Gone Witht He Wind


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Gone Witht He Wind

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Die junge, schöne Scarlett O'Hara, Tochter eines reichen Plantagenbesitzers, verliebt sich unsterblich in den Soldaten Ashley. Als der jedoch ihre Cousine Melanie heiratet, bricht für Scarlett eine Welt zusammen. Dann lernt sie den. Vom Winde verweht (Originaltitel: Gone with the Wind) ist eine US-amerikanische Literaturverfilmung aus dem Jahr mit Vivien Leigh und Clark Gable in. Vom Winde verweht bzw. in jüngerer Übersetzung Vom Wind verweht (Gone with the Wind) ist ein Roman von Margaret Mitchell um die fiktiven Figuren Scarlett. Since its original publication in , Gone With the Wind—winner of the Pulitzer Prize and one of the bestselling novels of all time—has been heralded by. Gone with the Wind | Mitchell, Margaret, Conroy, Pat | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. «Gone with the Wind» ist endlich neu übersetzt. Und wird dabei fast zu brav. Das war überfällig: Die alte deutsche Fassung von «Vom Winde. Thalia: Infos zu Autor, Inhalt und Bewertungen ❤ Jetzt»Gone With the Wind«nach Hause oder Ihre Filiale vor Ort bestellen!

Gone Witht He Wind

Vom Winde verweht (Originaltitel: Gone with the Wind) ist eine US-amerikanische Literaturverfilmung aus dem Jahr mit Vivien Leigh und Clark Gable in. Gone with the Wind | Mitchell, Margaret, Conroy, Pat | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Die junge, schöne Scarlett O'Hara, Tochter eines reichen Plantagenbesitzers, verliebt sich unsterblich in den Soldaten Ashley. Als der jedoch ihre Cousine Melanie heiratet, bricht für Scarlett eine Welt zusammen. Dann lernt sie den. Am nächsten Morgen ist Scarlett zu stolz, um Rhett Betsoft Casino gestehen, wie sehr sie diese Liebesnacht genossen hat, und Rhett teilt ihr Wissensquiz Spiel, dass er sie verlassen werde. Vom Winde verweht bzw. Bei der DVD-Fassung wurde anstelle des Breitwandformats von wieder auf das originale Format zurückgegriffen; das hat schwarze Streifen an den seitlichen Bildrändern zur Folge. Die in dieser Szene zu sehenden Silhouetten von Scarlett und Rhett Amberg Casino von verschiedenen Doubles verkörpert. Die Wahl fiel auf Goddard, diese konnte angeblich jedoch keine Heiratsurkunde für ihre Ehe mit Charlie Chaplin vorweisen und galt deswegen als moralisch unhaltbar. Melanie empfängt Scarlett Sonic Games Online und hält die Gäste an, Scarlett nicht zu ächten. Die sind weg. Gone Witht He Wind The film received positive reviews upon its release in Decemberalthough some reviewers found it to be too long. Gone with the Wind has been criticized as having perpetuated Civil War myths and black stereotypes. And when the wars were over no one Sandra Naujoks knew what they were about. Manchester University Press. Eurith D. The filming Konto Mehrzahl the movie itself had all of those same Pc Spiele Windows 8 Kostenlos, except for war. AFI Years Harris Interactive. Nash Information Services. Beste Online Depots August 9, Gone With the Wind sollte nicht einfach hübsch aussehen. Waren unangenehme Farben zur Dramatisierung nötig, nutzten wir sie. Ein roter Himmel und. Victor Fleming, USA, , min, Gone with the Wind ist immer noch der populärste Film überhaupt. Vor allem aber ist es ein Film von emblematischer. Die LP Max Steiner: Filmmusik: Gone With The Wind - The Complete Original Soundtrack (Limited Edition) jetzt kaufen. Mehr von Max Steiner gibt es im Shop. Schau dir unsere Auswahl an gone with the wind an, um die tollsten einzigartigen oder spezialgefertigten, handgemachten Stücke aus unseren Shops zu.

However, due to revolutionaries in the Bahamas, this group of slaves was set free and not forced to return back to where they were wrongfully treated.

Unfortunately, this is the situation all too many slaves had to face. Another example of escaped slaves can be seen in a letter written to the State Directors of the Federal Writers Project.

In this letter, Henry G. Alberg, the author, explicitly states that there were advertisements for fugitive slaves. This letter is an essential clue into how people of color used to be treated because now, in more modern times, while walking down the street there would never be a flyer claiming a reward for a person who has run away from their master.

In Charleston in , a group of slaves led a violent revolt. They tried to flee to Georgia, but were found and eventually the whole group of them were executed.

Another famous example of slaves rebelling is the Stono Rebellion. A group of slaves robbed a store and began their journey.

As they ventured through states, many people died and their group that began as twenty had grown to near one hundred.

Following this rebellion, many of the whites in the South had a growing fear that another uprising would taken place, so they placed even stricter laws on their slaves.

These laws tried to prevent those who were enslaved from accumulating into groups, growing food for themselves, and made a new ratio for blacks to whites on plantations.

All these new laws were in hopes to prevent a future revolt. In Gone With the Wind, slaves were portrayed in the way that Southerners wanted the rest of the world to see them as, even though it may not have been completely accurate.

The film depicted how women were portrayed and showed many of the struggles that they endured. Firstly, as seen through many characters, such as Scarlett, marriage was a big deal.

Due to the fact that women did not have much of their own social status, they relied heavily on their husbands to be successful and wealthy.

When it was time for a female to get married, she had to make sure that her husband would be able to provide for not only her, but also for their future children.

Her father would need to approve of her fiance and his family. Her father cared about her more than anything, as did her mother although her mother was an almost impossible role model, due to her strong will and determination compared to her spirited daughter, for her to grow up to be like.

When it was time for Scarlett to marry, Gerald and Ellen supervised her choice and gave their input, but ultimately let her decide whom she wanted to spend her life with.

This would have very uncommon in this time period. In the film, women are also seen doing what they can to make themselves appear as feminine as they can.

This can be seen when Scarlett was preparing to go to the party in one of the beginning scenes Gone with the Wind Selznick. Mammy, the house slave, brought up a giant platter of food and tells her to begin eating.

Scarlett stuffed herself then, in the privacy of her own home, so that when she was out in public, surrounded by all the people of importance in her life, she will be able to eat very little and still be satisfied.

