Gone with the WindThe past is an individual experience, because each individual's past is his or her own. Gone with the Wind is a literary adaptation of the novel of the same name by Margaret Mitchell, and concerns the daughter of a plantation owner named Scarlett O'Hara (Vivian Leigh), before and after the Civil War. Spoiled and conceited from a young age, Scarlett's passions dictate her life. She entices men without a second thought for their welfare. But after she tries to seduce a man named Ashley Wilkes (Leslie Howard) to no avail, and he informs her that he is to wed his cousin, Melanie (Olivia de Havilland), she in turn becomes the object of desire for a gentleman adventurer (and smuggler), Rhett Butler (Clark Gable). Despite everything she gains and loses over the years, her fixation on Ashley overwhelms her and sours the joy of life for her and her family.
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Gone with the Wind is an icon of cinematic history, a larger-than-life embodiment of epic moviemaking. Its contentious production burned through directors--although Victor Fleming is credited here. This movie is really the brainchild of studio head, David O. Selznick. It represents one of the most significant examples of a "blockbuster" before the term was even invented. A huge, sprawling adaptation that runs shy of four hours, Gone with the Wind is filled with majestic vistas, elaborate sets, and production values far above those of many other films of the era. (It's not perfect, mind you; my wife points out that Scarlett's costuming and hair is more representative of the fashion of the time than the mid-19th century.) It's easy to take such a mad endeavor for granted these days, with huge multi-million dollar movies filling cineplexes around the world, but remember that Gone with the Wind was released in 1939, when even color movies were not yet commonplace. Nothing is small in this movie, least of which the ego of the protagonist. Because of the massive amount of content crammed into the lengthy runtime, Gone with the Wind moves with a speed (nay, impatience) that suits its self-absorbed main character. It's easy to forget that the driving force of virtually everything Scarlett does comes from being rejected bythe diplomatic Ashley--kindly rejected, but rejected all the same. Scarlett is ruled by the need to always get what she wants. She comes from wealthy Irish landowners, who have thrived in the South. Based on the behavior of not just Scarlett, but her sisters as well, her parents have spoiled them rotten. Her mother, Ellen (Barbara O'Neil), is an elitist. The first time we meet her, she is referring to the loss of a foreman's newborn child as a "blessing", solely because the mother was (in her words) "white trash". Cold. Her father expounds about the value of land, and based on his free spirit, it appears that he's obtained all that his heart desires through commerce. (And yes, unquestionably through the legalization of slavery. We'll talk more about that later.) The first time we see Scarlett, she is flanked by two eligible young bachelors fawning over her, and she's smirking like the cat who caught the canary. She's beautiful and she knows it. She entices men to get their favor, but I doubt that Scarlett even knows what love is. She confesses that she intends to wed Ashley, but why? He never gives any serious indication that he's interested in her. Her rival is the eternally benevolent Melanie, who comes off as so innocent as to be unbelievable. But perhaps this is because privilege has ruined Scarlett at a fundamental level. And because we are forced to spend all of our time with her, someone as good and kind as Melanie unfortunately seems like the exception rather than the rule.
Gone with the Wind is all about Scarlett's journey through perilous times, but it should be mentioned that she, tragically, fails to learn from her tribulations where it counts. She is a tragic figure not because she is pitiable (she isn't), but because of the chaos that she refuses to quell within her. She is a force of nature, and woe betide any that cross her path. It begins with Ashley, yes, but finishes with Rhett. That even the tragedy of the Civil War and everything afterward doesn't change this destructive vice within her makes those famous last lines of the movie ring with bitterness, not triumph. Ashley kindly rebuffs her, but this isn't enough to stop the arrogant belle. She marries a cousin of his just to spite him, who conveniently (for her) dies in the war (of measles). Rhett shows up to engage Scarlett at a charity auction, and it is unquestionably clear that he wants her. She even senses this from the first time he sees her, but her fixation on Ashley blinds her to his attraction. Ashley goes to war, and Melanie is pregnant. She has the unfortunate timing of going into labor as General Sherman is putting Atlanta to the torch, leading to one of the most exciting of cinematic escapes amid the burning city, with none other than Rhett coming to their rescue. Of course escape is necessary, but Scarlett is dead set on returning to her family home of Tara, despite the danger of travelling with the recovering Melanie and her newborn. Hiding under bridges to avoid enemy contact and getting drenched in downpours makes Melanie's recovery all the lengthier; but nothing will stop Scarlett from getting what she wants: Tara.
