It seems like a 'new, improved' edition of "Gone With the Wind" has appeared every couple of years, offering the 'ultimate' in picture and sound reproduction, and extras. It can become expensive keeping up, and frustrating (much like buying a classic Disney DVD, when you know a more complete "Special Edition" will soon render your "First Time on Video" copy obsolete), but the new GWTW Four-Disc Collector's Edition most assuredly deserves a place in your collection.
First off, the picture and sound quality is astonishing. Warner's Ultra-Resolution process, which 'locks' the three Technicolor strips into exact alignment, provides a clarity and 'crispness' to the images that even the 1939 original print couldn't achieve. You'll honestly believe your TV is picking up HD, whether you're HD-ready, or not! This carries over to the Dolby Digital-remastered sound, as well. All of the tell-tale hiss and scratchiness of the opening credit title music, still discernable in the last upgrade, is gone, replaced by a richness of tone that will give your home theater a good workout. (Listen to the brass in this sequence, and you'll notice what I'm talking about...)
The biggest selling point of this edition is, of course, the two discs of additional features offered, and these are, in general, superb. Beginning with the excellent "Making of a Legend" (narrated by Christopher Plummer), Disc Three offers fascinating overviews about the film, the amazing restoration, footage from the 1939 Premiere (and the bittersweet 1961 Civil War Centennial reunion of Selznick, Leigh, and de Havilland), glimpses of Gable and Leigh with dubbed voices for the foreign-language versions, the international Prologue (tacked on to explain the Civil War to foreign audiences), and a 1940 MGM documentary on the "Old South" (directed by Fred Zinneman) memorable today for it's simplistic view of the time, and stereotypical portrayal of blacks.
Disc Four is a mixed bag; the long-awaited reminiscences of Olivia de Havilland are more chatty than informative (with the 90-year-old actress more interested in discussing her wardrobe than on-set tension...although a prank she pulled on Gable is amusing), and the Clark Gable Profile is superficial (A&E's biography of 'The King' is far superior). Things improve, however, with the insightful, sympathetic TCM biography of Vivien Leigh (hosted by Jessica Lange), and a WONDERFUL section devoted to brief bios of many of the GWTW supporting cast, narrated, again, by Christopher Plummer (although I wish the filmmakers would have included bios for Ward Bond, Victor Jory, Fred Crane, and George 'Superman' Reeves).
All in all, the GWTW Four-Disc Collector's Edition isn't perfect, but offers so much terrific material that it is CERTAINLY the one to own!
As with the "Wizard of OZ" BD set, the GWTW set is elaborated -- and made "spendier" -- with the addition of material that might not be absolutely necessary for one's enjoyment. The box is covered in red velvet flocking (green would have been more appropriate and amusing -- qv, Carol Burnett). There's a CD "sampler" of Max Steiner's score, running a measly 45 minutes. Given that Max took excessive scoring to the max (Bette Davis had some pointedly unkind things to say about it), a "sampler" could have filled two CDs, and still not have exhausted the music (though the music might exhaust you). *
As with "OZ", there's a 52-page hard-backed book that's largely content-free, plus reproductions of some of the watercolor set-design paintings (in their own little envelope), and various memoranda sent to and from David O. Selznick. I was expecting a reproduction of Gerald O'Hara's pocket watch, but it likely would have been of even poorer quality than the kiddie watch in the "OZ" box.
The best bonus is a reproduction of the 25-cent (expensive in 1939) souvenir booklet. It includes pieces by the principals, notably one from Clark Gable telling how badly he wanted to play Rhett Butler and much he enjoyed every minute of making the film. (He didn't want to appear in "costume" films (having had bad luck in a film about Irish revolutionaries), was afraid to take on a role the public had such definite ideas about, and got along poorly with the first director, George Cukor.)
As I write this, I haven't viewed all the supplemental material on the second disk. (There's a lot.) The third disk duplicates the "When the Lion Roars" feature included in the "OZ" box -- though the package labeling suggests it's unique to GWTW.
GWTW was always unsharp and muddy-looking -- until the Ultra Resolution transfer of the original three-strip negatives a few years ago. It was a major improvement, and the DVDs showed the film as it had never been seen.
This edition apparently uses a new Ultra Resolution transfer, at twice the resolution (8k versus 4k) of the previous. Some scenes -- such as Ashley escorting Melanie to the balcony of Twin Oaks -- are breathtaking, far superior to what the DVD offered (and /that/ wasn't exactly chopped liver). The best Technicolor films, properly transferred, push HD to its limit.