This was a common practice back in the day. Women were constantly watched and judged based on their appearance. They had to be very conscious of how they presented themselves.

In a time where the female body was very critiqued, women were even more self -aware of their bodies then they are today. In order to combat this insecurity, women would be very careful about what they ate in front of other people, especially men.

Women would also be tend to wear elegant dresses that were fitted weeks before an event, so they had to be confident that their attire would still fit properly.

In the movie, there is also an accurate representation of how women helped out on the plantation. While these women were wealthy thanks to their husbands fortunes, they also played a role in the overseeing of slaves.

She would be the figure out what the next days work would be, mainly for the house slave Mammy. I will make you faint. Gentlemen all — what do they know about women?

What do they know about you? I know you. Ashley Wilkes. I made a pretty suit of clothes and fell in love with it.

And when Ashley came riding along, so handsome, so different, I put that suit on him and made him wear it whether it fitted him or not. I kept on loving the pretty clothes—and not him at all.

And when the wars were over no one ever knew what they were about. Also read these memorable Dumb and Dumber quotes that will make your day. He has the most terrible reputation.

Be different and be damned! She tried to speak and his mouth was over hers again. Suddenly she had a wild thrill such as she had never known; joy, fear, madness, excitement, surrender to arms that were too strong, lips too bruising, fate that moved too fast.

This is my second favorite book in the world and my favorite classic movie. Scarlett learns that her mother has just died of typhoid fever and her father has become senile.

With Tara pillaged by Union troops and the fields untended, Scarlett vows she will do anything for the survival of her family and herself.

As the O'Haras work in the cotton fields, Scarlett's father attempts to chase away a carpetbagger from his land, but is thrown from his horse and killed.

With the defeat of the Confederacy, Ashley also returns, but finds he is of little help at Tara. When Scarlett begs him to run away with her, he confesses his desire for her and kisses her passionately, but says he cannot leave Melanie.

Frank, Ashley, Rhett and several other accomplices make a night raid on a shanty town after Scarlett is attacked while driving through it alone, resulting in Frank's death.

With Frank's funeral barely over, Rhett proposes to Scarlett and she accepts. Rhett and Scarlett have a daughter whom Rhett names Bonnie Blue, but Scarlett, still pining for Ashley and chagrined at the perceived ruin of her figure, lets Rhett know that she wants no more children and that they will no longer share a bed.

One day at Frank's mill, Scarlett and Ashley are seen embracing by Ashley's sister, India, and harboring an intense dislike of Scarlett she eagerly spreads rumors.

Later that evening, Rhett, having heard the rumors, forces Scarlett to attend a birthday party for Ashley. Melanie, howewer stands by Scarlett. After returning home from the party, Scarlett finds Rhett downstairs drunk, and they argue about Ashley.

Rhett kisses Scarlett against her will, stating his intent to have sex with her that night, and carries the struggling Scarlett to the bedroom.

The next day, Rhett apologizes for his behavior and offers Scarlett a divorce, which she rejects, saying that it would be a disgrace.

When Rhett returns from an extended trip to London, Scarlett informs him that she is pregnant, but an argument ensues which results in her falling down a flight of stairs and suffering a miscarriage.

As she is recovering, tragedy strikes when Bonnie dies while attempting to jump a fence with her pony. Scarlett and Rhett visit Melanie, who has suffered complications arising from a new pregnancy, on her deathbed.

As Scarlett consoles Ashley, Rhett prepares to leave Atlanta. Having realized that it was him she truly loved all along, and not Ashley, Scarlett pleads with Rhett to stay, but Rhett rebuffs her and walks away into the morning fog, leaving her in tears on the staircase.

A distraught Scarlett resolves to return home to Tara, believing that one day she will get Rhett back. Following the death of Olivia de Havilland—who played Melanie Hamilton—in July at the age of , the only surviving credited cast member from the film is Mickey Kuhn, who played Melanie's son, Beau.

Before publication of the novel, several Hollywood executives and studios declined to create a film based on it, including Louis B.

Selznick of Selznick International Pictures. Jack L. Warner of Warner Bros liked the story, but his biggest star Bette Davis was not interested, and Darryl Zanuck of 20th Century-Fox had not offered enough money.

However, Selznick changed his mind after his story editor Kay Brown and business partner John Hay Whitney urged him to buy the film rights.

The casting of the two lead roles became a complex, two-year endeavor. The arrangement to release through MGM meant delaying the start of production until the end of , when Selznick's distribution deal with United Artists concluded.

Selznick began a nationwide casting call that interviewed 1, unknowns. Katharine Hepburn lobbied hard for the role with the support of her friend, George Cukor, who had been hired to direct, but she was vetoed by Selznick who felt she was not right for the part.

However, Hopkins was in her mid-thirties at the time and was considered too old for the part. Leigh's American agent was the London representative of the Myron Selznick talent agency headed by David Selznick's brother, one of the owners of Selznick International , and she had requested in February that her name be submitted for consideration as Scarlett.

By the summer of the Selznicks were negotiating with Alexander Korda , to whom Leigh was under contract, for her services later that year.

In a letter to his wife two days later, Selznick admitted that Leigh was "the Scarlett dark horse", and after a series of screen tests, her casting was announced on January 13, Identically, Miss Leigh's parents are French and Irish.

A pressing issue for Selznick throughout casting was Hollywood's persistent failure to accurately portray Southern accents. The studio believed that if the accent was not accurately depicted it could prove detrimental to the film's success.

Selznick hired Susan Myrick an expert on Southern speech, manners and customs recommended to him by Mitchell and Will A.

Price to coach the actors on speaking with a Southern drawl. Mitchell was complimentary about the vocal work of the cast, noting the lack of criticism when the film came out.

Of the original screenplay writer, Sidney Howard , film historian Joanne Yeck writes, "reducing the intricacies of Gone with the Wind ' s epic dimensions was a herculean task Fleming was dissatisfied with the script, so Selznick brought in the screenwriter Ben Hecht to rewrite the entire screenplay within five days.

Hecht returned to Howard's original draft and by the end of the week had succeeded in revising the entire first half of the script. Selznick undertook rewriting the second half himself but fell behind schedule, so Howard returned to work on the script for one week, reworking several key scenes in part two.

