Gone With the Wind Wikipedia film pages

 



 
   
   




        

Frankly, my dear, I don't give a damn
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 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2012)
"Frankly, my dear, I don't give a damn" is a famous line from the 1939 film Gone with the Wind starring Clark Gable and Vivien Leigh. The line is spoken by Rhett Butler (Gable), as his last words to Scarlett O'Hara (Leigh), in response to her tearful question: "Where shall I go? What shall I do?" Scarlett, however, clings to the hope that she can win him back. This line is also spoken by Rhett Butler in Margaret Mitchell's novel Gone with the Wind, published in 1936, from which the movie is derived.
The line is memorable not only because it contains profanity in an era in which this was unusual and shocking in American film, but because it demonstrates that Rhett has finally given up on Scarlett and their tumultuous relationship. After more than a decade of fruitlessly seeking her love – as covered over nearly four hours of film – he no longer cares what happens to her.
This quotation was voted the number one movie line of all time by the American Film Institute in 2005.[1]
Production code conflict[edit]
Prior to the film's release, censors objected to the use of the word "damn" in the film, a word that had been prohibited by the 1930 Motion Picture Association's Production Code, beginning in July 1934. However, before 1930 the word "damn" had been relatively common in films. In the silent era, John Gilbert even shouted "Goddamn you!" to the enemy during battle in The Big Parade (1925). The Production Code was ratified on March 31, 1930, and was effective for motion pictures whose filming began afterward. Thus, talkies that used "damn" include Glorifying The American Girl (1929), Flight (1929), Gold Diggers Of Broadway (1929), Hell's Angels (1930), The Big Trail (1930), The Dawn Patrol (1930), and The Green Goddess (1930). Although legend persists that the Hays Office fined producer David O. Selznick $5,000 for using the word "damn", in fact the MPA board passed an amendment to the Production Code a month and a half before the film's release, on November 1, 1939, that allowed use of the words "hell" or "damn" when their use "shall be essential and required for portrayal, in proper historical context, of any scene or dialogue based upon historical fact or folklore...or a quotation from a literary work, provided that no such use shall be permitted which is intrinsically objectionable or offends good taste".[2] With that amendment, the Production Code Administration had no further objection to Rhett's closing line. It is actually the second use of "damn" in the film. The term "damn Yankees" is heard in the parlor scene at Twelve Oaks.
References[edit]
1.Jump up ^ "AFI's 100 YEARS...100 MOVIE QUOTES". American Film Institute. 21 June 2005. Retrieved 11 May 2013.
2.Jump up ^ Lewis, Jon (2000). Hollywood V. Hard Core: How the Struggle Over Censorship Saved the Modern Film Industry. New York University Press. p. 305. ISBN 0814751423.
External links[edit]
Press release by AFI


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: English phrases
Gone with the Wind
Quotations from film and television
Profanity





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 http://en.wikipedia.org/wiki/Frankly,_my_dear,_I_don%27t_give_a_damn











 



 
   
   




        

Frankly, my dear, I don't give a damn
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2012)
"Frankly, my dear, I don't give a damn" is a famous line from the 1939 film Gone with the Wind starring Clark Gable and Vivien Leigh. The line is spoken by Rhett Butler (Gable), as his last words to Scarlett O'Hara (Leigh), in response to her tearful question: "Where shall I go? What shall I do?" Scarlett, however, clings to the hope that she can win him back. This line is also spoken by Rhett Butler in Margaret Mitchell's novel Gone with the Wind, published in 1936, from which the movie is derived.
The line is memorable not only because it contains profanity in an era in which this was unusual and shocking in American film, but because it demonstrates that Rhett has finally given up on Scarlett and their tumultuous relationship. After more than a decade of fruitlessly seeking her love – as covered over nearly four hours of film – he no longer cares what happens to her.
This quotation was voted the number one movie line of all time by the American Film Institute in 2005.[1]
Production code conflict[edit]
Prior to the film's release, censors objected to the use of the word "damn" in the film, a word that had been prohibited by the 1930 Motion Picture Association's Production Code, beginning in July 1934. However, before 1930 the word "damn" had been relatively common in films. In the silent era, John Gilbert even shouted "Goddamn you!" to the enemy during battle in The Big Parade (1925). The Production Code was ratified on March 31, 1930, and was effective for motion pictures whose filming began afterward. Thus, talkies that used "damn" include Glorifying The American Girl (1929), Flight (1929), Gold Diggers Of Broadway (1929), Hell's Angels (1930), The Big Trail (1930), The Dawn Patrol (1930), and The Green Goddess (1930). Although legend persists that the Hays Office fined producer David O. Selznick $5,000 for using the word "damn", in fact the MPA board passed an amendment to the Production Code a month and a half before the film's release, on November 1, 1939, that allowed use of the words "hell" or "damn" when their use "shall be essential and required for portrayal, in proper historical context, of any scene or dialogue based upon historical fact or folklore...or a quotation from a literary work, provided that no such use shall be permitted which is intrinsically objectionable or offends good taste".[2] With that amendment, the Production Code Administration had no further objection to Rhett's closing line. It is actually the second use of "damn" in the film. The term "damn Yankees" is heard in the parlor scene at Twelve Oaks.
References[edit]
1.Jump up ^ "AFI's 100 YEARS...100 MOVIE QUOTES". American Film Institute. 21 June 2005. Retrieved 11 May 2013.
2.Jump up ^ Lewis, Jon (2000). Hollywood V. Hard Core: How the Struggle Over Censorship Saved the Modern Film Industry. New York University Press. p. 305. ISBN 0814751423.
External links[edit]
Press release by AFI


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: English phrases
Gone with the Wind
Quotations from film and television
Profanity





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 http://en.wikipedia.org/wiki/Frankly,_my_dear,_I_don%27t_give_a_damn











 



 
   
   




        

Went with the Wind!
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Jump to: navigation, search




 The curtain dress worn by Burnett in the "Went with the Wind!" sketch
Went with the Wind! is a sketch in the eighth episode of the tenth season of the American variety series The Carol Burnett Show. It originally aired in the United States on November 13, 1976. It is a film parody of the 1939 American film Gone With the Wind. The sketch was written by two young writers, one being Rick Hawkins.[1]


Contents  [hide]
1 Cast
2 Premise
3 Cultural references
4 Curtain dress
5 Legacy
6 References