What most surprised me, though, was the awareness of how the film's color balance is adjusted to produce specific effects. Many scenes have an appropriately warm, "burnished" coloration that /does not/ carry over to the scene's subtle colors. For example, at the fund-raising bazaar, there's a bottle of pastel-colored candies (which you'll probably never notice in the SD edition) that retain their correct colors, "unromantized" by the rest of the image's warmth. Similarly, in the scene outside the hospital where Belle Watling makes a donation, her costume is vividly colored (there's no question about her profession!), even though everything else is drab.
Several sequences are outstanding, particularly the one where Scarlett returns to Aunt Pittypat's home to tend to Melanie. It's a model of Technicolor photography, one that any cinematographer would be proud of -- as good as anything being done today. In earlier transfers of poorer prints, this sequence is flat and two-dimensional. You can't see how magnificently lit and photographed it is.
At its best, the Technicolor resembles large-format, ultra-sharp Polacolor. That's a compliment! If you're fortunate enough to have a large display, you'll gasp at some of the images.
One of the most-startling moments occurs when Scarlett goes to the train station to look for Dr Meade, one of the most-famous scenes in movie history. Hundreds, if not thousands of injured men lie on the ground, waiting for medical attention that will likely never come. There weren't enough extras, so dummies were used. And for the first time, you can actually /see/ which of the "extras" are dummies! You can probably tell better than the camera operator!
In short... The BD edition is a major improvement over the excellent DVD edition. It gives the impression that the movie makers were able to manipulate Technicolor to get specific aesthetic effects. ** And it shows just how /beautifully photographed/ this film is, something even the original Technicolor prints never fully revealed. The DVD probably captured most of this (I no longer have it for comparison), but you'll never see it in standard definition on a "small" screen. Looking at excerpts in the supplmentary material /not/ taken from the Ultra Resolution transfer is a reminder of just how "messy"-looking the original GWTW was. It no longer is. I've never enjoyed watching it so much.
It's becoming apparent that an HD transfer, shown on a big display, is not the best way to watch a movie at home, but the best way to watch a movie, period.
The sound is so-so, of limited range and not particularly clean. (Disney does a better job cleaning up the audio of its classic films.) The reviewer who said it filled the room as well as any modern soundtrack must own Bose 901s. It would sound better in a theater, with big horn speakers that started rolling off above 5kHz. If GWTW was recorded in RCA multi-track, the stems don't appear to have survived. (Those for "OZ" exist and have been used, though not, apparently in the Blu-ray.) Music and dialog are mono throughout, but individual sound effects (particulary explosions) are panned to the side or rear when appropriate. The music sometimes seems too loud for the dialog, and the overall level is by far the lowest of any Blu-ray I've yet auditioned. I had to really crank up the volume, far, far beyond 11.
This is an expensive set, but it represents such a significant improvement over the last DVD edition (as good as it was) that it's worth seriously considering. Even if your BD player has a good scaler, the DVD won't look anywhere nearly this good on your HD monitor. Highly recommended.
PS: Just because a film is a classic doesn't mean it's suitable for everyone in your family. The G rating is ridiculous. GWTW is at least PG, containing, as it does, women of questionable virtue, a fair amount of violence (including a scene in which Scarlett is attacked, and another in which she shoots a Yankee, practically blowing off his face), and Rhett dragging Scarlett up the stairs to "molest" her. The MPAA ratings board is nothing if not inconsistent.
PPS: Though Vivian Leigh and Hattie McDaniel received Oscars, I consider Butterfly McQueen's performance as Prissy the best in the film. Though she hated the role (it's too easy to interpret Prissy as representing slaves in general, rather than one in particular), she showed great courage in taking it, and delivers a finely nuanced performance.
* Max Steiner wrote the first great film score for a talky - "King Kong". It epitomizes his style -- "Mickey-Mousing" almost every screen action, and the heavy use of Leitmotivs for characters and events. (Note how Melanie's motive appears every time she does, and how Rhett's is played -- breaking the scene's mood -- when he leaves Scarlett for the last time.) He was also the first sound-film composer to underscore almost the entire length of a film -- this is not a recent development. It's worth noting that GWTW, despite some memorable music, did not win "Best Score" for 1939 -- Herbert Stothart's for "Wizard of OZ" did. I find Stothart's considerably more imaginative and appealing.