The moment where Scarlett might have experienced a true transformation comes after the intermission, following the famous scene of her pulling a filthy radish from the earth, getting sick on eating it, and swearing that she will never be hungry again. From here, she runs her household, defending it from scavengers (with Melanie's assistance), and doing everything in her power to protect her homestead from ruin. She is the boss, and gives direction to her family and the remaining slaves alike without favoritism, putting their survival at the forefront. This is a true one-eighty for the heretofore affluent Scarlett, but she takes to it with aplomb. And yet...she still doesn't fail to seize the opportunity to implore upon Ashley's affections as he is chopping wood. For her, this rejection is the wound that just won't heal, yet she's no lonely heart. Scarlett begins her backslide when she learns that the new government intends to tax them to such an outrageous extent as to render them homeless that she puts her instinct to thrive into overdrive, no matter the cost. Scarlett seduces the fiancé of her sister, Suellen (Evelyn Keyes), because she sees that he has profited in his business after the war. Keep in mind that she may just as well have been able to secure Tara as the O'Hara homestead if Suellen married him instead, but Scarlett was willing to alienate what remains of her family just to make sure that she was financially secure. The root of all evil once again infects Scarlett. Consider how despite Ashley's protestations to use prisoners for her lumber company as labor--which she makes him a co-owner of, another obvious attempt to woo him--she won't let the suffering of others affect her financial security. And when she indignantly refuses not to cut through a shantytown and is assaulted by the poor residing there--with the implication of rape on their minds--even this doesn't quell her selfishness. (And no, not even when her second husband dies en route to a "political meeting", which just so happens to coincide with a "raid" on the shantytown. One doesn't need to infer much as to what this was code for in the South, post-Civil War.)
Ultimately, Scarlett caves to Rhett's advances, and things seem happy for a time...so long as he lavishes his excessive wealth on her. But at no point does she ever fail to take up the opportunity to pursue Ashley, which remains a thorn in their marriage which never lets up until it's too late. Even Rhett, who proclaims that he isn't the marrying type, keeps up their marriage for the sake of their daughter. But owing to the almost preternatural ill-fortune that befalls all within Scarlett's orbit, even this can't last. The final nail comes with Melanie, who is almost Christ-like in her kindness toward Scarlett, despite being clearly aware of her intentions. I believe that this represents the other tragedy of Gone with the Wind. Melanie essentially gives all of herself to try to redeem her cousin-in-law, but to no avail. She stands by her side for helping her give birth under dire circumstances, but I think that she would have done so regardless. There is the sense that Melanie truly believes in the goodness of people, so long as they are shown love and kindness. But this fails with Scarlett. And after Melanie essentially "dies for Scarlett's sins", that is to redeem her in the eyes of her husband, suddenly Scarlett shifts gears and sets her sights on reclaiming Rhett--after his famous exeunt from their marriage. Because it reveals that it was never Ashley that was most important to Scarlett; it was the indignation of being told "no".