Cast[edit]
Carol Burnett as Starlet O’Hara, a parody of Scarlett O'Hara
Harvey Korman as Captain Ratt Butler, a parody of Rhett Butler
Dinah Shore as Melody, a parody of Melanie Hamilton
Vicki Lawrence as Sissy, a parody of Prissy
Tim Conway as Brashly, a parody of Ashley Wilkes
Premise[edit]
Before it begins, Carol Burnett introduces the sketch saying: “Recently, nearly the entire nation spent a total of 5 hours watching Gone with the Wind make its TV debut. So for those of you who ran out of Kleenex and were unable to watch it, we put together our own mini-version to let you know what you’ve missed. Uh-huh.”
The title card of the first half of the sketch reads WENT WITH THE WIND!, and ATLANTA, TERRA PLANTATION SOMEWHERE IN GEORGIA. In the opening scene, Starlet O’Hara is hosting a party and greets her guests. Servant Sissy comes in screaming “Miss Starlet! Miss Starlet!” and after Starlet slaps her, Sissy tells her Mr. Brashly is here. Starlet opens the door to find Brashly introducing her to his cousin Melody. Brashly informs Starlet that he and Melody are married and she tells him to leave. Starlet is so angry she throws a vase only to have Ratt Butler catch it. The two have a moment but then they are informed that a war just broke out. All the guests leave except for Melody whereupon she announces that she is going to have a baby, and now. A soldier comes to the door asking if he could borrow a match and a fire breaks out. During this time Melody is giving birth and Starlet is giving her speech about how she will “never go hungry again.”
The title card of the second half of the sketch reads TERRA PLANTATION ONE WAR LATER. Sissy comes in screaming “Miss Starlet! Miss Starlet!” and tells Starlet that the war is over but a Yankee soldier is coming to Terra to collect $300 in back taxes. Starlet hits the soldier with a chair. Then Brashly arrives and says that his money went with the wind, to which Starlet asks “What wind?” and the theme music starts. Starlet then says, “That’s real pretty but that don’t answer my question.” He says that Ratt became a millionaire. Starlet trying to figure out how to look good enough to ask Ratt for the money quickly takes the drapes from the window and saying “I’ve got me a dress to make”. Sissy stalls Captain Butler who says that his dreams “went with the wind,” to which Sissy asks “What wind?” and the theme music starts. Sissy then says, “That’s real pretty but that don’t answer my question.” Then Starlet descends the staircase in her handmade dress, complete with curtain rod, and Ratt professes his love saying “That gown is gorgeous” to which Starlet replies “Thank you, I saw it in the window and I just couldn’t resist it.” The Yankee soldier comes to, marries Ratt and Starlet, and she gives him the money for the back taxes. After an altercation and finding out that Starlet is in love with Brashly, Melody dies, but only after she pushes Starlet down the stairs. Brashly leaves. Then Ratt leaves and Starlet slams the door in his face as he is about to deliver the famous line of the original film. Then Starlet complains to Sissy, “What am I gonna do?”, whereupon Sissy slaps her and says “Frankly, Miss Starlet, I don’t give a damn.”
Cultural references[edit]
The sketch made various cultural references including Bobbie Gentry’s Ode To Billie Joe, Tony Orlando and Dawn’s Tie a Yellow Ribbon Round the Ole Oak Tree, Dixie, Camptown Races, Chicken of the Sea and tuna casserole.
Curtain dress[edit]
The curtain dress was conceptualized and designed by Carol Burnett Show costumer Bob Mackie. The script originally called for the dress to be hanging off of Burnett, but Mackie did not find it funny. He asked the art director for a real curtain rod and green fabric and made the dress on a mannequin.[2] Burnett said that she came into costume fittings and when she saw the curtain rod she said it was the most brilliant sight gag ever.[3][4]
Legacy[edit]
The curtain dress scene was named number 2 in TV Guide’s January 23–29, 1999 list of The 50 Funniest Moments in Television.[5] The laugh when Burnett came down the staircase was too long and it actually had to be edited.[6]
The entire outfit, with curtain rod, is on display at the Smithsonian Institution.[7] In addition to this, Mattel released a character doll of Burnett as Starlet under the Barbie Celebrity Doll line in 2009.[8][9]
References[edit]
1.Jump up ^ http://www.pointpark.edu/Academics/Schools/COPA/COPADeptsMajors/CinemaandDigitalArts/Faculty/RickHawkins
2.Jump up ^ http://www.emmytvlegends.org/interviews/people/bob-mackie#
3.Jump up ^ http://www.emmytvlegends.org/interviews/shows/carol-burnett-show-the-1967-1978-went-with-the-wind-sketch#
4.Jump up ^ http://www.usp.ac.jp/english/campus/kenkyusha/PDF/2010-I-Klinger.pdf
5.Jump up ^ http://www.usp.ac.jp/english/campus/kenkyusha/PDF/2010-I-Klinger.pdf
6.Jump up ^ http://www.emmytvlegends.org/interviews/shows/carol-burnett-show-the-1967-1978-went-with-the-wind-sketch#
7.Jump up ^ "Carol Burnett—We Just Can’t Resist Her!". May 14, 2009. Retrieved August 19, 2011.
8.Jump up ^ http://www.barbiecollector.com/shop/doll/went-wind-carol-burnett-show-doll-n4986 Smithsonian
9.Jump up ^ http://www.usp.ac.jp/english/campus/kenkyusha/PDF/2010-I-Klinger.pdf
 


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 http://en.wikipedia.org/wiki/Went_with_the_Wind!











 



 
   
   




        

Went with the Wind!
From Wikipedia, the free encyclopedia
Jump to: navigation, search




 The curtain dress worn by Burnett in the "Went with the Wind!" sketch
Went with the Wind! is a sketch in the eighth episode of the tenth season of the American variety series The Carol Burnett Show. It originally aired in the United States on November 13, 1976. It is a film parody of the 1939 American film Gone With the Wind. The sketch was written by two young writers, one being Rick Hawkins.[1]


Contents  [hide]
1 Cast
2 Premise
3 Cultural references
4 Curtain dress
5 Legacy
6 References