** The Technicolor print uses dye transfer, in which each color is layed down separately from its own gelatin matrix. This allows a great deal of flexibility in controlling the contrast and color balance -- if you're willing to put out the time and money. According to the supplementary material, the color balance /was/ adjusted on scene-by-scene basis for GWTW, just as it is for modern films -- that's what the "color timer" person does. A high-quality print from 1939 was found, and guided the restorers in adjusting color balance.
on November 30, 2004
I do hope you'll return and revise your rating to a '5' once you digest this information:
Gone With the Wind was never released in a Widescreen version on DVD because it was never released in a Widescreen version on film. In fact, when it was released (1939), there were NO "Widescreen" movies at all -- becaues no one had yet thought about formatting movies in that way.
Through the 1940s and into the 1950s, essentially ALL movies were in the 3:4 format that we now consider to be "regular". My understanding is that those proportions originally were adopted by the film industry to roughly correspond with the proportions of viewable area for the "live" theaters extant when the film industry started. Similarly, when television arrived in the late 40s/early 50s, its screen format was determined by copying the 3:4 screen proportions of films made up to that time. By the mid-1950s, the film industry became concerned about losing its audience to TV, so various WIDESCREEN formats (CinemaScope was one; I think there was another called VistaVision; I can't remember the others offhand) were conceived by the film industry in the 1950s as a way in which the film industry could distinguish its film products from what could efficiently be shown on television screens. This was the film industry's attempt to keep audiences coming to theaters to see their movies, rather than just waiting to see movie productions on home televisions; by coming to the theater, the audience could experience something different that what television could offer.
Other "ideas" in this effort against TV included attempts to interest audiences in 3D films, as well as enhancing film audio, both by greatly improving sound range and fidelity and later by adding stereo, at a time when TVs had only a single, inexpensive speaker that didn't sound all that "hot." In fact, the creation/addition of 5.1 audio (Surround Sound) was yet another film industry effort to distinguish itself from what then was available for use in homes.
Anyway, if someone now wants to issue a "Widescreen" version of GWTW, the only way to do it (without distorting the content) would be to cut off the top and/or bottom of every frame all the way through -- just think about how THAT would look . . .
on December 23, 2014
Fantastic Edition of this classic 1939 movie starring Clark Gable and Vivien Leigh. This is the same Blu-ray you will get in the Box Set. If you don't want all the other extras that come with that, get this. The package is nicely done. Slim, sleek, and just beautiful. You open it to find pictures of Clark Gable and Vivien Leigh on either side. Open again to a nice foldout with black and white scenic imagery and the two Blu-rays each in it's own slot. Easy to get in and out.
Disc 1 ~ The Movie plus commentary by Historian Rudy Behlmer
Disc 2 ~ All New Blu-ray 75th Anniversary Special Features :
"Old South/New South" Journey through today's South and revisit the real-life locations depicted in the film from Gettysburg, Atlanta, to New Orleans and see how the Old South continues to influence the region today.
"Gone With The Wind": Hollywood Comes to Atlanta, premiere and tour of Atlanta Footage.
I got this edition for about twenty bucks at a local store, so do your searching before online buying to save you some dough. This is the edition to have if you don't want all the other extras included in the 75th "box set" sold on here and it will save you some money. The sound and image quality are superb.
on June 28, 2010
Gone With the Wind is one of those epic films that offers you elaborte costumes, scenaries and more. But also is an excellent film with an excellent story and excellent characters. Margaret Mitchell's story is perfect for the screen due in part for the tremendous effort that producer David O. Selznick put into doing it. Also, one of the standouts of the film is the cast. All the characters were perfectly cast with excellent actors that gave for me their finest permormance in this picture. Clark Gable is outstanding as Rhett Butler as is Vivien Leigh as Scarlett O'Hara, Olivia de Havilland as Melanie Hamilton, Hattie McDaniel as Mammy, Butterfly McQueen as Prissy and more. The only character I don't like is Leslie Howard as Ashley Wilkes not because he act bad but because I hate Ashley. Aside from that is a story that never feels old and I can watch it again and again (doesn't bother me its running time. A perfect classic and a masterpiece.