The fact that Howard's name alone appears on the credits may have been as much a gesture to his memory as to his writing, for in Sidney Howard died at age 48 in a farm-tractor accident, and before the movie's premiere.

Offhand I doubt that there are ten original words of [Oliver] Garrett's in the whole script. As to construction, this is about eighty per cent my own, and the rest divided between Jo Swerling and Sidney Howard, with Hecht having contributed materially to the construction of one sequence.

Hecht was in the middle of working on the film At the Circus for the Marx Brothers. Recalling the episode in a letter to screenwriter friend Gene Fowler , he said he hadn't read the novel but Selznick and director Fleming could not wait for him to read it.

They acted scenes based on Sidney Howard's original script which needed to be rewritten in a hurry. Hecht wrote, "After each scene had been performed and discussed, I sat down at the typewriter and wrote it out.

Selznick and Fleming, eager to continue with their acting, kept hurrying me. We worked in this fashion for seven days, putting in eighteen to twenty hours a day.

Selznick refused to let us eat lunch, arguing that food would slow us up. He provided bananas and salted peanuts MacAdams writes, "It is impossible to determine exactly how much Hecht scripted In the official credits filed with the Screen Writers Guild , Sidney Howard was of course awarded the sole screen credit, but four other writers were appended Jo Swerling for contributing to the treatment, Oliver H.

Garrett and Barbara Keon to screenplay construction, and Hecht, to dialogue Principal photography began January 26, , and ended on July 1, with post-production work continuing until November 11, Director George Cukor , with whom Selznick had a long working relationship and who had spent almost two years in pre-production on Gone with the Wind , was replaced after less than three weeks of shooting.

Emanuel Levy , Cukor's biographer, claimed that Gable had worked Hollywood's gay circuit as a hustler and that Cukor knew of his past, so Gable used his influence to have him discharged.

Although some of Cukor's scenes were later reshot, Selznick estimated that "three solid reels" of his work remained in the picture. As of the end of principal photography, Cukor had undertaken eighteen days of filming, Fleming ninety-three, and Wood twenty-four.

Cinematographer Lee Garmes began the production, but on March 11, —after a month of shooting footage that Selznick and his associates regarded as "too dark"—was replaced with Ernest Haller , working with Technicolor cinematographer Ray Rennahan.

Garmes completed the first third of the film—mostly everything prior to Melanie having the baby—but did not receive a credit.

With that amendment, the Production Code Administration had no further objection to Rhett's closing line. Warner Bros. Steiner spent twelve weeks working on the score, the longest period that he had ever spent writing one, and at two hours and thirty-six minutes long it was also the longest that he had ever written.

The score is characterized by two love themes, one for Ashley's and Melanie's sweet love and another that evokes Scarlett's passion for Ashley, though notably there is no Scarlett and Rhett love theme.

The theme that is most associated with the film today is the melody that accompanies Tara, the O'Hara plantation; in the early s, "Tara's Theme" formed the musical basis of the song "My Own True Love" by Mack David.

In all, there are ninety-nine separate pieces of music featured in the score. Due to the pressure of completing on time, Steiner received some assistance in composing from Friedhofer, Deutsch and Heinz Roemheld , and in addition, two short cues—by Franz Waxman and William Axt —were taken from scores in the MGM library.

The film was still a rough cut at this stage, missing completed titles and lacking special optical effects. It ran for four hours and twenty-five minutes; it was later cut to under four hours for its proper release.

A double bill of Hawaiian Nights and Beau Geste was playing, but after the first feature it was announced that the theater would be screening a preview; the audience were informed they could leave but would not be readmitted once the film had begun, nor would phone calls be allowed once the theater had been sealed.

When the title appeared on the screen the audience cheered, and after it had finished it received a standing ovation. Sometimes I think it's the greatest picture ever made.

But if it's only a great picture, I'll still be satisfied. About , people came out in Atlanta for the film's premiere at the Loew's Grand Theatre on December 15, It was the climax of three days of festivities hosted by Mayor William B.

Hartsfield , which included a parade of limousines featuring stars from the film, receptions, thousands of Confederate flags, and a costume ball.

Eurith D. Rivers , the governor of Georgia, declared December 15 a state holiday. An estimated three hundred thousand Atlanta residents and visitors lined the streets for seven miles to view the procession of limousines that brought stars from the airport.

Upon learning that McDaniel had been barred from the premiere, Clark Gable threatened to boycott the event, but McDaniel persuaded him to attend.

After reaching saturation as a roadshow, MGM revised its terms to a 50 percent cut and halved the prices, before it finally entered general release in at "popular" prices.

In doing so, a number of shots were optically re-framed and cut into the three-strip camera negatives, forever altering five shots in the film.

A release of the film commemorated the centennial anniversary of the start of the Civil War, and it also included a gala "premiere" at the Loew's Grand Theater.

It was attended by Selznick and many other stars of the film, including Vivien Leigh and Olivia de Havilland; [40] Clark Gable had died the previous year.

In , a 4K digital restoration was released in the United Kingdom to coincide with Vivien Leigh's centenary. The film received its U. The film debuted on videocassette in March , where it placed second in the sales charts, [19] and has since been released on DVD and Blu-ray Disc formats.

Upon its release, consumer magazines and newspapers generally gave Gone with the Wind excellent reviews; [9] however, while its production values, technical achievements, and scale of ambition were universally recognized, some reviewers of the time found the film to be too long and dramatically unconvincing.

Frank S. Nugent for The New York Times best summed up the general sentiment by acknowledging that while it was the most ambitious film production made up to that point, it probably was not the greatest film ever made, but he nevertheless found it to be an "interesting story beautifully told".

There are moments when the two categories meet on good terms, but the long stretches between are filled with mere spectacular efficiency.

While the film was praised for its fidelity to the novel, [50] this aspect was also singled out as the main factor in contributing to the lengthy running time.

Flinn wrote for Variety that Selznick had "left too much in", and that as entertainment, the film would have benefited if repetitious scenes and dialog from the latter part of the story had been trimmed.

The Guardian believed that if "the story had been cut short and tidied up at the point marked by the interval, and if the personal drama had been made subservient to a cinematic treatment of the central theme—the collapse and devastation of the Old South—then Gone With the Wind might have been a really great film".