Cast[edit]
Carol Burnett as Starlet O’Hara, a parody of Scarlett O'Hara
Harvey Korman as Captain Ratt Butler, a parody of Rhett Butler
Dinah Shore as Melody, a parody of Melanie Hamilton
Vicki Lawrence as Sissy, a parody of Prissy
Tim Conway as Brashly, a parody of Ashley Wilkes
Premise[edit]
Before it begins, Carol Burnett introduces the sketch saying: “Recently, nearly the entire nation spent a total of 5 hours watching Gone with the Wind make its TV debut. So for those of you who ran out of Kleenex and were unable to watch it, we put together our own mini-version to let you know what you’ve missed. Uh-huh.”
The title card of the first half of the sketch reads WENT WITH THE WIND!, and ATLANTA, TERRA PLANTATION SOMEWHERE IN GEORGIA. In the opening scene, Starlet O’Hara is hosting a party and greets her guests. Servant Sissy comes in screaming “Miss Starlet! Miss Starlet!” and after Starlet slaps her, Sissy tells her Mr. Brashly is here. Starlet opens the door to find Brashly introducing her to his cousin Melody. Brashly informs Starlet that he and Melody are married and she tells him to leave. Starlet is so angry she throws a vase only to have Ratt Butler catch it. The two have a moment but then they are informed that a war just broke out. All the guests leave except for Melody whereupon she announces that she is going to have a baby, and now. A soldier comes to the door asking if he could borrow a match and a fire breaks out. During this time Melody is giving birth and Starlet is giving her speech about how she will “never go hungry again.”
The title card of the second half of the sketch reads TERRA PLANTATION ONE WAR LATER. Sissy comes in screaming “Miss Starlet! Miss Starlet!” and tells Starlet that the war is over but a Yankee soldier is coming to Terra to collect $300 in back taxes. Starlet hits the soldier with a chair. Then Brashly arrives and says that his money went with the wind, to which Starlet asks “What wind?” and the theme music starts. Starlet then says, “That’s real pretty but that don’t answer my question.” He says that Ratt became a millionaire. Starlet trying to figure out how to look good enough to ask Ratt for the money quickly takes the drapes from the window and saying “I’ve got me a dress to make”. Sissy stalls Captain Butler who says that his dreams “went with the wind,” to which Sissy asks “What wind?” and the theme music starts. Sissy then says, “That’s real pretty but that don’t answer my question.” Then Starlet descends the staircase in her handmade dress, complete with curtain rod, and Ratt professes his love saying “That gown is gorgeous” to which Starlet replies “Thank you, I saw it in the window and I just couldn’t resist it.” The Yankee soldier comes to, marries Ratt and Starlet, and she gives him the money for the back taxes. After an altercation and finding out that Starlet is in love with Brashly, Melody dies, but only after she pushes Starlet down the stairs. Brashly leaves. Then Ratt leaves and Starlet slams the door in his face as he is about to deliver the famous line of the original film. Then Starlet complains to Sissy, “What am I gonna do?”, whereupon Sissy slaps her and says “Frankly, Miss Starlet, I don’t give a damn.”
Cultural references[edit]
The sketch made various cultural references including Bobbie Gentry’s Ode To Billie Joe, Tony Orlando and Dawn’s Tie a Yellow Ribbon Round the Ole Oak Tree, Dixie, Camptown Races, Chicken of the Sea and tuna casserole.
Curtain dress[edit]
The curtain dress was conceptualized and designed by Carol Burnett Show costumer Bob Mackie. The script originally called for the dress to be hanging off of Burnett, but Mackie did not find it funny. He asked the art director for a real curtain rod and green fabric and made the dress on a mannequin.[2] Burnett said that she came into costume fittings and when she saw the curtain rod she said it was the most brilliant sight gag ever.[3][4]
Legacy[edit]
The curtain dress scene was named number 2 in TV Guide’s January 23–29, 1999 list of The 50 Funniest Moments in Television.[5] The laugh when Burnett came down the staircase was too long and it actually had to be edited.[6]
The entire outfit, with curtain rod, is on display at the Smithsonian Institution.[7] In addition to this, Mattel released a character doll of Burnett as Starlet under the Barbie Celebrity Doll line in 2009.[8][9]
References[edit]
1.Jump up ^ http://www.pointpark.edu/Academics/Schools/COPA/COPADeptsMajors/CinemaandDigitalArts/Faculty/RickHawkins
2.Jump up ^ http://www.emmytvlegends.org/interviews/people/bob-mackie#
3.Jump up ^ http://www.emmytvlegends.org/interviews/shows/carol-burnett-show-the-1967-1978-went-with-the-wind-sketch#
4.Jump up ^ http://www.usp.ac.jp/english/campus/kenkyusha/PDF/2010-I-Klinger.pdf
5.Jump up ^ http://www.usp.ac.jp/english/campus/kenkyusha/PDF/2010-I-Klinger.pdf
6.Jump up ^ http://www.emmytvlegends.org/interviews/shows/carol-burnett-show-the-1967-1978-went-with-the-wind-sketch#
7.Jump up ^ "Carol Burnett—We Just Can’t Resist Her!". May 14, 2009. Retrieved August 19, 2011.
8.Jump up ^ http://www.barbiecollector.com/shop/doll/went-wind-carol-burnett-show-doll-n4986 Smithsonian
9.Jump up ^ http://www.usp.ac.jp/english/campus/kenkyusha/PDF/2010-I-Klinger.pdf
 


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Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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India Wilkes
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Jump to: navigation, search


Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009)

India Wilkes
Alicia Rhett in Gone With the Wind 1939.jpg
India Wilkes as portrayed by Alicia Rhett in the 1939 film

First appearance
Gone with the Wind
Last appearance
Scarlett
Created by
Margaret Mitchell
Portrayed by
Alicia Rhett
Information

Gender
Female
Family
Ashley Wilkes (brother)
Honey Wilkes (sister)
Melanie Hamilton (sister-in-law/cousin)
 Beau Wilkes (nephew, via Ashley)
India Wilkes is a fictional character in the novel and film Gone with the Wind. She is the sister of Ashley Wilkes and the rival of Scarlett O'Hara.
In the novel, India despises Scarlett for stealing the attentions of Stuart Tarleton. India also resents Scarlett for marrying Charles Hamilton, the man that everyone assumed would marry her sister, Honey Wilkes. In the film, India is in love with Charles Hamilton and despises Scarlett for marrying him. The book mentions that the only word that could be used to describe her looks was "plain".
After Scarlett's marriage to Charles, in the novel, Stuart resumes courting India but dies in the American Civil War before they can make their relationship official. Since it is assumed that Stuart would have married India had he lived, she is given the respect accorded to widows. Once afforded this status, she grows more sharp-tongued, and is able to say things that most unmarried women cannot.
India moves in with Ashley and Melanie after they move to Atlanta. When Scarlett's engagement to Rhett Butler is announced, India endorses cutting them both from respectable society. She blames Scarlett for causing the death of her previous (second) husband, Frank Kennedy. India also implies that there had always been more to Scarlett and Ashley's relationship than was apparent. Melanie refuses to believe or listen to her sister-in-law, and makes it clear that if Rhett and Scarlett are shunned, then she will be so as well. Melanie's loyalty to Scarlett and Rhett drives a wedge between herself and India.
India is one of the two people who see Scarlett and Ashley embrace. Because Melanie defends Scarlett and Ashley, India leaves the Wilkes home and moves in with Aunt Pittypat. India apologizes for the quarrel, later on, when Melanie is on her deathbed.
India is a traditional southern Antebellum "lady" who takes the place of hostess and lady of the house after her mother dies. She remains unmarried at the end of Gone with the Wind. India is referred to as an "old maid" by Scarlett.
In the movie, she was played by Alicia Rhett.


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

Stub icon This article about a character from a novel is a stub. You can help Wikipedia by expanding it.




