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 <firstname.lastname@example.org>
The initial director, George Cukor, was fired over his problems with the screenplay and the constant alterations to it, which he received almost daily from producer David O. Selznick. When Victor Fleming came on board in February 1939, he also rejected the script. Production was shut down for 17 days while it was rewritten by Ben Hecht. Supposedly, Hecht was not allowed time to read Margaret Mitchell's original novel; instead, Selznick and Fleming would often play out parts from the book, to which Hecht had to write dialogue. Hecht was reportedly commanded by Selznick to write almost continuously for days without breaks, with Selznick bringing him food. Hecht used Sidney Howard's original script (which he felt was superb) as the basis for his rewrite, but only got to re-write the first half, which may be one of the reasons why many consider the first half of the movie to be superior to the second half. Ironically, Hecht did not receive official credit for his writing, with Howard listed as the movie's only screenwriter. See more »
Shadow on the right hand white door when Scarlett leaves the makeshift hospital. 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 »
Rather than simply saying "Selznick International in association with Metro-Goldwyn Mayer presents Margaret Mitchell's 'Gone With the Wind'", the opening credits say "Selznick International in association with Metro-Goldwyn Mayer has the honor to present its Technicolor production of Margaret Mitchell's story of the Old South 'Gone With the Wind'". See more »
I believe that when one views a film, one should consider the context in which it was made.
Barely 10 years after talking pictures were first created; less than that after the first full-length color feature film was created; near the end of the greatest depression this country ever experienced, and in which pretty much the only entertainment available to most was radio or the movies; David O Selznik decided to turn the biggest pot-boiler blockbuster novel into a movie.
And what a movie. Stunning color, the most popular mail actor of his time, perfect music score, incredible action scenes, story line only 70 years removed from when it happened, and on, and on. Can you imagine what a store-clerk or a farmer, or a teacher experienced in that world, seeing Gone With the Wind? What was there to compare with? 1939 was a watershed year for great movies, and this one was the greatest produced. Try watching this movie as if there were no TV, no DVD's, only a few radio stations, spending maybe the second to the last quarter you owned, never having seen such a movie before, and you get what I mean. Masterful for its time, and still timeless today.
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