Gone With The Wind Analysis Essays

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A politically correct “GWTW” would not be worth making, and might largely be a lie.

As an example of filmmaking craft, “GWTW” is still astonishing.

And there is a joyous flamboyance in the visual style that is appealing in these days when so many directors have trained on the blandness of television.

Consider an early shot where Scarlett and her father look out over the land, and the camera pulls back, the two figures and a tree held in black silhouette with the landscape behind them.

Or the way the flames of Atlanta are framed to backdrop Scarlett's flight in the carriage.

Gone With The Wind Analysis Essays

I've seen “Gone With the Wind” in four of its major theatrical revivals--1954, 1961, 1967 (the abortive “widescreen” version) and 1989, and now here is the 1998 restoration.That the Ku Klux Klan was written out of one scene for fear of giving offense to elected officials who belonged to it.The movie comes from a world with values and assumptions fundamentally different from our own--and yet, of course, so does all great classic fiction, starting with Homer and Shakespeare.Scarlett O'Hara is not a creature of the 1860s but of the 1930s: a free-spirited, willful modern woman.The way was prepared for her by the flappers of Fitzgerald's jazz age, by the bold movie actresses of the period, and by the economic reality of the Depression, which for the first time put lots of women to work outside their homes.It shows the South before, during and after the war, all seen through Scarlett's eyes. Here in this pretty world, Gallantry took its last bow.Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave.Several directors worked on the film; George Cukor incurred Clark Gable's dislike and was replaced by Victor Fleming, who collapsed from nervous exhaustion and was relieved by Sam Wood and Cameron Menzies. Selznick, the Steven Spielberg of his day, who understood that the key to mass appeal was the linking of melodrama with state-of-the-art production values.Some of the individual shots in “GWTW” still have the power to leave us breathless, including the burning of Atlanta, the flight to Tara and the “street of dying men” shot, as Scarlett wanders into the street and the camera pulls back until the whole Confederacy seems to lie broken and bleeding as far as the eye can see.Consider the early scene where they first lay eyes on one another during the barbecue at Twelve Oaks.Rhett “exchanges a cool, challenging stare with Scarlett,” observes the critic Tim Dirks.


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