 


Categories: Gone with the Wind characters
Fictional characters introduced in 1936
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This page was last modified on 25 May 2014 at 01:42.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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 http://en.wikipedia.org/wiki/India_Wilkes










 



 
   
   




        

India Wilkes
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009)

India Wilkes
Alicia Rhett in Gone With the Wind 1939.jpg
India Wilkes as portrayed by Alicia Rhett in the 1939 film

First appearance
Gone with the Wind
Last appearance
Scarlett
Created by
Margaret Mitchell
Portrayed by
Alicia Rhett
Information

Gender
Female
Family
Ashley Wilkes (brother)
Honey Wilkes (sister)
Melanie Hamilton (sister-in-law/cousin)
 Beau Wilkes (nephew, via Ashley)
India Wilkes is a fictional character in the novel and film Gone with the Wind. She is the sister of Ashley Wilkes and the rival of Scarlett O'Hara.
In the novel, India despises Scarlett for stealing the attentions of Stuart Tarleton. India also resents Scarlett for marrying Charles Hamilton, the man that everyone assumed would marry her sister, Honey Wilkes. In the film, India is in love with Charles Hamilton and despises Scarlett for marrying him. The book mentions that the only word that could be used to describe her looks was "plain".
After Scarlett's marriage to Charles, in the novel, Stuart resumes courting India but dies in the American Civil War before they can make their relationship official. Since it is assumed that Stuart would have married India had he lived, she is given the respect accorded to widows. Once afforded this status, she grows more sharp-tongued, and is able to say things that most unmarried women cannot.
India moves in with Ashley and Melanie after they move to Atlanta. When Scarlett's engagement to Rhett Butler is announced, India endorses cutting them both from respectable society. She blames Scarlett for causing the death of her previous (second) husband, Frank Kennedy. India also implies that there had always been more to Scarlett and Ashley's relationship than was apparent. Melanie refuses to believe or listen to her sister-in-law, and makes it clear that if Rhett and Scarlett are shunned, then she will be so as well. Melanie's loyalty to Scarlett and Rhett drives a wedge between herself and India.
India is one of the two people who see Scarlett and Ashley embrace. Because Melanie defends Scarlett and Ashley, India leaves the Wilkes home and moves in with Aunt Pittypat. India apologizes for the quarrel, later on, when Melanie is on her deathbed.
India is a traditional southern Antebellum "lady" who takes the place of hostess and lady of the house after her mother dies. She remains unmarried at the end of Gone with the Wind. India is referred to as an "old maid" by Scarlett.
In the movie, she was played by Alicia Rhett.


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

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Ashley Wilkes
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009)

Ashley Wilkes
Leslie Howard as Ashley Wilkes in Gone With the Wind trailer.jpg
Leslie Howard as Ashley Wilkes in the Gone With the Wind film trailer

First appearance
Gone with the Wind
Created by
Margaret Mitchell
Portrayed by
Leslie Howard
Information

Gender
Male
Spouse(s)
Melanie Wilkes deceased
Children
Beau Wilkes
Relatives
John Wilkes (father)
India Wilkes (sister)
Honey Wilkes (sister; not in the movie)
Henry Hamilton (uncle)
Sarah Jane (Pittypat) Hamilton (aunt)
Charles Hamilton (cousin and brother-in-law)
George Ashley Wilkes is a fictional character in Margaret Mitchell's 1936 novel Gone with the Wind and the later film of the same name. The character also appears in the 1991 book Scarlett, a sequel to Gone with the Wind written by Alexandra Ripley, and in Rhett Butler's People by Donald McCaig.
Fictional biography[edit]
Ashley is the man with whom Scarlett O'Hara is obsessed. Gentlemanly yet indecisive, he loves Scarlett, but finds he has more in common with Melanie, his distant cousin and later his wife. However, he is tormented by his obsession with Scarlett. Unfortunately for him and Scarlett, his failure to deal with his true feelings for her ruins any chance she has for real happiness with Rhett Butler. Ashley is a complicated character. He is not sympathetic to the cause of the North. However, he isn't an ardent Confederate patriot, either. What Ashley loves about the South is the serene, peaceful life that he and his dear ones know at Twelve Oaks and similar plantations. At one point (following the war) he comments to Scarlett that "had the war not come he would have spent his life happily buried at Twelve Oaks."
In short, Ashley loves the South, but not necessarily the Confederacy. And he hates war, even telling his friends in the beginning of the book who are eager to start fighting the North that "most of the misery in the world has been caused by war", though he fights because of his loyalty to the above mentioned peaceful life he had in Georgia.
He claims that he would have freed the slaves after the death of his father if the war hadn't freed them already. His willingness to free the slaves further demonstrates his impractical nature, because if the slaves were free, he would not be able to run the plantation. However, he has a great deal of affection for the slaves on his plantation, and the role that they played in his serene, bucolic life.
There is a sense in which the end of Ashley's life (as he knew it) is more than just the burning of Twelve Oaks. The four Tarleton brothers (Boyd, Tom, Brent and Stuart) are all killed, three of them at Gettysburg. Cade Calvert returns home terminally ill from tuberculosis. Little Joe Fontaine is killed in battle, and Tony Fontaine has to flee forever to Texas after killing a Yankee (specifically, Scarlett's family's former slave overseer, Jonas Wilkerson, during Reconstruction; after Wilkerson encouraged a former slave to attempt to rape Tony's sister-in-law). These were Ashley's childhood friends, all represented in the happy scene at the barbecue, close to the beginning of the book. When the "family circle" of the county is decimated, the life Ashley loved is gone.
At one point in the book Ashley pleads, in vain, with his wife Melanie to move to the North, after he comes back from fighting in the war. This isn't because of any affection for the North however, but because he wants to be able to stand on his own as a man, something he will never again be able to do in Georgia now that his plantation is gone and his home burned. However, he ends up working for Scarlett due to her manipulative entreaties and Melanie's naive support of her. Melanie also states that if they move to New York, Beau will not be able to go to school. This is because in New York black children are allowed to attend class, and they could not permit Beau to attend class with black children. In Georgia the schools were segregated by race, so Beau would be able to attend school if they remained in the South.
Role[edit]
In a sense, he is the character best personifying the tragedy of the Southern upper class after the Civil War. Coming from a privileged background, Ashley is an honorable and educated man. He is in clear contrast to Rhett Butler, who is decisive and full of life but is vulgar and distasteful as well. Rhett is both ruthless and practical, and is willing to do whatever he must to survive. In contrast, Ashley is often impractical (even Melanie admits this on her deathbed), and would resist doing many things Rhett would do because they aren't "proper" or "gentlemanly". Ashley fights in the Civil War, but he does it out of love for his homeland and not a hatred of the Yankees, who he actually hopes will just leave the South in peace. As a soldier he shows enough leadership to be promoted to the rank of Major, and survives being imprisoned at the Rock Island Arsenal in Illinois (a notorious prisoner-of-war camp) for several months. He eventually returns home, still able-bodied. Ashley could have lived a peaceful and respectable life had the War never taken place. The War that changed the South forever has turned his world upside down, with everything he had believed in 'gone with the wind', a phrase composed by the poet Ernest Dowson.


