Frankly My Dear, I Don’t Give A Damn

“Gone With The Wind”  (1939) — movie review
Today’s review is for the sweeping historical romance “Gone With The Wind” (1939), directed by Victor Fleming (with uncredited contributions by George Cukor and Sam Wood).  The film stars Vivien Leigh as Scarlett O’Hara — the indomitable, manipulative, and endlessly compelling Southern belle whose willpower outlasts empires;  Clark Gable as Rhett Butler — the rakish blockade runner whose charm masks a bruised idealism;  Olivia de Havilland as Melanie Hamilton — the moral center of the story, all grace and quiet strength;  and Leslie Howard as Ashley Wilkes — the gentleman dreamer forever caught between honor and desire.  Rounding out the ensemble are Hattie McDaniel as Mammy (whose performance earned her the first Academy Award ever won by an African American actor), Butterfly McQueen as Prissy, and Thomas Mitchell as Gerald O’Hara.  With its Technicolor grandeur, iconic score by Max Steiner, and monumental production scale, the film remains one of the most famous — and controversial — epics in cinema history.
Background:  I came to “Gone With The Wind” with a very mixed attitude.  This was a film which I had avoided for much of my life.  The film (DVD) was a combined gift (with “Citizen Kane“) from my daughter who I fell into a conversation with about famous movies I’d never seen.  She watched “GWTW” in one of her high school history or social studies classes.  I’d never watched it for a number of reasons – the two main reasons were I wasn’t much interested in films “before my time”, particularly pre-1900 settings, and I’d heard it was a “Southern” viewpoint of the Civil War.  Although born in Missouri, I was raised almost exclusively in San Francisco, California and I considered (was taught) “Southerners” to be traitors to the Constitution and to the country.  Needless to say, I was not predisposed to entertain a positive “Southern” representation of either slavery or of the “Lost Cause”.  Anyway, I watched (sat through) the film years ago and was not particularly impressed – but I was looking at it through different eyes…
Released in 1939, which is sometimes cited as Hollywood’s greatest single year, “Gone With The Wind” was a colossal production for Selznick International Pictures.  Adapted from Margaret Mitchell’s Pulitzer Prize–winning novel, the film cost nearly $4 million — astronomical for its time — and became one of the highest-grossing films in history when adjusted for inflation.  At the 12th Academy Awards, it won eight competitive Oscars, including Best Picture, Best Director (Fleming), Best Actress (Leigh), Best Supporting Actress (McDaniel), Best Screenplay, Best Cinematography (Color), Best Art Direction, and Best Editing, plus two honorary awards.  Its historical significance is undeniable:  it marked a turning point in Technicolor film-making, set new standards for epic storytelling, and remains a cultural touchstone — albeit one whose romanticized depiction of the (racist) antebellum South continues to spark debate.
Plot:  Set against the backdrop of the American Civil War and Reconstruction, the film follows Scarlett O’Hara, the headstrong daughter of a wealthy plantation owner.  Obsessed with Ashley Wilkes — who marries the gentle Melanie Hamilton — Scarlett’s jealousy and ambition drive her into a series of marriages, manipulations, and desperate survival strategies.  As war ravages the South, Scarlett claws her way through starvation, loss, and ruin, determined to preserve her family’s plantation, Tara.  Meanwhile, Rhett Butler enters her life as both foil and partner, matching her wit for wit and flaw for flaw.  Their tempestuous relationship becomes the film’s emotional core, culminating in heartbreak, disillusionment, and the famous final line that has echoed through cinematic history.  The narrative spans years, weaving personal drama with national catastrophe, and ultimately leaves Scarlett alone — but unbroken.
So, is this movie any good?  How’s the acting?  The filming / FX?  Any problems?  And, did I enjoy the film?  Short answers:  Yes;  exceptional;  visually stunning;  several;  yes.
Any Good?  Yes.  “Gone With The Wind” is a monumental achievement in classical Hollywood film-making.  It balances intimate character drama with sweeping historical spectacle, and despite its length (nearly four hours), the narrative rarely drags.  The film’s emotional beats — love, loss, pride, survival — still resonate.  Yet it is also a film that must be viewed with historical awareness:  its overly romanticized portrayal of the Old South and its depiction of enslaved characters reflect the prejudices of its era (the 1860s AND the 1930s).  As cinema, it is extraordinary;   as history, it is complicated.
Acting:  Vivien Leigh delivers one of the most iconic performances in film history.  Her Scarlett is fierce, flawed, magnetic, and utterly alive — a character who dominates every frame.  Clark Gable’s Rhett Butler is equally compelling, blending swagger with vulnerability.  Their chemistry is electric, even when the characters are at their most destructive.  Olivia de Havilland brings warmth and dignity to Melanie, grounding the film’s moral axis. Leslie Howard, though miscast by his own admission, still conveys Ashley’s gentility and inner conflict.  Hattie McDaniel’s Mammy is a standout — sharp, commanding, and emotionally rich — and her Oscar win remains a landmark moment in Hollywood history.
Filming / FX:  The film is visually breathtaking.  Shot in three-strip Technicolor, it remains one of the most beautiful color films ever made.  The burning of Atlanta sequence is legendary — a massive practical set piece that still impresses.  The production design captures both the opulence of plantation life and the devastation of war.  Max Steiner’s score is lush and unforgettable, particularly the “Tara’s Theme” motif.  The editing and pacing are remarkably controlled for such a sprawling narrative.  While some matte paintings and rear-projection shots show their age, the overall craftsmanship is astonishing for 1939.
Problems:  Several.  The film’s portrayal of slavery and the antebellum South is deeply sanitized, perpetuating Lost Cause mythology and minimizing the brutality of the institution.  The enslaved characters are written within the stereotypes of the era, which can be uncomfortable or offensive to modern viewers.  The romanticization of plantation life is historically inaccurate and ideologically fraught.  Additionally, the film’s length may challenge contemporary audiences, and some melodramatic elements feel dated.  Still, these issues are part of the film’s legacy and must be acknowledged when evaluating its place in cinematic history.
Did I Enjoy the Film?  Yes.  As with many epics, “Gone With The Wind” demands reflection.  Its emotional arcs, performances, and visual splendor remain powerful.  The film is both a product of its time (late 1930s) and a towering achievement of classical Hollywood.  Watching it today requires a dual lens — appreciating its artistry while recognizing its historical blind spots (mainly the overt racism of slavery).  But as a cinematic experience, it remains compelling, immersive, and memorable.
Final Recommendation:  Very High to MUST See recommendation — with context.  “Gone With The Wind” is essential viewing for anyone interested in film history, epic storytelling, or the evolution of Hollywood craftsmanship.  Its eight Academy Awards, groundbreaking Technicolor cinematography, and iconic performances secure its place among the most influential films ever made.  At the same time, its overly romanticized depiction of the Old South demands critical engagement / comment.  Approach it as both art and artifact — a masterpiece of film-making and a reminder of the narratives America once embraced.  It is well worth your viewing time.
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Click here (12 January) to see the posts of prior years.  I started this blog in late 2009.  Daily posting began in late January 2011.  Not all of the days in the early years (2009-2010) will have posts.

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