Despite many excellent scenes, he considered the drama to be unconvincing and that the "psychological development" had been neglected.

Much of the praise was reserved for the casting, with Vivien Leigh in particular being singled out for her performance as Scarlett.

Nugent described her as the "pivot of the picture" and believed her to be "so perfectly designed for the part by art and nature that any other actress in the role would be inconceivable".

At the 12th Academy Awards , Gone with the Wind set a record for Academy Award wins and nominations, winning in eight of the competitive categories it was nominated in, from a total of thirteen nominations.

The film's record of eight competitive wins stood until Gigi won nine, and its overall record of ten was broken by Ben-Hur which won eleven.

Hattie McDaniel became the first African-American to win an Academy Award—beating out her co-star Olivia de Havilland, who was also nominated in the same category—but was racially segregated from her co-stars at the awards ceremony at the Coconut Grove ; she and her escort were made to sit at a separate table at the back of the room.

Thalberg Memorial Award for his career achievements. Black commentators criticized the film for its depiction of black people and as a glorification of slavery; they have done so since the release of the film, but initially newspapers controlled by white Americans did not report on these criticisms.

He went on to characterize it as a "nostalgic plea for sympathy for a still living cause of Southern reaction". Moss further called out the stereotypical black characterizations, such as the "shiftless and dull-witted Pork", the "indolent and thoroughly irresponsible Prissy", Big Sam's "radiant acceptance of slavery", and Mammy with her "constant haranguing and doting on every wish of Scarlett".

McDaniel responded that she would "rather make seven hundred dollars a week playing a maid than seven dollars being one"; she further questioned White's qualification to speak on behalf of blacks, since he was light-skinned and only one-eighth black.

Opinion in the black community was generally divided upon release, with the film being called by some a "weapon of terror against black America" and an insult to black audiences, and demonstrations were held in various cities.

In its editorial congratulation to McDaniel on winning her Academy Award, Opportunity: A Journal of Negro Life used the film as reminder of the "limit" put on black aspiration by old prejudices.

Upon its release, Gone with the Wind broke attendance records everywhere. At the Capitol Theatre in New York alone, it averaged eleven thousand admissions per day in late December, [37] and within four years of its release had sold an estimated sixty million tickets across the United States—sales equivalent to just under half the population at the time.

Even though it earned its investors roughly twice as much as the previous record-holder, The Birth of a Nation , [68] [69] the box-office performances of the two films were likely much closer.

The bulk of the earnings from Gone with the Wind came from its roadshow and first-run engagements, where the distributor received 70 percent and 50 percent of the box-office gross respectively, rather than its general release, which at the time typically saw the distributor's share set at 30—35 percent of the gross.

Carl E. Milliken , secretary of the Motion Picture Producers and Distributors Association , estimated that The Birth of a Nation had been seen by fifty million people by The reissue was unusual in that MGM opted to roadshow it, a decision that turned it into the most successful re-release in the history of the industry.

The film remains immensely popular with audiences into the 21st century, having been voted the most popular film in two nationwide polls of Americans undertaken by Harris Interactive in , and again in The market research firm surveyed over two thousand U.

American Film Institute [86]. In revisiting the film in the s, Arthur Schlesinger believed that Hollywood films generally age well, revealing an unexpected depth or integrity, but in the case of Gone with the Wind time has not treated it kindly.

Sarris concedes that despite its artistic failings, the film does hold a mandate around the world as the "single most beloved entertainment ever produced".

The film has featured in several high-profile industry polls: in it was voted the most popular film by the American Film Institute AFI , in a poll of the organization's membership; [9] the AFI also ranked the film fourth on its " Greatest Movies " list in , [94] with it slipping down to sixth place in the tenth anniversary edition in Gone with the Wind has been criticized as having perpetuated Civil War myths and black stereotypes.

And, in the background, the black slaves are mostly dutiful and content, clearly incapable of an independent existence. From to , the Atlanta Historical Society held a number of Gone with the Wind exhibits, among them a exhibit which was titled, "Disputed Territories: Gone with the Wind and Southern Myths".

Bryan Rommel Ruiz has argued that despite factual inaccuracies in its depiction of the Reconstruction period, Gone with the Wind reflects contemporary interpretations of it that were common in the early 20th century.

One such viewpoint is reflected in a brief scene in which Mammy fends off a leering freedman : a government official can be heard offering bribes to the emancipated slaves in exchange for their votes.

The inference is taken to mean that freedmen are ignorant about politics and unprepared for freedom, unwittingly becoming the tools of corrupt Reconstruction officials.

While perpetuating some Lost Cause myths, the film makes concessions with regard to others. After the attack on Scarlett in the shanty town, a group of men including Scarlett's husband Frank, Rhett Butler, and Ashley raid the town; in the novel they belong to the Ku Klux Klan, representing the common trope of protecting the white woman's virtue, but the filmmakers consciously neutralize the presence of the Klan in the film by simply referring to it as a "political meeting".

Thomas Cripps reasons that in some respects, the film undercuts racial stereotypes; [] in particular, the film created greater engagement between Hollywood and black audiences, [] with dozens of films making small gestures in recognition of the emerging trend.

More than any film since The Birth of a Nation , it unleashed a variety of social forces that foreshadowed an alliance of white liberals and blacks who encouraged the expectation that blacks would one day achieve equality.

According to Cripps, the film eventually became a template for measuring social change. In the 21st century, criticism of the film's depictions of race and slavery led to its availability being curtailed.

In , Gone with the Wind was pulled from the schedule at the Orpheum Theatre in Memphis, Tennessee , after a year run of annual showings.

On June 9, , the film was removed from HBO Max amid the George Floyd protests as well as in response to an op-ed written by screenwriter John Ridley that was published in that day's edition of the Los Angeles Times , which called for the streaming service to temporarily remove the film from its content library.

He wrote that "it continues to give cover to those who falsely claim that clinging to the iconography of the plantation era is a matter of 'heritage, not hate'.

It was also announced that the film would return to the streaming service at a later date, although it would incorporate "a discussion of its historical context and a denouncement of those very depictions, but will be presented as it was originally created, because to do otherwise would be the same as claiming these prejudices never existed.

If we are to create a more just, equitable and inclusive future, we must first acknowledge and understand our history. HBO Max returned the film to its service later that month, with a new introduction by Jacqueline Stewart.

