke Gable's famous final line, "Frankly, my dear, I don't give a damn" sent shockwaves through the Code's administrators, and Selznick only avoided a hefty fine by an amendment passed by the MPAA board, which permitted the use of "damn" or "hell" within an appropriate historical context.

    For a film that went through three directors, two cinematographers and one of the most hands-on producers in the history of Hollywood, it is remarkable that Gone with the Wind still looks and feels like a single film. The visuals in places are exceptionally beautiful, particularly the bright pink sunsets and the composition of the battle scenes. One of the best sequences comes during the Civil War part of the story, which finds Vivien Leigh wandering through acres of injured men, lying and dying all around her.

    In terms of its themes, Gone with the Wind explores the concepts of chivalry and honour. It is nostalgic about the age of chivalry, in which masters and their companions went through life side by side, doing what is honourable and helpful to others even at the cost of one's own life or happiness. Scarlett's multiple unhappy marriages reflect this theme, as she repeatedly makes herself unhappy out of silent respect for the marriage between Ashley and Melanie. In turn Melanie thanks Scarlett for her loyalty, delivering the film's central lines as she lies dying: "Look after Ashley, Scarlett... but... don't ever let him know."

    Much of this review so far has focussed on the reputation of Gone with the Wind. The positive comments made therein would seem to confirm its status as the greatest American movie of all time. Sadly, this is not the case. For when stripped of its acclaim and its trophy cabinet full of Oscars, Gone with the Wind is riddled with myriad flaws which, while not totally scuppering it, severely tarnish its image.

    The first, and most obvious flaw, is that the film is way, way, WAY too long. Even if we take out the intermission and the title cards, it still overstays its welcome by at least an hour, insofar as the story could have been handled in a shorter time through a simple act of compression. There is an argument that today's audience are more impatient, and would not watch a four-hour film no matter how good it was - an argument supported by the initial screenings, in which the punters begged MGM not to cut a single frame. But there are whole sections of Gone with the Wind which are so baggy and repetitive that even devotes of The Deer Hunter would struggle to resist looking at their watches.

    The first hour in particular is very difficult to get into, being populated by a huge number of characters who are all in some way unlikeable. The barbecue at Twelve Oaks consists essentially of spoilt rich people bitching about each other, with Vivien Leigh coming across as a childish brat who moans and screams and cries whenever she doesn't get her way. Leigh is a good actress who is undeniably beautiful, and very good at demonstrating the ambivalence of the character in her attitude to others. But we end up as ambivalent to her as she does to Ashley, and it take a lot of patience to stay with her character.

    Because the film is attempting to be so big in every single department, it ends up as the dictionary definition of sprawling. Although it just about manages to keep us focussed on the central characters (anchored by the great performance of Clarke Gable), the supporting cast is way too big, with potentially enthralling individuals endlessly drifting in and out. When characters do come back, they re-appear in the most contrived way imaginable; Sam, for instance, just happened to be sitting around the campfire when Scarlett was being attacked on the bridge.

    This brings us on the racial aspect of the film. The arguments here are the same as those surrounding The Birth of a Nation: do we accept the racial attitudes as a product of an historical period, or do we criticise such a revered film for being so deeply questionable? If we take the latter view, then the film is totally reprehensible, with almost every black character being reduced to pantomime; they never question their duty and seem incapable of functioning without being ordered around by impeccably dressed white nobles. If we accept the former, then the film is slightly more enjoyable, but the characterisation of Prissy as a screaming, incapable slave girl is still nothing short of toe-curling.

    In the last half hour, the film's poor storytelling is exposed and things get completely silly. In further testimony to it rambling, aimless style, most of the main characters are quickly killed off so that we arrive, very clumsily, at the union of Scarlett and Rhett. Every plot point in this section is prompted by an unfortunate death - Bonny falls from her horse like Scarlett's father, and Melanie falls mysteriously ill again, just so Scarlett can realise that Ashley never loved her. The plot drags laughably as we yearn to get to the staircase and Rhett's final line (which, of course, is not the end of the film).