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: Gone with the Wind characters
Fictional soldiers
Fictional characters introduced in 1936
Fictional American Civil War veterans





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Ashley Wilkes
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009)

Ashley Wilkes
Leslie Howard as Ashley Wilkes in Gone With the Wind trailer.jpg
Leslie Howard as Ashley Wilkes in the Gone With the Wind film trailer

First appearance
Gone with the Wind
Created by
Margaret Mitchell
Portrayed by
Leslie Howard
Information

Gender
Male
Spouse(s)
Melanie Wilkes deceased
Children
Beau Wilkes
Relatives
John Wilkes (father)
India Wilkes (sister)
Honey Wilkes (sister; not in the movie)
Henry Hamilton (uncle)
Sarah Jane (Pittypat) Hamilton (aunt)
Charles Hamilton (cousin and brother-in-law)
George Ashley Wilkes is a fictional character in Margaret Mitchell's 1936 novel Gone with the Wind and the later film of the same name. The character also appears in the 1991 book Scarlett, a sequel to Gone with the Wind written by Alexandra Ripley, and in Rhett Butler's People by Donald McCaig.
Fictional biography[edit]
Ashley is the man with whom Scarlett O'Hara is obsessed. Gentlemanly yet indecisive, he loves Scarlett, but finds he has more in common with Melanie, his distant cousin and later his wife. However, he is tormented by his obsession with Scarlett. Unfortunately for him and Scarlett, his failure to deal with his true feelings for her ruins any chance she has for real happiness with Rhett Butler. Ashley is a complicated character. He is not sympathetic to the cause of the North. However, he isn't an ardent Confederate patriot, either. What Ashley loves about the South is the serene, peaceful life that he and his dear ones know at Twelve Oaks and similar plantations. At one point (following the war) he comments to Scarlett that "had the war not come he would have spent his life happily buried at Twelve Oaks."
In short, Ashley loves the South, but not necessarily the Confederacy. And he hates war, even telling his friends in the beginning of the book who are eager to start fighting the North that "most of the misery in the world has been caused by war", though he fights because of his loyalty to the above mentioned peaceful life he had in Georgia.
He claims that he would have freed the slaves after the death of his father if the war hadn't freed them already. His willingness to free the slaves further demonstrates his impractical nature, because if the slaves were free, he would not be able to run the plantation. However, he has a great deal of affection for the slaves on his plantation, and the role that they played in his serene, bucolic life.
There is a sense in which the end of Ashley's life (as he knew it) is more than just the burning of Twelve Oaks. The four Tarleton brothers (Boyd, Tom, Brent and Stuart) are all killed, three of them at Gettysburg. Cade Calvert returns home terminally ill from tuberculosis. Little Joe Fontaine is killed in battle, and Tony Fontaine has to flee forever to Texas after killing a Yankee (specifically, Scarlett's family's former slave overseer, Jonas Wilkerson, during Reconstruction; after Wilkerson encouraged a former slave to attempt to rape Tony's sister-in-law). These were Ashley's childhood friends, all represented in the happy scene at the barbecue, close to the beginning of the book. When the "family circle" of the county is decimated, the life Ashley loved is gone.
At one point in the book Ashley pleads, in vain, with his wife Melanie to move to the North, after he comes back from fighting in the war. This isn't because of any affection for the North however, but because he wants to be able to stand on his own as a man, something he will never again be able to do in Georgia now that his plantation is gone and his home burned. However, he ends up working for Scarlett due to her manipulative entreaties and Melanie's naive support of her. Melanie also states that if they move to New York, Beau will not be able to go to school. This is because in New York black children are allowed to attend class, and they could not permit Beau to attend class with black children. In Georgia the schools were segregated by race, so Beau would be able to attend school if they remained in the South.
Role[edit]
In a sense, he is the character best personifying the tragedy of the Southern upper class after the Civil War. Coming from a privileged background, Ashley is an honorable and educated man. He is in clear contrast to Rhett Butler, who is decisive and full of life but is vulgar and distasteful as well. Rhett is both ruthless and practical, and is willing to do whatever he must to survive. In contrast, Ashley is often impractical (even Melanie admits this on her deathbed), and would resist doing many things Rhett would do because they aren't "proper" or "gentlemanly". Ashley fights in the Civil War, but he does it out of love for his homeland and not a hatred of the Yankees, who he actually hopes will just leave the South in peace. As a soldier he shows enough leadership to be promoted to the rank of Major, and survives being imprisoned at the Rock Island Arsenal in Illinois (a notorious prisoner-of-war camp) for several months. He eventually returns home, still able-bodied. Ashley could have lived a peaceful and respectable life had the War never taken place. The War that changed the South forever has turned his world upside down, with everything he had believed in 'gone with the wind', a phrase composed by the poet Ernest Dowson.


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: Gone with the Wind characters
Fictional soldiers
Fictional characters introduced in 1936
Fictional American Civil War veterans





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Rhett Butler
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (February 2008)

Rhett Butler
Gone with the Wind character
Clark Gable as Rhett Butler in Gone With the Wind trailer.jpg
Clark Gable as Rhett Butler in the Gone with the Wind film trailer

Created by
Margaret Mitchell
Portrayed by
Clark Gable (Gone with the Wind)
Timothy Dalton (Scarlett)
Information

Occupation
Professional gambler, Blockade runner, Speculator
Title
Captain
Family
Named in Gone with the Wind
 Rosemary Butler (younger sister)
Named in Scarlett
 Steven Butler (father)
 Eleanor Butler (mother)
 Ross Butler (younger brother)
Named in Rhett Butler's People
 Langston Butler (father)
 Elizabeth Butler (mother)
 Julian Butler (younger brother)
Spouse(s)
Scarlett O'Hara
 Anne Hampton (in Scarlett; deceased)
Children
Wade Hampton Hamilton
(stepson via Scarlett)
Ella Lorena Kennedy
(stepdaughter via Scarlett)
Eugenie Victoria "Bonnie Blue" Butler
(daughter with Scarlett; deceased)
Katie Colum "Cat" Butler
(daughter with Scarlett in Scarlett)
Mr. Butler (son not with Scarlett)
Rhett Butler is a fictional character and one of the main protagonists of Gone with the Wind by Margaret Mitchell.


Contents  [hide]
1 Role
2 Character
3 Searching for Rhett
4 Adaptations and sequels
5 Family
6 Reception
7 References