Too much has been made as of late about the way that Gone with the Wind represents "The Old South", slavery, and so on. It has been politicized and decried as a "racist" film, on the basis of its depictions of black people and attitudes toward them in the film. The problem with accusing anything of being "offensive" is, of course, that it is based on one's perception, not objective criteria. This movie is certainly a sentimental, biased view of the Confederacy, without question. Title cards leave no room for who the "villains" are in the Civil War; yet this is far from the whole story. History has a way of being rewritten to suit contemporary values, but no one alive today was also alive in this era. Everything we know about the Civil War is secondhand at best. So it all comes down to individual testimonies. Of course, slavery is wrong, and we acknowledge that now. But imagine how future generations will look back on our "contemporary values" and sneer at us for being knuckle-dragging cretins or the like. Times change and values change. This isn't an excuse, but it is meant to frame how our view of the past is warped by our own perception of it. And that's really what it's all about: perception. Obviously Margaret Mitchell had one perception of the past which informed Gone with the Wind. But to assume that this is a true representation of what life was like in the South is absurd. (And not just because of Scarlett's hair and costumes.) I expect that the treatment of slaves was not what is depicted in this movie. But we can never know how it varied from person to person, from plantation to plantation, because each of these experiences would have been different to some degree. It is childish and naive to look at the world in black and white terms, of "heroes" and "villains"...of "Cavaliers" and "Camelot" as the film's titles describe this era, since "gone with the wind", to be. Gone with the Wind is an important film, just as Song of the South and Do the Right Thing are important films in their own way. They are not amoral movies...they are not "dangerous". They may offend, but they have the right to exist, to inform, and even yes, to entertain. We are richer for living in a world with such a diverse tapestry. To deprive us of the past is to lie about who we are and where we came from. Each and every one of us deserves better.
Recommended for: Fans of a massive epic literary adaptation of an interpretation of The Old South. Gone with the Wind is a film that exists now as a part of history, but it is also an engaging and entertaining film of yesteryear, despite topical attempts to defame it. But see for yourself as I did recently. Let your own experiences guide your enjoyment of it (or distaste for it). Don't let someone else's opinion deprive you of the opportunity.
Gone with the Wind is all about Scarlett's journey through perilous times, but it should be mentioned that she, tragically, fails to learn from her tribulations where it counts. She is a tragic figure not because she is pitiable (she isn't), but because of the chaos that she refuses to quell within her. She is a force of nature, and woe betide any that cross her path. It begins with Ashley, yes, but finishes with Rhett. That even the tragedy of the Civil War and everything afterward doesn't change this destructive vice within her makes those famous last lines of the movie ring with bitterness, not triumph. Ashley kindly rebuffs her, but this isn't enough to stop the arrogant belle. She marries a cousin of his just to spite him, who conveniently (for her) dies in the war (of measles). Rhett shows up to engage Scarlett at a charity auction, and it is unquestionably clear that he wants her. She even senses this from the first time he sees her, but her fixation on Ashley blinds her to his attraction. Ashley goes to war, and Melanie is pregnant. She has the unfortunate timing of going into labor as General Sherman is putting Atlanta to the torch, leading to one of the most exciting of cinematic escapes amid the burning city, with none other than Rhett coming to their rescue. Of course escape is necessary, but Scarlett is dead set on returning to her family home of Tara, despite the danger of travelling with the recovering Melanie and her newborn. Hiding under bridges to avoid enemy contact and getting drenched in downpours makes Melanie's recovery all the lengthier; but nothing will stop Scarlett from getting what she wants: Tara.
The moment where Scarlett might have experienced a true transformation comes after the intermission, following the famous scene of her pulling a filthy radish from the earth, getting sick on eating it, and swearing that she will never be hungry again. From here, she runs her household, defending it from scavengers (with Melanie's assistance), and doing everything in her power to protect her homestead from ruin. She is the boss, and gives direction to her family and the remaining slaves alike without favoritism, putting their survival at the forefront. This is a true one-eighty for the heretofore affluent Scarlett, but she takes to it with aplomb. And yet...she still doesn't fail to seize the opportunity to implore upon Ashley's affections as he is chopping wood. For her, this rejection is the wound that just won't heal, yet she's no lonely heart. Scarlett begins her backslide when she learns that the new government intends to tax them to such an outrageous extent as to render them homeless that she puts her instinct to thrive into overdrive, no matter the cost. Scarlett seduces the fiancé of her sister, Suellen (Evelyn Keyes), because she sees that he has profited in his business after the war. Keep in mind that she may just as well have been able to secure Tara as the O'Hara homestead if Suellen married him instead, but Scarlett was willing to alienate what remains of her family just to make sure that she was financially secure. The root of all evil once again infects Scarlett. Consider how despite Ashley's protestations to use prisoners for her lumber company as labor--which she makes him a co-owner of, another obvious attempt to woo him--she won't let the suffering of others affect her financial security. And when she indignantly refuses not to cut through a shantytown and is assaulted by the poor residing there--with the implication of rape on their minds--even this doesn't quell her selfishness. (And no, not even when her second husband dies en route to a "political meeting", which just so happens to coincide with a "raid" on the shantytown. One doesn't need to infer much as to what this was code for in the South, post-Civil War.)