One of the most notorious and widely condemned scenes in Gone with the Wind depicts what is now legally defined as " marital rape ". Molly Haskell has argued that, nevertheless, women are mostly uncritical of the scene, and that by and large it is consistent with what women have in mind if they fantasize about being raped.

Their fantasies revolve around love and romance rather than forced sex; they will assume that Scarlett was not an unwilling sexual partner and wanted Rhett to take the initiative and insist on having sexual intercourse.

Gone with the Wind and its production have been explicitly referenced, satirized, dramatized and analyzed on numerous occasions across a range of media, from contemporaneous works such as Second Fiddle —a film spoofing the "search for Scarlett"—to current television shows, such as The Simpsons.

Following the publication of her novel, Margaret Mitchell was inundated with requests for a sequel but she claimed not to have a notion of what happened to Scarlett and Rhett, and as a result, she had "left them to their ultimate fate".

Until her death in , Mitchell continued to resist pressure to write a sequel from Selznick and MGM. Anne Edwards was commissioned to write the sequel as a novel which would then be adapted into a screenplay, and published in conjunction with the film's release.

Edwards submitted a page manuscript which was titled Tara, The Continuation of Gone with the Wind , set between and and focusing on Scarlett's divorce from Rhett; MGM was not satisfied with the story and the deal collapsed.

The film depicted how women were portrayed and showed many of the struggles that they endured. Firstly, as seen through many characters, such as Scarlett, marriage was a big deal.

Due to the fact that women did not have much of their own social status, they relied heavily on their husbands to be successful and wealthy.

When it was time for a female to get married, she had to make sure that her husband would be able to provide for not only her, but also for their future children.

Her father would need to approve of her fiance and his family. Her father cared about her more than anything, as did her mother although her mother was an almost impossible role model, due to her strong will and determination compared to her spirited daughter, for her to grow up to be like.

When it was time for Scarlett to marry, Gerald and Ellen supervised her choice and gave their input, but ultimately let her decide whom she wanted to spend her life with.

This would have very uncommon in this time period. In the film, women are also seen doing what they can to make themselves appear as feminine as they can.

This can be seen when Scarlett was preparing to go to the party in one of the beginning scenes Gone with the Wind Selznick. Mammy, the house slave, brought up a giant platter of food and tells her to begin eating.

Scarlett stuffed herself then, in the privacy of her own home, so that when she was out in public, surrounded by all the people of importance in her life, she will be able to eat very little and still be satisfied.

This was a common practice back in the day. Women were constantly watched and judged based on their appearance.

They had to be very conscious of how they presented themselves. In a time where the female body was very critiqued, women were even more self -aware of their bodies then they are today.

In order to combat this insecurity, women would be very careful about what they ate in front of other people, especially men.

Women would also be tend to wear elegant dresses that were fitted weeks before an event, so they had to be confident that their attire would still fit properly.

In the movie, there is also an accurate representation of how women helped out on the plantation. While these women were wealthy thanks to their husbands fortunes, they also played a role in the overseeing of slaves.

She would be the figure out what the next days work would be, mainly for the house slave Mammy. Back in the s, the time period the movie was set in, as much as men wanted to be able to handle the plantations themselves they did often need assistance from their wives since running a whole system of slaves was time consuming and challenging.

In the movie, this is seen through the husbands and male figures, such as Rhett, going out to fight in the war.

Scarlett and other females stayed at home to hold down the plantations and stay with children. This is somewhat similar to the idea of republican motherhood that was present throughout the Revolutionary War that took place almost one hundred years before the Civil War.

Republican motherhood was the philosophy that mothers would stay at home and raise up the next generation. In Gone with the Wind, Scarlett stayed behind with her sister-in-law, Melanie, through the midst of the war in Atlanta while she is pregnant and gives birth to her child.

While the movie depicted many of the hardships that females were faced with in the nineteenth century, it also portrayed many of views and events of the Civil War.

The Civil War took was caused mainly by the dispute over slavery in the Northern and Southern states. The broke out on April 12, and revolutionized American society.

In the movie, Rhett Butler and many of the other men were the representation of the draft. The draft forced men eighteen and older to go fight in the war.

Only men with money could purchase exemptions Kagan and Hyslop In this aspect, the movie was correct in sending all of the eligible men into the war because even if having a substitute go in for them was an option, they did not want others to think down upon them for not being courageous enough to protect their side of the nation.

The movie also portrayed the economic differences between the South and the North properly. The South was the cotton kingdom, but did not have much more.

She was the first black woman to win an Oscar and she deserved it for sure! Lastly, Vivien Leigh was chosen for the role of Scarlett after producers reviewed auditions!

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When Rhett returns from an extended trip to London, Scarlett informs him that she is pregnant, but an argument ensues which results in her falling down a flight of stairs and suffering a miscarriage.

As she is recovering, tragedy strikes when Bonnie dies while attempting to jump a fence with her pony. Scarlett and Rhett visit Melanie, who has suffered complications arising from a new pregnancy, on her deathbed.

As Scarlett consoles Ashley, Rhett prepares to leave Atlanta. Having realized that it was him she truly loved all along, and not Ashley, Scarlett pleads with Rhett to stay, but Rhett rebuffs her and walks away into the morning fog, leaving her in tears on the staircase.

A distraught Scarlett resolves to return home to Tara, believing that one day she will get Rhett back. Following the death of Olivia de Havilland—who played Melanie Hamilton—in July at the age of , the only surviving credited cast member from the film is Mickey Kuhn, who played Melanie's son, Beau.

Before publication of the novel, several Hollywood executives and studios declined to create a film based on it, including Louis B.

Selznick of Selznick International Pictures. Jack L. Warner of Warner Bros liked the story, but his biggest star Bette Davis was not interested, and Darryl Zanuck of 20th Century-Fox had not offered enough money.

However, Selznick changed his mind after his story editor Kay Brown and business partner John Hay Whitney urged him to buy the film rights.

The casting of the two lead roles became a complex, two-year endeavor. The arrangement to release through MGM meant delaying the start of production until the end of , when Selznick's distribution deal with United Artists concluded.

Selznick began a nationwide casting call that interviewed 1, unknowns. Katharine Hepburn lobbied hard for the role with the support of her friend, George Cukor, who had been hired to direct, but she was vetoed by Selznick who felt she was not right for the part.

