By Josh Sewell
For more than a decade, I’ve intermittently worked on a series known as Catching Up on the Classics. That’s when I get a chance to discuss iconic films that I’ve never seen or haven’t gotten a chance to write about.
Over the years, I’ve discussed my first impressions of all-timers like “It Happened One Night,” “2001: A Space Odyssey” and “Do the Right Thing.” I’ve also written about old favorites like “Titanic” and “To Kill a Mockingbird.”
But for an agricultural-themed issue of West Georgia Living early last year, I tackled one of the biggest – and most controversial – classics of all time. I’m referring to the 1939 blockbuster Gone with the Wind, which celebrated its 80th anniversary with a brief return to theaters last spring. The film has been a cornerstone of Southern culture since its premiere, mainly because of its depiction of its headstrong characters (often to a fault) and their perseverance in the face of catastrophe.
However, many historians argue that its mythologized version of the Old South glorifies the real-life traumas of slavery, the Civil War and Reconstruction in an attempt to make “the good ol’ days” seem more genteel than they actually were. As a result, the film has done genuine, long-lasting damage to the public’s understanding of the past. It advances the toxic “most slave owners weren’t bad” narrative that has plagued American folklore since the end of the Civil War, while also depicting most of its black characters – especially Prissy (Butterfly McQueen) and Pork (Oscar Polk) – in offensive, stereotypical fashion.
It’s impossible to separate these aspects from a critical evaluation of the film; even if it were, it would be irresponsible to do. That’s because the film has become something of a Southern “sacred text,” resulting in folklore becoming a false reality for many viewers. They watch it through a haze of nostalgia, longing for a time that never existed in the first place.
So, does that make director Victor Fleming’s four-hour epic a “bad” film? Not exactly – but it’s undeniably a contentious one. The world is a much different place in 2019 than it was when Gone with the Wind hit theaters 80 years ago, to wide acclaim and unprecedented success. So, while it would be unrealistic to hold the people who made the film to our modern understanding of history, politics, culture and social mores, it’s still crucial that we view it through the lens of what we actually know about the South in the 1860s.
Or what we know about America in the 1930s, for that matter – a time when Hattie McDaniel, who played Mammy, couldn’t attend her own film’s Atlanta premiere because of the state’s Jim Crow laws. She went on to become the first African-American to be nominated for, and win, an Academy Award (for Best Supporting Actress). But when she attended the 1940 ceremony, she was forced to sit at a separate table.
Still, the movie itself is a vital piece of American history: it’s a gold mine of information about pop culture, sociology, philosophy, the film industry, and much more. It’s got masterfully directed action sequences, stunning cinematography and a phenomenal score, as well as gorgeous production and costume design. Plus, it goes without saying it contains all-time great performances from Clark Gable, Vivien Leigh, Olivia de Havilland and Hattie McDaniel.
Even people who haven’t seen Gone with the Wind know the basic plot: archetypal Southern belle Scarlett O’Hara (Leigh) starts out as a plantation owner’s spoiled daughter. But over the course of the film, she transforms into an unyielding woman determined to protect her homestead and fortune at all costs – even if it means sacrificing her family and friends.
Most people think less of her because of her schemes, but scoundrel Rhett Butler (Gable) respects her unapologetic manipulations. As the Civil War destroys the world they’ve always known, the two characters keep crossing paths in ways both comical and dramatic. It’s only after the war is over and tragedy forces Scarlett to become her family’s matriarch that she understands how beneficial Rhett could be.
But will he still think her manipulative traits are charming when he’s the target? Considering Gable’s incredible final line has become an oft-quoted part of the cultural landscape, most people know the answer even if they haven’t seen the movie.
As most fans and movie nerds already know, Gone with the Wind remains the undisputed box office champ when you adjust for inflation. According to Box Office Mojo, the film made approximately $401 million worldwide over the course of its initial theatrical run and subsequent rereleases. When adjusted to reflect increased prices and number of tickets sold, that translates into a mind-blowing $7.3 billion in modern dollars. It’s a record the film will almost certainly hold forever.
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| Courtesy of MGM |
Over the years, I’ve discussed my first impressions of all-timers like “It Happened One Night,” “2001: A Space Odyssey” and “Do the Right Thing.” I’ve also written about old favorites like “Titanic” and “To Kill a Mockingbird.”
But for an agricultural-themed issue of West Georgia Living early last year, I tackled one of the biggest – and most controversial – classics of all time. I’m referring to the 1939 blockbuster Gone with the Wind, which celebrated its 80th anniversary with a brief return to theaters last spring. The film has been a cornerstone of Southern culture since its premiere, mainly because of its depiction of its headstrong characters (often to a fault) and their perseverance in the face of catastrophe.
