Every August in Cleveland they put on about eight movies at the Palace Theater, complete with theater organ beforehand, a cartoon, and maybe a Three Stooges. They usually have a musical, a kid movie, some classics, etc.
This past August I convinced my daughter to go with me and a friend to see GWTW. (My husband refuses to see it because it is racist and historically inaccurate. But my friend who is African American went. She didn’t seem to mind it. I see it as a part of our movie culture, therefore important. Besides, “I don’t know nothin’ ‘bout birthin’ no babies!” is one of my favorite lines.)
Anyway, right before intermission when Scarlett is in silhouette holding up a carrot or whatever and says, “As God is my witness, I’ll never be hungry again!” I turned to my daughter and said, “It’s half over!”
Here’s something to tell your husband: Aunt Pittypat is just as empty-headed and ridiculous as Prissy, but at least Prissy didn’t flee Atlanta just as Melanie was going into labor.
If he objects to Scarlett slapping Prissy after Prissy lied to her, remind him that Scarlett also slaps Ashley and her sister Suellen.
The movie isn’t nearly as good as the book, but I can still watch it over and over. It’s one of the few movies that feels truley epic, even though compared to the book it’s still rather sparse.
The amazing thing I find is that despite the fact Melany is written(or played) to be disgustingly sweet, a lot of the subplots(and scarlett’s other two childern) are cut out, the Tara looks nothing like it’s supposed, the fact it basically glosses over a bit of the plot, and going through 5 different directors, it’s still very watchable.
What I love about this movie is the amazing attention to detail, both in technical matters and in sets/costumes. (The major exception being Scarlett’s dissapearing/reappearing necklace on the Twelve Oaks staircase when she first sees Rhett.)
When you watch the movie next, watch how Scarlett’s brown paisley dress ages from the scene in the hospital when she and Melanie comfort the wounded soldier to the time when she makes the green velvet dress. Not only does the dress fade, but she loses a button or two, and there’s a small rip on one side under the arm. That sort of attention to detail is what makes this movie for me-- Selznick’s production values.
One of my favorite commentaries on this movie was made by the actress who played Careen, Scarlett’s youngest sister. She was horrified at the elaborate expense put into undergarments which the audience would never see. She told Selznick that the rows of expensive lace on her petticoats and pantaletts were unecessary. He replied that she would know they were there-- getting her into character as a rich planter’s daughter.
The musical score for this film is one of the best ever written, in my opinion. Not only is it sweeping and grand as fits an epic film, but it has touches of humor which enliven it, such as when Scarlett tries on her mourning bonnet after the death of her first husband to the tune of “Massa’s in the Cold, Cold Ground.”
I value it not only as a good movie, entertaining and technically advanced for its time, but also as a portrait of a bygone age-- a time which oozed Hollywood glamour, but also had the drawbacks of racism. For this reason alone, I think it’s good for people to see it. Many people don’t understand how much times have changed and GWTW shows a stark difference with how blacks were then portrayed, as compared with today.
Did anyone else get the 4 DVD set when it came out last week? I spent most of Veteran’s Day watching the movie with commentary, and then the extras.
The commentary is by a film historian. What I especially found interesting about his comments was the way he pointed out all the bit parts, telling who the actors were and what else they did. For example, there is a scene where Scarlett and Melanie are kneeling over a wounded soldier in the hospital, with very dramatic shadows (which don’t quite match their movements) silhouetted behind them. The soldier is speaking but we don’t see his face. The soldier is played by Cliff Edwards–a.k.a., “Ukelele Ike,” and the voice of Jiminy Cricket! I also learned that little Cammie King, who plays Bonnie, also voiced Faline in Bambi.
The historian also mentioned a “happy ending” that was considered at the time they were making the film: As Rhett goes out the door at the end, Scarlett does her “I’ll think about it tomorrow…” bit and swoons into Mammy’s arms. Mammy tells her, “Never mind about tomorrow, honey–your man’s leaving you right now! Go after him!” And Scarlett does, catching Rhett at the train station. I had never heard of this before, and don’t know if it was ever seriously considered as an alternate ending, but I thought it was hilarious.
There is also a “Making of” documentary that was made for Turner about 10 years ago, and Olivia deHavilland, who is still very lovely for a woman who must be about 90, talks about her memories of making the film; I especially liked her story about having to take out the hoops in Melanie’s “second day” dress for the scene where Scarlett marries Charles–otherwise, she couldn’t stand close enough to Scarlett to kiss her cheek.
The first time I saw this was in an old movie palace in Oakland, CA in about 1989 or so. I had deliberately never watched it on TV, knowing I wanted my first time to be as it was intended, on the big screen. I loved it, and the time flew by. The really good long movies don’t feel long to me.
If you look very closely, Scarlett is wearing the necklace, but it’s hidden under the ribbons of her bonnet.
I’ve read the book umpteen times and have the movie. I wish they would do a mini-series remake, and include those characters the movie deleted, like Will Benteen and Archie. I’m also not sure that it’s as clear in the movie as in the book that Scarlett does love Rhett, but she doesn’t realize it until it’s too late. (She describes her heart leaping up when she sees him, the thrill of his touch, but she’s confused because she loves Ashley.)
Thank goodness Bette Davis and Katharine Hepburn didn’t get the part of Scarlett—though, really, I’ve always thought Paulette Goddard or Carole Lombard (a good dramatic actress when you gave her a chance) would have been as good as Vivien Leigh. There was a huge stink when a British girl was chosen to play a Southern heroine!
Going by the screen tests in the documentary, I think that Paulette Goddard would have been the best alternate choice, and probably would have gotten the part if Vivien Leigh hadn’t shown up.
Teensy tiny hijack: Is the attention to detail common for big movies in the 30’s? In Cavalcade (I think it was made in 1933) the lead character had been knighted and was being presented to the queen at a fancy dress ball. The scene lasted about half a minute, but it must have cost a fortune. You could see at least 50 characters milling around in a huge area, exquisite gowns on people who didn’t even speak. It was stunning.
I love this movie too. George Reeves was born in Woolstock, which is where I live. I think he was a good actor, he was relaxed and funny, and it’s too bad he became a victim of typecasting.
GWTW was re-released in 1966 or 1967, with a great fanfare. I drove the 35 miles to see it in one of the handful of grand old theaters in Indianapolis with my girlfriend. I was 17 or 18, and not sophisticated. I was disappointed in this “masterpiece”; in fact I fell asleep. When nudged awake, I agreed with my girlfriend that it was deadly boring. We left early. I have never made any attempt to see it again.
You can count me out of the chorus of folks praising This Great Classic.
It amazes me how much I like this movie, when most of the main characters are completely unlikeable. I guess I admire all the snark, and I like to make fun of Ashley for being such a milquetoast.
(No, my username does not indicate some kind of obsession – I just dressed like her once for a costume party. I did have a roommate who worshipped GWTW, but I think it was because she saw Scarlett as a role model. What a little bitch!)