This set is marvelous, it has 5 discs with the film completely restored (for the ones that own the 2004 edition I have to tell you that this edition has improved picture and sound, of course is not a drastic change and I don't think is worth the upgrade) and excellent bonus material. The velvet box (beautiful) also includes a cd of the score, letters, a book and more, making this edition a must-own for any GWTW fan. Totally Recommended.
on February 17, 2004
Please note that my disappointment was in no way with "Gone With the Wind" itself, which is, as we all know, is one of the greatest movies of all time. I couldn't say anything about this wonderful film that hasn't been said already. This big, lush, box set, however, left a lot to be desired.
Let's start with the 8 original limited edition lobby card prints. They're obviously colorized, and hideously so. Mammy in a neon pink headdress? The same neon pink as the stripes on the soldier's pants at the charity bazaar? I don't think so. And excuse me, the dress Scarlett wore when she fled from Atlanta and for some time after that was lavendar, not French's mustard yellow. Nor is anyone's skin that "flesh" color, ever.
Moving on to the 6 original black and white photograph cards (and why would you print black and white photos of a beautiful color movie like this, anyway?)...I could have done a better job on my home computer, with screen captures. The pictures, which include Rhett at the bottom of the stairs seeing Scarlett for the first time, are very blurry. Even the close up of Rhett and Scarlett about to kiss (after Frank Kennedy's funeral) isn't clear.
The 35 mm film frame I received was of Rhett bidding Scarlett farewell on the road to Tara; the accompanying art graphic is very dark and muddy. I have to hold the film cell up to bright light to even see it, so forget about framing it.
The 27x40 movie poster was very nice, and I'll end up getting a frame to display it.
The DVD lists its "special features" as interactive menus and scene access; isn't that pretty much standard by now? The extras consist of a trivia game (you don't guess the answers, they'll give them to you on the next screen) and the movie trailer. That's it. One of the greatest films of all time, and that's the best you can do? What about the excellent documentary "The Making of a Legend: Gone With the Wind"? I have that on VHS and it's wonderful. That could have been added to make a two disc set.
I'd wanted "GWTW" on DVD for a long time, and instead of buying the much less expensive DVD (where I could have had a choice of standard or widescreen versions), I had to hold out for the big box set. I wonder now why I bothered.
In the years since it debuted, GONE WITH THE WIND has taken a beating from film critics and historians alike. The characters are often described as cardboard-ish; portions of the film are described as excessively melodramatic; some of the special effects (most notably the film's occasional use of rear-view projections) have dated. There is some truth to all of these comments, but by far the most serious accusation hurled at the film is that it is racist.
One's perception of the film as racist rather depends on whether you look at the film within the context of its era or from a purely modern standpoint. At the time, GONE WITH THE WIND was a major advance in the portrayal of blacks on screen, for the two major black characters--Mammy and Prissy--are a far cry from the obnoxious "Stepin Fetchit" stereotypes so common in the 1930s. In later years, both Hattie McDaniel and Butterfly McQueen would be derrided for their participation in the film and accused of perpetuating stereotypes, but in fact their performances were anything but stereotypical at the time--indeed, their very power led Hollywood into a repetition of similar characters, and it was that repetition that later caused the originals to read as cliched.
The real problem with GONE WITH THE WIND is that it, like the novel on which it is based, buys into the myth of great plantations, lovely Southern belles, gallant gentlemen, and a paternalistic form of slavery. These concepts have some basis in fact, but the vast majority of southern whites did not own plantations, much less own slaves, and those who did rarely practiced "paternalistic" slavery by any stretch of the imagination. But GONE WITH THE WIND is the myth, not the fact--and once we accept it as a highly romanticized vision of the South as it never really was, the film becomes incredibly entertaining and can still cast its spell upon the modern viewer.
The most powerful thing about the film is that it moves. Over the course of its very long run, the episodic story of the beautiful and willful Scarlett O'Hara and her rapacious drive to insulate herself from the hardships of the war never significantly drags. And the cast, from the leads to the bit players, is superior.
Margaret Michell might have created Rhett Butler with Clark Gable in mind; Vivien Leigh, a remarkable beauty and a very fine actress, was scarcely known outside England--but amazingly, when one considers the tremendous anticipation surrounding the casting of the role, she plays Scarlett with incredible success. Granted that the characters of Melanie and Ashley are rather unbelievable, but both Olivia de Havilland and Leslie Howard carry them off with conviction. And although they have already been mentioned, Hattie McDaniel's formidable Mammy and Butterfly McQueen's passive-aggressive and frequently hysterical Prissy are brilliant creations and more than worthy of a second mention.