However, Hopkins was in her mid-thirties at the time and was considered too old for the part. Leigh's American agent was the London representative of the Myron Selznick talent agency headed by David Selznick's brother, one of the owners of Selznick International , and she had requested in February that her name be submitted for consideration as Scarlett.

By the summer of the Selznicks were negotiating with Alexander Korda , to whom Leigh was under contract, for her services later that year.

In a letter to his wife two days later, Selznick admitted that Leigh was "the Scarlett dark horse", and after a series of screen tests, her casting was announced on January 13, Identically, Miss Leigh's parents are French and Irish.

A pressing issue for Selznick throughout casting was Hollywood's persistent failure to accurately portray Southern accents.

The studio believed that if the accent was not accurately depicted it could prove detrimental to the film's success.

Selznick hired Susan Myrick an expert on Southern speech, manners and customs recommended to him by Mitchell and Will A. Price to coach the actors on speaking with a Southern drawl.

Mitchell was complimentary about the vocal work of the cast, noting the lack of criticism when the film came out.

Of the original screenplay writer, Sidney Howard , film historian Joanne Yeck writes, "reducing the intricacies of Gone with the Wind ' s epic dimensions was a herculean task Fleming was dissatisfied with the script, so Selznick brought in the screenwriter Ben Hecht to rewrite the entire screenplay within five days.

Hecht returned to Howard's original draft and by the end of the week had succeeded in revising the entire first half of the script.

Selznick undertook rewriting the second half himself but fell behind schedule, so Howard returned to work on the script for one week, reworking several key scenes in part two.

The fact that Howard's name alone appears on the credits may have been as much a gesture to his memory as to his writing, for in Sidney Howard died at age 48 in a farm-tractor accident, and before the movie's premiere.

Offhand I doubt that there are ten original words of [Oliver] Garrett's in the whole script. As to construction, this is about eighty per cent my own, and the rest divided between Jo Swerling and Sidney Howard, with Hecht having contributed materially to the construction of one sequence.

Hecht was in the middle of working on the film At the Circus for the Marx Brothers. Recalling the episode in a letter to screenwriter friend Gene Fowler , he said he hadn't read the novel but Selznick and director Fleming could not wait for him to read it.

They acted scenes based on Sidney Howard's original script which needed to be rewritten in a hurry. Hecht wrote, "After each scene had been performed and discussed, I sat down at the typewriter and wrote it out.

Selznick and Fleming, eager to continue with their acting, kept hurrying me. We worked in this fashion for seven days, putting in eighteen to twenty hours a day.

Selznick refused to let us eat lunch, arguing that food would slow us up. He provided bananas and salted peanuts MacAdams writes, "It is impossible to determine exactly how much Hecht scripted In the official credits filed with the Screen Writers Guild , Sidney Howard was of course awarded the sole screen credit, but four other writers were appended Jo Swerling for contributing to the treatment, Oliver H.

Garrett and Barbara Keon to screenplay construction, and Hecht, to dialogue Principal photography began January 26, , and ended on July 1, with post-production work continuing until November 11, Director George Cukor , with whom Selznick had a long working relationship and who had spent almost two years in pre-production on Gone with the Wind , was replaced after less than three weeks of shooting.

Emanuel Levy , Cukor's biographer, claimed that Gable had worked Hollywood's gay circuit as a hustler and that Cukor knew of his past, so Gable used his influence to have him discharged.

Although some of Cukor's scenes were later reshot, Selznick estimated that "three solid reels" of his work remained in the picture.

As of the end of principal photography, Cukor had undertaken eighteen days of filming, Fleming ninety-three, and Wood twenty-four.

Cinematographer Lee Garmes began the production, but on March 11, —after a month of shooting footage that Selznick and his associates regarded as "too dark"—was replaced with Ernest Haller , working with Technicolor cinematographer Ray Rennahan.

Garmes completed the first third of the film—mostly everything prior to Melanie having the baby—but did not receive a credit.

With that amendment, the Production Code Administration had no further objection to Rhett's closing line. Warner Bros. Steiner spent twelve weeks working on the score, the longest period that he had ever spent writing one, and at two hours and thirty-six minutes long it was also the longest that he had ever written.

The score is characterized by two love themes, one for Ashley's and Melanie's sweet love and another that evokes Scarlett's passion for Ashley, though notably there is no Scarlett and Rhett love theme.

The theme that is most associated with the film today is the melody that accompanies Tara, the O'Hara plantation; in the early s, "Tara's Theme" formed the musical basis of the song "My Own True Love" by Mack David.

In all, there are ninety-nine separate pieces of music featured in the score. Due to the pressure of completing on time, Steiner received some assistance in composing from Friedhofer, Deutsch and Heinz Roemheld , and in addition, two short cues—by Franz Waxman and William Axt —were taken from scores in the MGM library.

The film was still a rough cut at this stage, missing completed titles and lacking special optical effects. It ran for four hours and twenty-five minutes; it was later cut to under four hours for its proper release.

A double bill of Hawaiian Nights and Beau Geste was playing, but after the first feature it was announced that the theater would be screening a preview; the audience were informed they could leave but would not be readmitted once the film had begun, nor would phone calls be allowed once the theater had been sealed.

When the title appeared on the screen the audience cheered, and after it had finished it received a standing ovation.

Sometimes I think it's the greatest picture ever made. But if it's only a great picture, I'll still be satisfied. About , people came out in Atlanta for the film's premiere at the Loew's Grand Theatre on December 15, It was the climax of three days of festivities hosted by Mayor William B.

Hartsfield , which included a parade of limousines featuring stars from the film, receptions, thousands of Confederate flags, and a costume ball.

Eurith D. Rivers , the governor of Georgia, declared December 15 a state holiday. An estimated three hundred thousand Atlanta residents and visitors lined the streets for seven miles to view the procession of limousines that brought stars from the airport.

Upon learning that McDaniel had been barred from the premiere, Clark Gable threatened to boycott the event, but McDaniel persuaded him to attend.

After reaching saturation as a roadshow, MGM revised its terms to a 50 percent cut and halved the prices, before it finally entered general release in at "popular" prices.

In doing so, a number of shots were optically re-framed and cut into the three-strip camera negatives, forever altering five shots in the film.

