Gone with the Wind (1939)
Despite historical revisionism and complicated depictions of race and marriage, Gone with the Wind remains a timeless masterpiece that transcends the trappings of its era.
We are presented with the "Old South", a land where "gallantry" and "knights and ladies fair" still exist. The vision of this land is picturesque for our lead characters; they engage in frivolous social engagements but also argue over the impending possibility of war. The southern knights are haughty, spoiling for a fight. In a way, the film's version of the Old South is twofold in nature: it's a paradise for its masters, but one that is propelling itself toward its own doom. Tara acts as a microcosm of the Old South and the destruction it undergoes. Even in Gerald O'Hara’s madness we see potential parallels to those who can not move beyond the world of the Old South.
Though appearing simple at times, Scarlett O'Hara is a complex character. Her tenacity is a real virtue, ferrying her through troubled waters more than once; but it is often directed at the wrong things, such as Ashley. Scarlett, in her selfishness, chose the one man she could never have. Her ingenuity is an asset as well, seen both in her success in business and her ability to improvise, such as when she repurposes the drapes into a dress; however, she is underhanded in both these actions and so becomes harder to admire.
Scarlett is not sentimental; she marries two men she doesn't love, the first out of impulsivity, the next out of pragmatism. After the second dies, she is seen drinking alongside his image. But her facial expressions make something very clear: it's not the memory of her late husband that makes her drink, but the image of him. She even turns the picture facedown. Scarlett is grieving her own bad decisions. Scarlett's lack of sentiment is partly the basis of Rhett's theory regarding their compatibility: "I figure we belong together, being the same sort."
The dynamic between Vivien Leigh and Clark Gable is ever-changing and multi-faceted. Gable's dialogue is delivered with charm, deliberateness, and, when necessary, force. The character of Melanie acts well as a foil to Scarlett, aided by a gentle performance delivered by Olivia de Havilland. As always, Thomas Mitchell performs admirably, as does whoever embodied Gerald O'Hara when he fell off his horse.
We are assured through the opening imagery of the film that the slaves toil in contentment while their masters attend to greater affairs. While the qualities attributed to the slave characters are varied, they are absolutely depicted as highly docile, subservient, and having made peace with their station in life. One subtle scene is at the Barbecue, as the women nap, a slave girl can be seen dutifully fanning them. While certainly consistent, it reflects the troubling values of the Old South. In a dispensation of self-awareness, the film later has members of the master class working the fields. This is partly framed by the film as tragedy, but is unignorable in the moral correspondence it creates with the slaves toiling earlier in the film.
Hattie McDaniel, as a black woman, is seen excelling exceptionally early in the medium. Her depiction of Mammy strengthens the film's conception of the slaves as human beings with identity, and not compliant farm tools. Mammy is consistently depicted as one of the most sensible characters, constantly having to hammer Scarlett to listen to reason. A great burden is put on Mammy as a high-ranking slave, and she wastes no time shouting orders, correcting forms, and grumbling to herself, all of which is delivered with conviction. She notably joins the master class in describing one family as "white trash", phrasing which seems a significant privilege for a slave. Hattie McDaniel also summons tears and stammering as she relates to Melanie the events following Bonnie's death, adding range to her performance.
The elephant in the room with Gone with the Wind is the "political meeting" in response to Scarlett being attacked. Though not explicit, there is subtext that the meeting is a Ku Klux Klan meeting or something adjacent. In retaliation for the attack on Scarlett, the men lead a raid on a shanty town, significantly occupied by former slaves. The raid is successful in killing some of the men in the shanty town. The irony is that the man who saves Scarlett when she is in peril is Big Sam, a character who is familiar, friendly, and most importantly, black. Big Sam's behaviour is treated as an anomaly; the assailants’ behaviour is treated as the basis for the raid. While the film frames the event as nonracial, the subtext is hard to ignore.
The elephant’s twin is one troubling scene regarding marital rape. Rhett picks up Scarlett after an intense and drunken fight and takes her upstairs despite her resistance; the next morning, she is simply beaming. While it can be said that intimacy can have a positive effect on one's disposition, the film presents extreme force resulting in mollification and contentment. Depiction of marital rape is not off-limits, but the presence of positive reinforcement sends a troubling message.
The cinematography appears to be decades ahead of its time. Dynamic camera movement is seen throughout the film, such as when we pull toward our characters’ faces or track them slowly as discussion unfolds. A long overhead shot of the dead and wounded in Atlanta is grandiose in scale, capturing the suffering of war. Color is effectively used to mark the movements of our story, as we go from the bright and vivid Old South, to the war-torn countryside, and beyond.
The siege of Atlanta is among the most technically impressive sequences in cinema. What starts with varied explosions and chaos in the streets quickly progresses to a massive fire that rages through the city. The pyrotechnics are not only visually incredible; they are unsimulated. Wide shots show massive structures burning and collapsing as our characters frantically try to escape.
The film is a technical marvel that seems near impossible in scope. Peering back through history with a carefully crafted lens that brings the Old South into perfect focus, Gone with the Wind is required viewing.