However, many historians argue that its mythologized version of the Old South glorifies the real-life traumas of slavery, the Civil War and Reconstruction in an attempt to make “the good ol’ days” seem more genteel than they actually were. As a result, the film has done genuine, long-lasting damage to the public’s understanding of the past. It advances the toxic “most slave owners weren’t bad” narrative that has plagued American folklore since the end of the Civil War, while also depicting most of its black characters – especially Prissy (Butterfly McQueen) and Pork (Oscar Polk) – in offensive, stereotypical fashion.
It’s impossible to separate these aspects from a critical evaluation of the film; even if it were, it would be irresponsible to do. That’s because the film has become something of a Southern “sacred text,” resulting in folklore becoming a false reality for many viewers. They watch it through a haze of nostalgia, longing for a time that never existed in the first place.
So, does that make director Victor Fleming’s four-hour epic a “bad” film? Not exactly – but it’s undeniably a contentious one. The world is a much different place in 2019 than it was when Gone with the Wind hit theaters 80 years ago, to wide acclaim and unprecedented success. So, while it would be unrealistic to hold the people who made the film to our modern understanding of history, politics, culture and social mores, it’s still crucial that we view it through the lens of what we actually know about the South in the 1860s.
Or what we know about America in the 1930s, for that matter – a time when Hattie McDaniel, who played Mammy, couldn’t attend her own film’s Atlanta premiere because of the state’s Jim Crow laws. She went on to become the first African-American to be nominated for, and win, an Academy Award (for Best Supporting Actress). But when she attended the 1940 ceremony, she was forced to sit at a separate table.
Still, the movie itself is a vital piece of American history: it’s a gold mine of information about pop culture, sociology, philosophy, the film industry, and much more. It’s got masterfully directed action sequences, stunning cinematography and a phenomenal score, as well as gorgeous production and costume design. Plus, it goes without saying it contains all-time great performances from Clark Gable, Vivien Leigh, Olivia de Havilland and Hattie McDaniel.
Even people who haven’t seen Gone with the Wind know the basic plot: archetypal Southern belle Scarlett O’Hara (Leigh) starts out as a plantation owner’s spoiled daughter. But over the course of the film, she transforms into an unyielding woman determined to protect her homestead and fortune at all costs – even if it means sacrificing her family and friends.
Most people think less of her because of her schemes, but scoundrel Rhett Butler (Gable) respects her unapologetic manipulations. As the Civil War destroys the world they’ve always known, the two characters keep crossing paths in ways both comical and dramatic. It’s only after the war is over and tragedy forces Scarlett to become her family’s matriarch that she understands how beneficial Rhett could be.
But will he still think her manipulative traits are charming when he’s the target? Considering Gable’s incredible final line has become an oft-quoted part of the cultural landscape, most people know the answer even if they haven’t seen the movie.
As most fans and movie nerds already know, Gone with the Wind remains the undisputed box office champ when you adjust for inflation. According to Box Office Mojo, the film made approximately $401 million worldwide over the course of its initial theatrical run and subsequent rereleases. When adjusted to reflect increased prices and number of tickets sold, that translates into a mind-blowing $7.3 billion in modern dollars. It’s a record the film will almost certainly hold forever.
Clearly, there’s no way to write a deep-dive analysis of the film in such a limited space (that’s what books are for). However, I did want to specifically emphasize the fact that seeing the film on a giant screen rather than sitting in my living room changed my perspective somewhat.
Although I’d seen it before – in bits and pieces on television, spread out over a week in history class, and finally sitting through a marathon viewing as a teenager – I hadn’t revisited it in 20 years or more until the anniversary re-release in March. As you can imagine, that viewing experience was much different than popping in a VHS tape or sitting through a ton of commercials every few minutes.
That doesn’t mean I’ve done a total about-face and fallen in love with the film. Gone with the Wind is still a troubling watch for me in many respects. However, I can understand why others love it and why it still holds an important place in history.
The epic spectacle alone is enough to merit it worthy of inclusion in conversations about influential filmmaking. But factor in Leigh’s fearless central performance, playing a woman who doesn’t care if she’s “likeable,” and the seemingly effortless way Gable pivots from humor to drama, frequently in the same scene, it’s easy to see why its reputation has endured for 80 years.
Gone with the Wind is rated G.
Grade: B
Although I’d seen it before – in bits and pieces on television, spread out over a week in history class, and finally sitting through a marathon viewing as a teenager – I hadn’t revisited it in 20 years or more until the anniversary re-release in March. As you can imagine, that viewing experience was much different than popping in a VHS tape or sitting through a ton of commercials every few minutes.
That doesn’t mean I’ve done a total about-face and fallen in love with the film. Gone with the Wind is still a troubling watch for me in many respects. However, I can understand why others love it and why it still holds an important place in history.
The epic spectacle alone is enough to merit it worthy of inclusion in conversations about influential filmmaking. But factor in Leigh’s fearless central performance, playing a woman who doesn’t care if she’s “likeable,” and the seemingly effortless way Gable pivots from humor to drama, frequently in the same scene, it’s easy to see why its reputation has endured for 80 years.
Gone with the Wind is rated G.
Grade: B
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