Role[edit]
In the beginning of the novel, we first meet Rhett at the Twelve Oaks Plantation barbecue, the home of John Wilkes and his son Ashley and daughters Honey and India Wilkes. The novel describes Rhett as "a visitor from Charleston"; a black sheep, who was expelled from West Point and is not received by any family with reputation in the whole of Charleston, and perhaps all of South Carolina. He angers many of the Wilkes guests by warning against the coming war, saying that the North's industrial capacity, shipyards, larger population, and other factors will eventually lead to the South's defeat. Rhett's enthrallment with Scarlett O'Hara begins when he overhears her declaration of love for Ashley in the library while the rest of the "proper" girls take a nap. He recognizes that she is willful and spirited and that they are alike in many ways, including their disgust for the impending, and later ongoing, war with the Yankees.
They meet again when Scarlett has already lost her first husband, Charles Hamilton, while she is staying with Charles' sister Melanie and their Aunt Pittypat in Atlanta during the war. Rhett, the daring and infamous blockade runner, creates a stir when he outbids (with $150 in gold) ($3,937 as of 2014)[1] the other gentlemen in order to dance with Scarlett, who is in mourning. Rhett seemingly ruins Scarlett's reputation after this very public display of frivolity and Scarlett's father, Gerald O'Hara, comes to speak to Rhett and to take Scarlett back to Tara. However, Rhett gets Gerald drunk and they come to terms. Gerald returns to Tara and Scarlett remains in Atlanta.
As the Yankees advance towards Atlanta, Scarlett stays behind to help deliver Melanie's baby and then must depend on Rhett to get them out of the city. Scarlett sends her maid Prissy to find Rhett, and when he comes to Aunt Pitty's, he has stolen a horse and buggy in order to "rescue" them. Once they have fled Atlanta, Rhett—in a single moment of perverse idealism—joins the withdrawing Confederate soldiers for their last stand against General Sherman. Before he leaves, Rhett asks that Scarlett kiss him. She refuses, but he hauls her in—she slaps him and tells him that she hopes he gets killed while in battle. He laughs, and turns into the dark, leaving Scarlett alone with Melanie, Beau, her own young son Wade, and Prissy.
Several months later, Scarlett returns to Atlanta, this time to solicit money from Rhett to save Tara from foreclosure, only to learn from Aunt Pitty that he is in military jail, imprisoned by the Yankees for stealing the Confederate gold. Scarlett waltzes in, supposedly horrified that Rhett's life is in danger, all the while maneuvering him to give her money for the plantation. When Rhett sees through her ploy, he laughs in her face and Scarlett attacks him, causing her to faint. After regaining consciousness, she storms out.
On her way back to Aunt Pittypat's she meets Frank Kennedy, her sister Suellen's beau. Learning that Frank has done very well for himself, she plies him with affection, falsely tells him that Suellen is tired of waiting and plans to marry someone else, and finally secures a marriage proposal from him, which she accepts. Once Frank is married to her, he could not possibly allow his wife's kinfolk to be evicted from Tara, so he provides her with the $300 ($4,832 as of 2014)[1] which she needs to pay the taxes on Tara.
Two weeks later, Scarlett is shocked when she sees Rhett while she is running Frank's store, free from the Yankees and amused that she has rushed into yet another marriage with a man she does not love, much less the fact that she stole him right out from under her sister's nose.
Frank Kennedy is killed during a Ku Klux Klan raid on the shanty town after Scarlett is attacked. Rhett saves Ashley Wilkes and several others by alibiing them to the Yankee captain, a man with whom he has played cards on several occasions.
While Scarlett is in mourning following Frank's death, Rhett appears and offers a marriage proposal promising to give her everything. Scarlett accepts only for Rhett's money. In the novel, Rhett's fortune is estimated at $500,000 ($8,053,409 as of 2014)[1] Rhett secretly hopes that Scarlett will eventually return the love he's had since the day he saw her at Twelve Oaks. Her continuing affection for Ashley Wilkes becomes a problem for the couple, however.
When their daughter, Bonnie, falls off a pony and dies, the tragedy causes a rift between the two which is impossible to bridge. Rhett eventually leaves because he knows he has to get away from Scarlett. Her confession of love is something that Rhett seems to have expected from the moment he first saw her breathless face when she rushes to him. He knows that Scarlett could never be happy with Ashley and when she discovers that, he does not want to be around when she throws her obsession onto him.
When he finally receives Scarlett's love, it is too late to salvage the love he once had for her, so he leaves her with his famous parting shot: "My dear, I don't give a damn." It has since been immortalized in film in an altered version: "Frankly, my dear, I don't give a damn."
Character[edit]
In the course of the novel, Rhett becomes increasingly enamored of Scarlett's sheer will to survive in the chaos surrounding the war. The novel contains several pieces of information about him that do not appear in the film. After being disowned by his family (mainly by his father), he became a professional gambler, and at one point was involved in the California Gold Rush, where he ended up getting a scar on his stomach in a knife fight. He seems to love his mother and his sister Rosemary, but has an adversarial relationship with his father which is never resolved. He also has a younger brother who is never named, and a sister-in-law (both of whom he has little respect or regard for), who own a rice plantation. Rhett is the guardian of a little boy who attends boarding school in New Orleans; it is speculated among readers that this boy is Belle Watling's son (whom Belle mentions briefly to Melanie), and perhaps Rhett's illegitimate son as well.
Despite being thrown out of West Point, the Rhett of the novel is obviously very well-educated, referencing everything from Shakespeare to classical history to German philosophy. He has an understanding of human nature (save for a realistic understanding of his beloved Scarlett) that the obtuse Scarlett never does, and at several points provides insightful perspectives on other characters. He also has an extensive knowledge of women (again except for Scarlett), both physically and psychologically, which Scarlett does not consider to be "decent" (but nonetheless considers fascinating). Rhett has tremendous respect and (gradually) affection for Melanie as a friend, but very little for Ashley. Rhett's understanding of human nature extends to children as well, and he is a much better parent to Scarlett's children from her previous marriages than she is herself; he has a particular affinity with her son Wade, even before Wade is his stepson. When Bonnie is born Rhett showers her with the attention that Scarlett will no longer allow him to give to her and is a devoted, even doting and overindulgent, father.
Rhett also decides to join in the Confederate Army; but only after its defeat at Atlanta, and when the "cause" as it were, was clearly understood by a man of his perception, to be truly lost. This facet of the character is completely at odds with worldly and wise predictor of Southern defeat on the eve of hostilities. Rhett has known and believed (and has said so publicly) the South is doomed to lose. And he has risked neither his life, nor his fortune for the cause of the South, when to have done so at the beginning of the war, might have been worth the risk, to establish a new nation.
In the sequels − both in official sequels (Scarlett, written by Alexandra Ripley, and Rhett Butler's People, written by Donald McCaig) and in the unofficial Winds of Tara by Kate Pinotti − Scarlett finally succeeds in getting Rhett back.
Searching for Rhett[edit]
In the 1939 film version of Gone with the Wind, for the role of Rhett Butler, Clark Gable was an almost immediate favorite for both the public and producer David O. Selznick (except for Gable himself). But as Selznick had no male stars under long-term contract, he needed to go through the process of negotiating to borrow an actor from another studio. Gary Cooper was thus Selznick's first choice, because Cooper's contract with Samuel Goldwyn involved a common distribution company, United Artists, with which Selznick had an eight-picture deal. However, Goldwyn remained noncommittal in negotiations.[2] Warner Bros. offered a package of Bette Davis, Errol Flynn, and Olivia de Havilland for the lead roles in return for the distribution rights. When Gary Cooper turned down the role of Rhett Butler, he was passionately against it. He is quoted saying, "Gone With The Wind is going to be the biggest flop in Hollywood history. I’m glad it’ll be Clark Gable who’s falling flat on his nose, not Gary Cooper".[3][4] But by then Selznick was determined to get Clark Gable, and eventually found a way to borrow him from Metro-Goldwyn-Mayer. Selznick's father-in-law, MGM chief Louis B. Mayer, offered in May 1938 to fund half of the movie's budget in return for a powerful package: 50% of the profits would go to MGM, the movie's distribution would be credited to MGM's parent company, Loew's, Inc., and Loew's would receive 15 percent of the movie's gross income. Selznick accepted this offer in August, and Gable was cast. But the arrangement to release through MGM meant delaying the start of production until Selznick International completed its eight-picture contract with United Artists. Gable was reluctant to play the role. At the time, he was wary of potentially disappointing a public who had formed a clear impression of the character that he might not necessarily convey in his performance.
Adaptations and sequels[edit]
In the 1939 film adaptation, Rhett was played by Clark Gable.
In the Scarlett TV mini-series produced in 1994 (based on the above sequel novel), Rhett was played by Timothy Dalton.
In the musical production by Takarazuka Revue, Rhett had been played by several top stars of the group, including Yuki Amami (currently a film/TV actress), Yu Todoroki (currently one of the directors of the group) and Youka Wao (former leading male role of the Cosmo Troup that retired from the group in July 2006).
In the Margaret Martin musical Gone With The Wind, the role of Rhett Butler was originated by Darius Danesh.
Alice Randall's The Wind Done Gone is either a parallel historical novel, or (after litigation) a parody. It is told from the slave point of view.
Donald McCaig's novel Rhett Butler's People is told from Rhett Butler's perspective.
Family[edit]
Rhett is the eldest child. In Gone with the Wind only his younger sister Rosemary is named; his brother and sister-in-law are mentioned very briefly, but not by name. In the sequel Scarlett by Alexandra Ripley, the Butler parents are called Steven and Eleanor, the younger brother is Ross. In this sequel Rhett marries Anne Hampton after divorcing Scarlett and he reunites with Scarlett only after Anne dies. He and Scarlett have a second daughter called Katie "Cat".
In the authorized prequel and sequel Rhett Butler's People his parents are called Langston and Elizabeth, his brother is Julian. In this novel Belle Watling's son plays an important role; in the end he is revealed to be another man's son even though he believed Rhett was his father.
Reception[edit]
Michael Sragow of Entertainment Weekly compared Butler to James Bond, arguing that both characters share an analytical sense, are good at seducing "ambivalent" women, and are "masters of maneuvering behind enemy lines".[5] He also stated that "007's erotic quips follow straight from Rhett's verbal jousts with Scarlett."[5]
References[edit]