A release of the film commemorated the centennial anniversary of the start of the Civil War, and it also included a gala "premiere" at the Loew's Grand Theater.

It was attended by Selznick and many other stars of the film, including Vivien Leigh and Olivia de Havilland; [40] Clark Gable had died the previous year.

In , a 4K digital restoration was released in the United Kingdom to coincide with Vivien Leigh's centenary. The film received its U.

The film debuted on videocassette in March , where it placed second in the sales charts, [19] and has since been released on DVD and Blu-ray Disc formats.

Upon its release, consumer magazines and newspapers generally gave Gone with the Wind excellent reviews; [9] however, while its production values, technical achievements, and scale of ambition were universally recognized, some reviewers of the time found the film to be too long and dramatically unconvincing.

Frank S. Nugent for The New York Times best summed up the general sentiment by acknowledging that while it was the most ambitious film production made up to that point, it probably was not the greatest film ever made, but he nevertheless found it to be an "interesting story beautifully told".

There are moments when the two categories meet on good terms, but the long stretches between are filled with mere spectacular efficiency.

While the film was praised for its fidelity to the novel, [50] this aspect was also singled out as the main factor in contributing to the lengthy running time.

Flinn wrote for Variety that Selznick had "left too much in", and that as entertainment, the film would have benefited if repetitious scenes and dialog from the latter part of the story had been trimmed.

The Guardian believed that if "the story had been cut short and tidied up at the point marked by the interval, and if the personal drama had been made subservient to a cinematic treatment of the central theme—the collapse and devastation of the Old South—then Gone With the Wind might have been a really great film".

Despite many excellent scenes, he considered the drama to be unconvincing and that the "psychological development" had been neglected. Much of the praise was reserved for the casting, with Vivien Leigh in particular being singled out for her performance as Scarlett.

Nugent described her as the "pivot of the picture" and believed her to be "so perfectly designed for the part by art and nature that any other actress in the role would be inconceivable".

At the 12th Academy Awards , Gone with the Wind set a record for Academy Award wins and nominations, winning in eight of the competitive categories it was nominated in, from a total of thirteen nominations.

The film's record of eight competitive wins stood until Gigi won nine, and its overall record of ten was broken by Ben-Hur which won eleven.

Hattie McDaniel became the first African-American to win an Academy Award—beating out her co-star Olivia de Havilland, who was also nominated in the same category—but was racially segregated from her co-stars at the awards ceremony at the Coconut Grove ; she and her escort were made to sit at a separate table at the back of the room.

Thalberg Memorial Award for his career achievements. Black commentators criticized the film for its depiction of black people and as a glorification of slavery; they have done so since the release of the film, but initially newspapers controlled by white Americans did not report on these criticisms.

He went on to characterize it as a "nostalgic plea for sympathy for a still living cause of Southern reaction". Moss further called out the stereotypical black characterizations, such as the "shiftless and dull-witted Pork", the "indolent and thoroughly irresponsible Prissy", Big Sam's "radiant acceptance of slavery", and Mammy with her "constant haranguing and doting on every wish of Scarlett".

McDaniel responded that she would "rather make seven hundred dollars a week playing a maid than seven dollars being one"; she further questioned White's qualification to speak on behalf of blacks, since he was light-skinned and only one-eighth black.

Opinion in the black community was generally divided upon release, with the film being called by some a "weapon of terror against black America" and an insult to black audiences, and demonstrations were held in various cities.

In its editorial congratulation to McDaniel on winning her Academy Award, Opportunity: A Journal of Negro Life used the film as reminder of the "limit" put on black aspiration by old prejudices.

Upon its release, Gone with the Wind broke attendance records everywhere. At the Capitol Theatre in New York alone, it averaged eleven thousand admissions per day in late December, [37] and within four years of its release had sold an estimated sixty million tickets across the United States—sales equivalent to just under half the population at the time.

Even though it earned its investors roughly twice as much as the previous record-holder, The Birth of a Nation , [68] [69] the box-office performances of the two films were likely much closer.

The bulk of the earnings from Gone with the Wind came from its roadshow and first-run engagements, where the distributor received 70 percent and 50 percent of the box-office gross respectively, rather than its general release, which at the time typically saw the distributor's share set at 30—35 percent of the gross.

Carl E. Milliken , secretary of the Motion Picture Producers and Distributors Association , estimated that The Birth of a Nation had been seen by fifty million people by The reissue was unusual in that MGM opted to roadshow it, a decision that turned it into the most successful re-release in the history of the industry.

The film remains immensely popular with audiences into the 21st century, having been voted the most popular film in two nationwide polls of Americans undertaken by Harris Interactive in , and again in The market research firm surveyed over two thousand U.

American Film Institute [86]. In revisiting the film in the s, Arthur Schlesinger believed that Hollywood films generally age well, revealing an unexpected depth or integrity, but in the case of Gone with the Wind time has not treated it kindly.

Sarris concedes that despite its artistic failings, the film does hold a mandate around the world as the "single most beloved entertainment ever produced".

The film has featured in several high-profile industry polls: in it was voted the most popular film by the American Film Institute AFI , in a poll of the organization's membership; [9] the AFI also ranked the film fourth on its " Greatest Movies " list in , [94] with it slipping down to sixth place in the tenth anniversary edition in Gone with the Wind has been criticized as having perpetuated Civil War myths and black stereotypes.

And, in the background, the black slaves are mostly dutiful and content, clearly incapable of an independent existence. From to , the Atlanta Historical Society held a number of Gone with the Wind exhibits, among them a exhibit which was titled, "Disputed Territories: Gone with the Wind and Southern Myths".

Bryan Rommel Ruiz has argued that despite factual inaccuracies in its depiction of the Reconstruction period, Gone with the Wind reflects contemporary interpretations of it that were common in the early 20th century.

One such viewpoint is reflected in a brief scene in which Mammy fends off a leering freedman : a government official can be heard offering bribes to the emancipated slaves in exchange for their votes.

The inference is taken to mean that freedmen are ignorant about politics and unprepared for freedom, unwittingly becoming the tools of corrupt Reconstruction officials.

While perpetuating some Lost Cause myths, the film makes concessions with regard to others. After the attack on Scarlett in the shanty town, a group of men including Scarlett's husband Frank, Rhett Butler, and Ashley raid the town; in the novel they belong to the Ku Klux Klan, representing the common trope of protecting the white woman's virtue, but the filmmakers consciously neutralize the presence of the Klan in the film by simply referring to it as a "political meeting".