True, advances in cinema technique have made some of the special effects seem dated, but the production values and art design are brilliant from throughout, and the film offers a multitude of iconographic moments: Rhett standing at the bottom of the staircase at Twelve Oaks; Scarlett caught up in a the panic during the seige of Atlanta; the tattered flag waving above the fallen troops at the train yard; the kiss between Rhett and Scarlett after the fall of Atlanta--these, yes, and many, many more.
GONE WITH THE WIND will no doubt become increasingly controversial as attitudes continue to change re race, slavery, and the Civil War--but in terms of pure cinema it is a remarkable achievement for all involved and it remains a landmark to this day. The DVD currently available offers a pristine picture and high quality sound, but I must note that the DVD has no great advantage over the current VHS release; a trailer aside, there are no bonus materials of any kind, and both are of equal quality. Strongly recommended, but with a warning: do not mistake it for fact. As I noted earlier, this is a South that never was, built on a form of slavery far removed from the slavery that actually existed. Enjoy it as a beautifully made and epic romance with a host of powerful performances--but not as history.
on January 27, 2011
There are almost 1,000 reviews for "GONE WITH THE WIND" VHS Tapes, DVDs & Blu-rays.
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on October 28, 2005
Movie: Okay, lets just get this out of the way: "Gone With The Wind" was, is, and will always be the best movie ever made. There, I said it. Ever since its premiere in 1939 "Gone With The Wind" set the bar for which all motion pictures after it. There would be no "Star Wars," "Ben Hur," "Titanic," or "Lord Of The Rings" Trilogy if "Gone With The Wind" had not been such a grand achievement. Every frame of the film drips with sheer perfection. The sets are grand, the acting marvelous, and the direction impeccable. My favorite thing about "Gone With The Wind" would have to be the cast. Hattie Macdaniel was marvelous as Mammy, Olivia DeHaviland heavenly as Melanie, Leslie Howard great as Ashley, and Clark Gable is sheer perfection as Rhett Butler. Last but certainly not least, Vivien Leigh IS Scarlett O'Hara. Isn't it obvious that I love this movie? With that said, let's take a look at the DVD.
Movie: (Ten Million/5)
Picture: If you already own the previous single disc release from MGM, you can safely throw it away in favor of this set. Simply put, the picture is marvelous. The film has been painstakingly restored from the original 3-Strip Technicolor Negatives. When the three Technicolor negatives are re-aligned, there is a level of clarity that has never been seen before. There is a featurette in the supplements section that explains just how this process was accomplished. Compared to previous VHS, Laserdisc, and DVD incarnations, the results are truly startling. The colors are wondrous, the picture is sharp, and there are no faults to be found at all. Simply amazing! (6/5)
Sound: The film's soundtrack has been remastered in a wonderful new Dolby Digital 5.1 soundtrack. There results are simply splendid. In a comparison, this is the same track that appeared on the single disc DVD. However, that is not a bad thing. The dialog souds great. There is no hiss or distortion of any kind. Surround activity is limited (What do you expect? The soundtrack was recorded in 1939!) The surrounds benefit the most from Max Steiner's wondrous score, and in the evacuation of Atlanta sequence. For purists, the film's original mono soundtrack has also been included, and it sounds great. (5/5)
Extras: Rejoice! Fans at long last have the definitve version of "Gone With The Wind!" There are tons of goodies in this set. Discs One and Two house the film itself. They also contain an excellent commentary by film historian Rudy Behlmer. His commentary is interesting and informative that is filled with fascinating bits of information about the production.
Discs Three and Four house the bulk of the extras.
"Making of a Legend: Gone With The Wind" is the best documentary on the making of a film I have ever seen. There are interviews with many of the kehy people in the production as well as screen tests, Oscar footage, archival footage, and much more. This is worth the price of the box set alone.
Next up is "Restoring A Legend." This takes you inside Warner's restoration facilities to see firsthand the painstaking restoration that went into this set. This is one of my favorite featurettes simply because it is so nice to hear about all the hard work, sweat, blood, tears, and most of all love that Warner Brothers Home Video is putting into making "Gone With The Wind" and other classic titles so they can look and sound their best for years to come. Bravo!
On disc three you'll also find "Dixie Hails Gone With The Wind!" short, "Civil War Centennial" short, "The Old South" short, the international prologue to explain to other countries what the Civil War was, brief international language dub scenes, and a trailer gallery.
