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Gone with the Wind (Two Disc 70th Anniversary Edition)

4.7 out of 5 stars 3,521 customer reviews

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Editorial Reviews

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.


Special Features

  • Commentary by Historian Rudy Behlmer

Product Details

  • Actors: Clark Gable, Vivien Leigh, Leslie Howard, Olivia de Havilland, Hattie McDaniel
  • Directors: Victor Fleming
  • Producers: David O. Selznick
  • Format: Multiple Formats, AC-3, Color, Dolby, Full Screen, NTSC, Original recording remastered, Special Edition, Subtitled
  • Language: English
  • Subtitles: English, Spanish, French
  • Dubbed: Spanish, French
  • Subtitles for the Hearing Impaired: English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.33:1
  • Number of discs: 2
  • Rated:
    G
    General Audience
  • Studio: Warner Home Video
  • DVD Release Date: November 17, 2009
  • Run Time: 233 minutes
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3,521 customer reviews)
  • ASIN: B002M2Z3BA
  • Amazon Best Sellers Rank: #568 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Gone with the Wind (Two Disc 70th Anniversary Edition)" on IMDb

Customer Reviews

Top Customer Reviews

By Benjamin J Burgraff VINE VOICE on December 22, 2004
Format: DVD Verified Purchase
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.
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Format: Blu-ray
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.
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Format: DVD Verified Purchase
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.
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