Portal icon Fictional characters portal
1.^ Jump up to: a b c Consumer Price Index (estimate) 1800–2014. Federal Reserve Bank of Minneapolis. Retrieved February 27, 2014.
2.Jump up ^ Selznick, David O. (2000). Memo from David O. Selznick. New York: Modern Library. pp. 172–173. ISBN 0-375-75531-4.
3.Jump up ^ GoneMovie -> Biography Gary Cooper
4.Jump up ^ Paul Donnelley (June 1, 2003). Fade To Black: A Book Of Movie Obituaries, 2nd Edition. Omnibus Press.
5.^ Jump up to: a b Patterson, Troy, Ty Burr, and Stephen Whitty. "Gone With the Wind." (video review) Entertainment Weekly. October 23, 1998. Retrieved on December 23, 2013. This document has three separate reviews of the film, one per author.


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: Fictional gamblers
Fictional characters from South Carolina
Gone with the Wind characters
Fictional soldiers
Fictional socialites
Fictional characters introduced in 1936
Fictional American Civil War veterans





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Rhett Butler
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (February 2008)

Rhett Butler
Gone with the Wind character
Clark Gable as Rhett Butler in Gone With the Wind trailer.jpg
Clark Gable as Rhett Butler in the Gone with the Wind film trailer

Created by
Margaret Mitchell
Portrayed by
Clark Gable (Gone with the Wind)
Timothy Dalton (Scarlett)
Information

Occupation
Professional gambler, Blockade runner, Speculator
Title
Captain
Family
Named in Gone with the Wind
 Rosemary Butler (younger sister)
Named in Scarlett
 Steven Butler (father)
 Eleanor Butler (mother)
 Ross Butler (younger brother)
Named in Rhett Butler's People
 Langston Butler (father)
 Elizabeth Butler (mother)
 Julian Butler (younger brother)
Spouse(s)
Scarlett O'Hara
 Anne Hampton (in Scarlett; deceased)
Children
Wade Hampton Hamilton
(stepson via Scarlett)
Ella Lorena Kennedy
(stepdaughter via Scarlett)
Eugenie Victoria "Bonnie Blue" Butler
(daughter with Scarlett; deceased)
Katie Colum "Cat" Butler
(daughter with Scarlett in Scarlett)
Mr. Butler (son not with Scarlett)
Rhett Butler is a fictional character and one of the main protagonists of Gone with the Wind by Margaret Mitchell.


Contents  [hide]
1 Role
2 Character
3 Searching for Rhett
4 Adaptations and sequels
5 Family
6 Reception
7 References