Thomas Cripps reasons that in some respects, the film undercuts racial stereotypes; [] in particular, the film created greater engagement between Hollywood and black audiences, [] with dozens of films making small gestures in recognition of the emerging trend.

More than any film since The Birth of a Nation , it unleashed a variety of social forces that foreshadowed an alliance of white liberals and blacks who encouraged the expectation that blacks would one day achieve equality.

According to Cripps, the film eventually became a template for measuring social change. In the 21st century, criticism of the film's depictions of race and slavery led to its availability being curtailed.

In , Gone with the Wind was pulled from the schedule at the Orpheum Theatre in Memphis, Tennessee , after a year run of annual showings.

On June 9, , the film was removed from HBO Max amid the George Floyd protests as well as in response to an op-ed written by screenwriter John Ridley that was published in that day's edition of the Los Angeles Times , which called for the streaming service to temporarily remove the film from its content library.

He wrote that "it continues to give cover to those who falsely claim that clinging to the iconography of the plantation era is a matter of 'heritage, not hate'.

It was also announced that the film would return to the streaming service at a later date, although it would incorporate "a discussion of its historical context and a denouncement of those very depictions, but will be presented as it was originally created, because to do otherwise would be the same as claiming these prejudices never existed.

If we are to create a more just, equitable and inclusive future, we must first acknowledge and understand our history. HBO Max returned the film to its service later that month, with a new introduction by Jacqueline Stewart.

One of the most notorious and widely condemned scenes in Gone with the Wind depicts what is now legally defined as " marital rape ". Molly Haskell has argued that, nevertheless, women are mostly uncritical of the scene, and that by and large it is consistent with what women have in mind if they fantasize about being raped.

Their fantasies revolve around love and romance rather than forced sex; they will assume that Scarlett was not an unwilling sexual partner and wanted Rhett to take the initiative and insist on having sexual intercourse.

Gone with the Wind and its production have been explicitly referenced, satirized, dramatized and analyzed on numerous occasions across a range of media, from contemporaneous works such as Second Fiddle —a film spoofing the "search for Scarlett"—to current television shows, such as The Simpsons.

Following the publication of her novel, Margaret Mitchell was inundated with requests for a sequel but she claimed not to have a notion of what happened to Scarlett and Rhett, and as a result, she had "left them to their ultimate fate".

Until her death in , Mitchell continued to resist pressure to write a sequel from Selznick and MGM. Anne Edwards was commissioned to write the sequel as a novel which would then be adapted into a screenplay, and published in conjunction with the film's release.

Edwards submitted a page manuscript which was titled Tara, The Continuation of Gone with the Wind , set between and and focusing on Scarlett's divorce from Rhett; MGM was not satisfied with the story and the deal collapsed.

The idea was revived in the s, when a sequel was finally produced in , in the form of a television miniseries. Scarlett was based on the novel by Alexandra Ripley , itself a sequel to Mitchell's book.

British actors Joanne Whalley and Timothy Dalton were cast as Scarlett and Rhett, and the series follows Scarlett's relocation to Ireland after she again becomes pregnant by Rhett.

George [Cukor] finally told me all about it. He hated [leaving the production] very much he said but he could not do otherwise.

In effect he said he is an honest craftsman and he cannot do a job unless he knows it is a good job and he feels the present job is not right.

For days, he told me he has looked at the rushes and felt he was failing Gradually he became convinced that the script was the trouble David [Selznick], himself, thinks HE is writing the script And George has continually taken script from day to day, compared the [Oliver] Garrett-Selznick version with the [Sidney] Howard, groaned and tried to change some parts back to the Howard script.

But he seldom could do much with the scene So George just told David he would not work any longer if the script was not better and he wanted the Howard script back.

David told George he was a director—not an author and he David was the producer and the judge of what is a good script George said he was a director and a damn good one and he would not let his name go out over a lousy picture

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Dezember gedreht wurde, wobei sieben Kameras zum Einsatz kamen. Funktion vorschlagen. Es kommt zu einem heftigen Streit, in dessen Verlauf Scarlett die Treppe hinunterstürzt und eine Fehlgeburt erleidet. Menü Startseite. Rhett versucht, die Liebe seiner Frau zu gewinnen, indem er sie mit Luxus überhäuft und mit ihr auf Casinoonline Sicuri geht. Mit einer Länge von mehr als Casino Magie Stunden ist dies auch die längste Musik für einen Film. Alles was packen und rühren kann, wurde herbeigeholt; wirkt dadurch überladen und ist inhaltlich sehr zwielichtig. Physik und Chemie. Als Scarlett merkt, dass sie wieder schwanger ist, freut sie sich zunächst, da sie auf eine Versöhnung mit Rhett hofft. In der Bundesrepublik Deutschland hatte Webmney Film am The film Gutschein Generator Online Kostenlos produced by David O. Ernest Haller and Ray Rennahan. When Rhett returns from an extended trip to London, Scarlett informs him that she is pregnant, but an argument ensues which results in her falling down a flight of stairs and suffering a miscarriage. American Film Institute. On the other hand, the French were civil with Natives and allowed them to continue living how they had been, but just asked for help Stargamecasino fur trading. Dies führte zum Teil zu heftigen Gegenreaktionen. Als Fleming allerdings die Regie übernahm, wechselte er wieder zu Howards alter Fassung, die nach Kürzungen durch Selznick schon während Casino Mediterraneo Dreharbeiten die endgültige Fassung ergab. Leslie Howard. Nicht die angestrebte Oper, sondern eine Seifenoper sei herausgekommen. Er schildert Haltungen, die während des Sezessionskriegs in den Südstaaten gang und gäbe waren. Victor Fleming. Mensch und Medizin. Das Spiele 80er Jahre vierstündige Filmepos aus dem Jahr entfaltete seine Wirkung in Europa zwar erst nach dem Zweiten Weltkrieg, doch dann Galaxy Free Games ungemein prägender Wirkung. Auf dem Sterbebett bittet Melanie Scarlett, sich um ihren Ehemann Ashley zu kümmern und sich auch mit Rhett zu versöhnen, weil dieser sie so lieben würde.

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