On disc four you'll find "Melanie Remembers: Reflections by Olivia DeHaviland." Ms. DeHaviland is a gracious hostess, and it is a joy to hear her recollections. "Gable: The King Remembered" is a 1975 documentary on Clark Gable. This is very classy and quite informative, and was an excellent addition. "Vivien Leigh: Scarlett and Beyond" is next. This is also a great documentary on the legendary actress, and is quite well done. Next are numerous mini documentaries on the supporting players that run from under one minute to around five minutes in length. These are nice to have, and really help to round out the set. Also included is a reproduction of the original 1939 souvenir program. Very classy. (10/5)
Overall: The greatest film ever made gets, in my opinion, the best DVD ever produced. Thank god Warner knows how to preserve these this and other classic films so people can continue to appreciate them for generations to come. A superb restoration and a plethora of extras make this a no-brainer. If you only buy one DVD in your life, buy this one! This is the best DVD I have ever seen, and I am so happy to have it in my collection. Thank you Warner Brothers for getting it right! (10/5)
First note: the original film was released in a 3:4 format. The widescreen versions released later are not original reels:
"the 1954 reissue was the first time the film was shown in widescreen, compromising the original Academy ratio and cropping the top and bottom to an aspect ratio of 1.75:1. In doing so, a number of shots were optically re-framed and cut into the three-strip camera negatives, forever altering five shots in the film." - Haver, Ronald (1993). David O. Selznick's Gone with the wind. Random House.
On to my review in which I will discuss more of this restoration and special edition rather than the film itself:
This is hailed as one of the greatest films of all time, and I agree with the majority. The film won 8 of the 13 Academy Awards it was nominated for including Best Picture. It ranked #4 on the AFI '100 Years... 100 Movies' list. Though the film has received criticism for it's depiction of slavery, it remains one of the most enduring films of all time.
The restoration of this version is simply perfect. The technology restored the film beyond the original 35mm Technicolor format. Gladly, the 70mm 'widescreen' reissue reels have all faded and been destroyed. The funny thing is the couple of scenes where the HD is so clear that the viewer can see the little 'glitches'. They aren't too noticeable, and it is stunning that a film this old has just a few of these. (You notice it in the distance shots of Tara most often.)
The extra features are a lot of fun. The book included was very interesting and a welcome addition. The music box is great - it plays Tara's theme. The handkerchief is cool, but more of a nostalgic bonus than anything.
Note the Ultraviolet copy must be redeemed by 9/30/2017. Also be aware that used copies might already have the Ultraviolet copy redeemed.
Should you own this release? If you don't have the 70th Anniversary on Blu-Ray then YES. (We have the 70th on DVD so we did pick this up). It is currently the definitive version of Gone With the Wind. In coming years, there might be better releases, but I don't foresee something better than this at this attractive a price in the next decade or so ($35.69 w/Prime was my purchase price).
The listing here is from the Warner Brothers website:
"MUST ENTER REDEMPTION CODE BY 09/30/2017 TO REDEEM ULTRAVIOLET(tm) OFFER. [...]
INCLUDES COLLECTIBLE MUSIC BOX AND HANDKERCHIEF, PLUS STUNNING 36-PAGE BOOK - Join Acclaimed Fashion Designer Austin Scarlett in Exploring the Monumental Fashion of the Film, the Historical and Cultural Events That Inspired It, and the Continuing Influence of Scarlett O'Hara and Her Unforgettable Gowns on Contemporary Designers
Two all new Featurettes: · Old South/New South · Gone with the Wind: Hollywood Comes to Atlanta
Also includes: · Commentary by Historian Rudy Behlmer · The Making of a Legend documentary (1989 TV Special) (Narrated by Christopher Plummer) · Restoring a Legend - Chronicles the Film/ Video restoration Process · 1939 Premiere Newsreel · 1940 MGM Historical Short "The Old South" · 1961 Premiere Newsreel · International Prologue · Foreign Language Version Sample Scenes · Trailer Gallery - 5 trailers · Cast Profile - Vivien Leigh: Scarlett and Beyond · The Supporting Players - Cameo portraits of an unforgettable ensemble · Warner Bros. Home Entertainment presents 1939: Hollywood's Greatest Year - Narrated by Kenneth Branagh · Gone with the Wind: The Legend Lives On --> Explore the legacy of the most beloved film through illuminating interviews, footage and visits to historical sites, events and museums. · Moviola: The Scarlett O'Hara War 1980 WBTV Special · Existing Special never before seen on home video release"