Gone with the Wind
70th Anniversary Edition
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Period romance. War epic. Family saga. Popular fiction adapted with crowd-pleasing brilliance. Star acting aglow with charisma and passion. Moviemaking craft at its height. These are sublimely joined in the words Gone with the Wind.
This dynamic and durable screen entertainment of the Civil War-era South comes home with the renewed splendor of a New 70th-Anniversary Digital Transfer capturing a higher-resolution image from Restored Picture Elements than ever before possible. David O. Selznick’s monumental production of Margaret Mitchell’s Pulitzer Prize-winning book can now enthrall new generations of home viewers with a majestic vibrance that befits one of Hollywood’s greatest achievements.
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A lot of people will watch this film and feel outraged at the portrayal of people in bondage happily getting along with their masters. But there lies just beneath the surface tell-tale signs that the pictured world was not as it appeared. As the war goes on, the soldiers get younger - just boys by the end, the people get thinner, and the only ones coming home are terribly wounded. The south was starving and starving people are prey to infectious diseases and they die of them much more readily. Also true is the fact that they ran out of the most basic medical supplies. These women who had once lifted nothing more hazardous than a needle were forced to learn to plow, sew, and reap the fields because there were no men left. They watched their loved ones, including their children, die of diseases and in the rural areas even had to dig their graves themselves. What the Civil War was, was a clash between cultures. The emerging industrial age with its wage slaves and slums and the agrarian age with it's slaves and rigid class system.
A trivial note that some may not be aware of is the tune the carpetbaggers were singing which is named Sherman's March to the Sea. That is actual hymn that used to be in the hymn books in the north usually side by side with the Battle Hymn of the Republic.
The first cut ran 4.5 hour but 48 minutes were trimmed before release. Since then, not a second of footage has been eliminated from various home video versions.
The crane shot where Scarlett searches for Dr. Meade was devised by Val Lewton. He went on to produce a number of classic fright films, including CAT PEOPLE (1942) and THE BODY SNATCHER (1945).
Clark Gable's per-day salary was five times as much as Vivien Leigh's.
Yakima Canutt stunted for Gable in the burning of Atlanta sequence, which was the very first scene shot in what would be a marathon production.
Motion picture debut of George Reeves (TV's Superman).
Margaret Mitchell borrowed the novel's title from Ernest Dowson's poem, "Cynara": "I have forgot much Cynara! Gone with the wind." Mitchell also considered calling it "Bugles Sang True," "Tomorrow is Another Day" and "Ba! Ba! Black Sheep." Ashley Wilkes was based on the author's cousin by marriage, 'Doc' Holliday of OK Coral fame.
Martin Luther King Jr. attended the world premiere cotillion ball in Atlanta with his father, an invited guest. Also at the premiere were a handful of Confederate Civil War veterans.
First color movie to win the Best Picture Oscar, also the longest-running. Was nominated for 13 Oscars.
The story of this classic film's creation is almost as dramatic as the movie itself. A two-hour 1988 television documentary, THE MAKING OF A LEGEND: GONE WITH THE WIND, is an ideal companion piece. Narrated by Christopher Plummer, it includes archival footage, screen tests and interviews with several who were involved in the production from both sides of the camera.
Parenthetical number preceding title is a 1 to 10 IMDb viewer poll rating.
(8.2) Gone With the Wind (1939) - Vivien Leigh/Clark Gable/Leslie Howard/Olivia de Havilland/Barbara O'Neil/Thomas Mitchell/Ann Rutherford/Hattie McDaniel/Butterfly McQueen/George Reeves/Evelyn Keyes/Victor Jory/Cammie King/Ward Bond/Eddie 'Rochester' Anderson/Cliff Edwards/Yakima Canutt (uncredited: Marjorie Reynolds/Si Jenks)