After settling his differences with a Japanese PoW camp commander, a British colonel co-operates to oversee his men's construction of a railway bridge for their captors - while oblivious to a plan by the Allies to destroy it.
Scarlett is a woman who can deal with a nation at war, Atlanta burning, the Union Army carrying off everything from her beloved Tara, the carpetbaggers who arrive after the war. Scarlett is beautiful. She has vitality. But Ashley, the man she has wanted for so long, is going to marry his placid cousin, Melanie. Mammy warns Scarlett to behave herself at the party at Twelve Oaks. There is a new man there that day, the day the Civil War begins. Rhett Butler. Scarlett does not know he is in the room when she pleads with Ashley to choose her instead of Melanie. Written by
Dale O'Connor <email@example.com>
After the opening titles, there is a scene-setting crawl which was originally written by Ben Hecht. Nothing like this appears in the novel and, privately, Margaret Mitchell was none too enthused by it. See more »
At the beginning of the film there is a huge oak tree outside Tara's front door. After the war, and the Yankees have burned everything, the tree is gone. When the war is over, the tree returns in all its glory. See more »
What do we care if we *were* expelled from college, Scarlett? The war is gonna start any day now, so we'd have left college anyhow.
War! Isn't it exciting, Scarlett? You know those fool Yankees actually *want* a war?
We'll show 'em!
Fiddle-dee-dee! War, war, war; this war talk's spoiling all the fun at every party this spring. I get so bored I could scream. Besides... there isn't going to be any war.
Not going to be any war?
Why, honey, of course there's gonna be a war.
If either ...
[...] See more »
George Reeves is credited as playing the part of Brent Tarleton, and Fred Crane is billed as Stuart Tarleton. This is incorrect: Crane played Brent, and Reeves played Stuart. See more »
Astounding Film - GWTW is the Definition of a Classic!
The setting is a Georgia plantation. The year is 1861, and sixteen-year-old Scarlett O'Hara is infatuated with the blond, drowsy-eyed Ashley Wilkes - the problem is, Ashley plans to marry another woman. Little matter that every other man in the county is courting Scarlett and that a charming scoundrel named Rhett Butler is staring at her with questionable intent - she cares only for Ashley.
Suddenly, the Civil War brakes out, changing the fates and fortunes of all. Scarlett, clever, manipulative, and charming, proves an adept survivor - but what will she have to do to survive? And will she ever learn whom it is that she really loves?
GWTW is one of the most meticulously cast films ever; with the possible exception of Leslie Howard as Ashley (in his forties, rather old to be playing a man half that age), every role was perfectly assigned. After you watch Vivien Leigh you will be unable to imagine anyone else playing Scarlett, and Hattie McDaniel's strong, unforgettable performance as "Mammy" netted her an academy award (the first for an African-American actor).
GWTW's backdrop is the gruesome Civil War, and in the end this film is the story a woman and a civilization (the Old South) going through a war that will not leave either of them unchanged.
The cinematography is beautiful, memorable. Gone With the Wind was shot entirely in gorgeous technicolor; the scene of the fire in Atlanta required the use of all eight technicolor cameras in existence at the time.
The pragmatic may think Gone with the Wind overly dramatic; the restless may find it too long; the action-stimulated, too subtle. None of this, however, detracts from the fact that GWTW retains a lasting appeal as one of the crowning cinematic achievements of the 20th century. Those who see its ending as depressing - tragic, even - perhaps miss the point - which Scarlett O'Hara makes in her very last instant with us, tear-stained eyes uplifted in a sudden, curious burst of hope beneath all the turmoil; that .. . "After all, tomorrow is another day." 10/10
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