Ultimately, Scarlett caves to Rhett's advances, and things seem happy for a time...so long as he lavishes his excessive wealth on her. But at no point does she ever fail to take up the opportunity to pursue Ashley, which remains a thorn in their marriage which never lets up until it's too late. Even Rhett, who proclaims that he isn't the marrying type, keeps up their marriage for the sake of their daughter. But owing to the almost preternatural ill-fortune that befalls all within Scarlett's orbit, even this can't last. The final nail comes with Melanie, who is almost Christ-like in her kindness toward Scarlett, despite being clearly aware of her intentions. I believe that this represents the other tragedy of Gone with the Wind. Melanie essentially gives all of herself to try to redeem her cousin-in-law, but to no avail. She stands by her side for helping her give birth under dire circumstances, but I think that she would have done so regardless. There is the sense that Melanie truly believes in the goodness of people, so long as they are shown love and kindness. But this fails with Scarlett. And after Melanie essentially "dies for Scarlett's sins", that is to redeem her in the eyes of her husband, suddenly Scarlett shifts gears and sets her sights on reclaiming Rhett--after his famous exeunt from their marriage. Because it reveals that it was never Ashley that was most important to Scarlett; it was the indignation of being told "no".
Too much has been made as of late about the way that Gone with the Wind represents "The Old South", slavery, and so on. It has been politicized and decried as a "racist" film, on the basis of its depictions of black people and attitudes toward them in the film. The problem with accusing anything of being "offensive" is, of course, that it is based on one's perception, not objective criteria. This movie is certainly a sentimental, biased view of the Confederacy, without question. Title cards leave no room for who the "villains" are in the Civil War; yet this is far from the whole story. History has a way of being rewritten to suit contemporary values, but no one alive today was also alive in this era. Everything we know about the Civil War is secondhand at best. So it all comes down to individual testimonies. Of course, slavery is wrong, and we acknowledge that now. But imagine how future generations will look back on our "contemporary values" and sneer at us for being knuckle-dragging cretins or the like. Times change and values change. This isn't an excuse, but it is meant to frame how our view of the past is warped by our own perception of it. And that's really what it's all about: perception. Obviously Margaret Mitchell had one perception of the past which informed Gone with the Wind. But to assume that this is a true representation of what life was like in the South is absurd. (And not just because of Scarlett's hair and costumes.) I expect that the treatment of slaves was not what is depicted in this movie. But we can never know how it varied from person to person, from plantation to plantation, because each of these experiences would have been different to some degree. It is childish and naive to look at the world in black and white terms, of "heroes" and "villains"...of "Cavaliers" and "Camelot" as the film's titles describe this era, since "gone with the wind", to be. Gone with the Wind is an important film, just as Song of the South and Do the Right Thing are important films in their own way. They are not amoral movies...they are not "dangerous". They may offend, but they have the right to exist, to inform, and even yes, to entertain. We are richer for living in a world with such a diverse tapestry. To deprive us of the past is to lie about who we are and where we came from. Each and every one of us deserves better.
Recommended for: Fans of a massive epic literary adaptation of an interpretation of The Old South. Gone with the Wind is a film that exists now as a part of history, but it is also an engaging and entertaining film of yesteryear, despite topical attempts to defame it. But see for yourself as I did recently. Let your own experiences guide your enjoyment of it (or distaste for it). Don't let someone else's opinion deprive you of the opportunity.