    Gone with the Wind remains that most difficult of films: something which is so heavily flawed and hugely overrated, but also essential viewing for anyone who loves cinema. It is better than subsequent epic romances like Out of Africa because even at its weakest, baggiest moments it still feels like it is going somewhere. But its greatness is ultimately tarnished by its dated attitudes, poor storytelling and ramshackle structure. In short, it contains both the best and the worst that Hollywood has ever offered; it's massively, massively flawed, but also strangely irresistible.
  • BEACHBUNNI
    April 29, 2011
    BEACHBUNNI
    "frankly my dear i dont give a damn" that most famous quote of all time~!
    The cinematography is wonderful, the sets lavish, the costumes incredible, the musical score sweeping, and the film is just epic in every way~..... Based on Margaret Mitchells best selling novel, th... read moreis classic 1939 film follows Scarlett OHara (played by Vivien Leigh), the daughter of a wealthy plantation owner, whos quality of life is swept away by the winds of the American Civil War and CLark Gable as Rhett Butler
    this has definitely got to be one of the most famous films ever to be made~!

View All Gone With the Wind Reviews

Critic Reviews

February 17, 2009
TIME Magazine

The cinema event for which the U. S. has palpitated for three years. Full Review

John C. Flinn Sr.
February 19, 2008
John C. Flinn Sr., Variety

One of the truly great films, destined for record-breaking boxoffice business everywhere. Full Review

Dave Kehr
December 12, 2006
Dave Kehr, Chicago Reader

A critic-proof movie if there ever was one: it isn't all that good, but somehow it's great. Full Review

Douglas Pratt
December 7, 2004
Douglas Pratt, Hollywood Reporter

The film that perhaps defines Hollywood.

Frank S. Nugent
May 20, 2003
Frank S. Nugent, New York Times

'It' has arrived at last, and we cannot get over the shock of not being disappointed; we had almost been looking forward to that. Full Review

Tom Keogh
January 1, 2000
Tom Keogh, Film.com

Everything old is new again with this re-release of Gone With the Wind, and it reminds us that the Golden Age of Hollywood was a beautiful time.

Sean Means
January 1, 2000
Sean Means, Film.com

They just don't make 'em like that anymore.

Richard Schickel
January 1, 2000
Richard Schickel, The Atlantic

On the whole, I thought the picture was OK. Full Review

Bob Graham
January 1, 2000
Bob Graham, San Francisco Chronicle

The first new Technicolor print in 37 years, digital sound and moments of digitally cleaned-up footage scattered throughout its three hours and 42 minutes all make for a gorgeous sight-and-sound exper... Full Review

Andrew Sarris
January 1, 2000
Andrew Sarris, The Atlantic

Let us say simply that there is something in most of us that will always treasure Selznick's flair for old-fashioned, full-bodied narrative even as we pay lip service to the most anemic forms of cereb... Full Review

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Facts

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    • Rhett Butler: Did you ever think of marrying just for fun?
    • Scarlett O'Hara: Marriage, fun? Fiddle-dee-dee. Fun for men you mean.
    • Rhett Butler: I can't go all my life waiting to catch you between husbands.
    • Scarlett O'Hara: You'd rather live with that silly little fool who can't open her mouth except to say 'yes' or 'no' and raise a passel of mealy-mouthed brats just like her.
    • Scarlett O'Hara: Sir, you are no gentleman. [to Rhett]
    • Rhett Butler: And you, Miss, are no lady.
    • Mammy: You know what trouble I's talkin' 'bout. I's talking 'bout Mr. Ashley Wilkes. He'll be comin' to Atlanta when he gets his leave, and you sittin' there waitin' for him, just like a spider. He belongs to Miss Melanie...
    • Rhett Butler: How fickle is woman.
    • Rhett Butler: With enough courage, you can do without a reputation.
    • Rhett Butler: I'm very drunk and I intend on getting still drunker before this evening's over.
    • Scarlett O'Hara: Great balls of fire. Don't bother me anymore, and don't call me sugar.
    • Gerald O'Hara: It will come to you, this love of the land. There's no gettin' away from it if you're Irish.
    • Rhett Butler: No, I don't think I will kiss you, although you need kissing, badly. That's what's wrong with you. You should be kissed and often, and by someone who knows how.
    • Rhett Butler: Frankly my dear, I don't give a damn!
    • Prissy: Oh, Miss Scarlett, I don't know nothing 'bout birthin' babies! I don't know how I could've told such a lie!
    • Scarlett O'Hara: Great balls of fire! (Hic) It's Rhett!
    • Scarlett O'Hara: What a cool liar you are, Melly!
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