Role[edit]
In the beginning of the novel, we first meet Rhett at the Twelve Oaks Plantation barbecue, the home of John Wilkes and his son Ashley and daughters Honey and India Wilkes. The novel describes Rhett as "a visitor from Charleston"; a black sheep, who was expelled from West Point and is not received by any family with reputation in the whole of Charleston, and perhaps all of South Carolina. He angers many of the Wilkes guests by warning against the coming war, saying that the North's industrial capacity, shipyards, larger population, and other factors will eventually lead to the South's defeat. Rhett's enthrallment with Scarlett O'Hara begins when he overhears her declaration of love for Ashley in the library while the rest of the "proper" girls take a nap. He recognizes that she is willful and spirited and that they are alike in many ways, including their disgust for the impending, and later ongoing, war with the Yankees.
They meet again when Scarlett has already lost her first husband, Charles Hamilton, while she is staying with Charles' sister Melanie and their Aunt Pittypat in Atlanta during the war. Rhett, the daring and infamous blockade runner, creates a stir when he outbids (with $150 in gold) ($3,937 as of 2014)[1] the other gentlemen in order to dance with Scarlett, who is in mourning. Rhett seemingly ruins Scarlett's reputation after this very public display of frivolity and Scarlett's father, Gerald O'Hara, comes to speak to Rhett and to take Scarlett back to Tara. However, Rhett gets Gerald drunk and they come to terms. Gerald returns to Tara and Scarlett remains in Atlanta.
As the Yankees advance towards Atlanta, Scarlett stays behind to help deliver Melanie's baby and then must depend on Rhett to get them out of the city. Scarlett sends her maid Prissy to find Rhett, and when he comes to Aunt Pitty's, he has stolen a horse and buggy in order to "rescue" them. Once they have fled Atlanta, Rhett—in a single moment of perverse idealism—joins the withdrawing Confederate soldiers for their last stand against General Sherman. Before he leaves, Rhett asks that Scarlett kiss him. She refuses, but he hauls her in—she slaps him and tells him that she hopes he gets killed while in battle. He laughs, and turns into the dark, leaving Scarlett alone with Melanie, Beau, her own young son Wade, and Prissy.
Several months later, Scarlett returns to Atlanta, this time to solicit money from Rhett to save Tara from foreclosure, only to learn from Aunt Pitty that he is in military jail, imprisoned by the Yankees for stealing the Confederate gold. Scarlett waltzes in, supposedly horrified that Rhett's life is in danger, all the while maneuvering him to give her money for the plantation. When Rhett sees through her ploy, he laughs in her face and Scarlett attacks him, causing her to faint. After regaining consciousness, she storms out.
On her way back to Aunt Pittypat's she meets Frank Kennedy, her sister Suellen's beau. Learning that Frank has done very well for himself, she plies him with affection, falsely tells him that Suellen is tired of waiting and plans to marry someone else, and finally secures a marriage proposal from him, which she accepts. Once Frank is married to her, he could not possibly allow his wife's kinfolk to be evicted from Tara, so he provides her with the $300 ($4,832 as of 2014)[1] which she needs to pay the taxes on Tara.
Two weeks later, Scarlett is shocked when she sees Rhett while she is running Frank's store, free from the Yankees and amused that she has rushed into yet another marriage with a man she does not love, much less the fact that she stole him right out from under her sister's nose.
Frank Kennedy is killed during a Ku Klux Klan raid on the shanty town after Scarlett is attacked. Rhett saves Ashley Wilkes and several others by alibiing them to the Yankee captain, a man with whom he has played cards on several occasions.
While Scarlett is in mourning following Frank's death, Rhett appears and offers a marriage proposal promising to give her everything. Scarlett accepts only for Rhett's money. In the novel, Rhett's fortune is estimated at $500,000 ($8,053,409 as of 2014)[1] Rhett secretly hopes that Scarlett will eventually return the love he's had since the day he saw her at Twelve Oaks. Her continuing affection for Ashley Wilkes becomes a problem for the couple, however.
When their daughter, Bonnie, falls off a pony and dies, the tragedy causes a rift between the two which is impossible to bridge. Rhett eventually leaves because he knows he has to get away from Scarlett. Her confession of love is something that Rhett seems to have expected from the moment he first saw her breathless face when she rushes to him. He knows that Scarlett could never be happy with Ashley and when she discovers that, he does not want to be around when she throws her obsession onto him.
When he finally receives Scarlett's love, it is too late to salvage the love he once had for her, so he leaves her with his famous parting shot: "My dear, I don't give a damn." It has since been immortalized in film in an altered version: "Frankly, my dear, I don't give a damn."
Character[edit]
In the course of the novel, Rhett becomes increasingly enamored of Scarlett's sheer will to survive in the chaos surrounding the war. The novel contains several pieces of information about him that do not appear in the film. After being disowned by his family (mainly by his father), he became a professional gambler, and at one point was involved in the California Gold Rush, where he ended up getting a scar on his stomach in a knife fight. He seems to love his mother and his sister Rosemary, but has an adversarial relationship with his father which is never resolved. He also has a younger brother who is never named, and a sister-in-law (both of whom he has little respect or regard for), who own a rice plantation. Rhett is the guardian of a little boy who attends boarding school in New Orleans; it is speculated among readers that this boy is Belle Watling's son (whom Belle mentions briefly to Melanie), and perhaps Rhett's illegitimate son as well.
Despite being thrown out of West Point, the Rhett of the novel is obviously very well-educated, referencing everything from Shakespeare to classical history to German philosophy. He has an understanding of human nature (save for a realistic understanding of his beloved Scarlett) that the obtuse Scarlett never does, and at several points provides insightful perspectives on other characters. He also has an extensive knowledge of women (again except for Scarlett), both physically and psychologically, which Scarlett does not consider to be "decent" (but nonetheless considers fascinating). Rhett has tremendous respect and (gradually) affection for Melanie as a friend, but very little for Ashley. Rhett's understanding of human nature extends to children as well, and he is a much better parent to Scarlett's children from her previous marriages than she is herself; he has a particular affinity with her son Wade, even before Wade is his stepson. When Bonnie is born Rhett showers her with the attention that Scarlett will no longer allow him to give to her and is a devoted, even doting and overindulgent, father.
Rhett also decides to join in the Confederate Army; but only after its defeat at Atlanta, and when the "cause" as it were, was clearly understood by a man of his perception, to be truly lost. This facet of the character is completely at odds with worldly and wise predictor of Southern defeat on the eve of hostilities. Rhett has known and believed (and has said so publicly) the South is doomed to lose. And he has risked neither his life, nor his fortune for the cause of the South, when to have done so at the beginning of the war, might have been worth the risk, to establish a new nation.
In the sequels − both in official sequels (Scarlett, written by Alexandra Ripley, and Rhett Butler's People, written by Donald McCaig) and in the unofficial Winds of Tara by Kate Pinotti − Scarlett finally succeeds in getting Rhett back.
Searching for Rhett[edit]
In the 1939 film version of Gone with the Wind, for the role of Rhett Butler, Clark Gable was an almost immediate favorite for both the public and producer David O. Selznick (except for Gable himself). But as Selznick had no male stars under long-term contract, he needed to go through the process of negotiating to borrow an actor from another studio. Gary Cooper was thus Selznick's first choice, because Cooper's contract with Samuel Goldwyn involved a common distribution company, United Artists, with which Selznick had an eight-picture deal. However, Goldwyn remained noncommittal in negotiations.[2] Warner Bros. offered a package of Bette Davis, Errol Flynn, and Olivia de Havilland for the lead roles in return for the distribution rights. When Gary Cooper turned down the role of Rhett Butler, he was passionately against it. He is quoted saying, "Gone With The Wind is going to be the biggest flop in Hollywood history. I’m glad it’ll be Clark Gable who’s falling flat on his nose, not Gary Cooper".[3][4] But by then Selznick was determined to get Clark Gable, and eventually found a way to borrow him from Metro-Goldwyn-Mayer. Selznick's father-in-law, MGM chief Louis B. Mayer, offered in May 1938 to fund half of the movie's budget in return for a powerful package: 50% of the profits would go to MGM, the movie's distribution would be credited to MGM's parent company, Loew's, Inc., and Loew's would receive 15 percent of the movie's gross income. Selznick accepted this offer in August, and Gable was cast. But the arrangement to release through MGM meant delaying the start of production until Selznick International completed its eight-picture contract with United Artists. Gable was reluctant to play the role. At the time, he was wary of potentially disappointing a public who had formed a clear impression of the character that he might not necessarily convey in his performance.
Adaptations and sequels[edit]
In the 1939 film adaptation, Rhett was played by Clark Gable.
In the Scarlett TV mini-series produced in 1994 (based on the above sequel novel), Rhett was played by Timothy Dalton.
In the musical production by Takarazuka Revue, Rhett had been played by several top stars of the group, including Yuki Amami (currently a film/TV actress), Yu Todoroki (currently one of the directors of the group) and Youka Wao (former leading male role of the Cosmo Troup that retired from the group in July 2006).
In the Margaret Martin musical Gone With The Wind, the role of Rhett Butler was originated by Darius Danesh.
Alice Randall's The Wind Done Gone is either a parallel historical novel, or (after litigation) a parody. It is told from the slave point of view.
Donald McCaig's novel Rhett Butler's People is told from Rhett Butler's perspective.
Family[edit]
Rhett is the eldest child. In Gone with the Wind only his younger sister Rosemary is named; his brother and sister-in-law are mentioned very briefly, but not by name. In the sequel Scarlett by Alexandra Ripley, the Butler parents are called Steven and Eleanor, the younger brother is Ross. In this sequel Rhett marries Anne Hampton after divorcing Scarlett and he reunites with Scarlett only after Anne dies. He and Scarlett have a second daughter called Katie "Cat".
In the authorized prequel and sequel Rhett Butler's People his parents are called Langston and Elizabeth, his brother is Julian. In this novel Belle Watling's son plays an important role; in the end he is revealed to be another man's son even though he believed Rhett was his father.
Reception[edit]
Michael Sragow of Entertainment Weekly compared Butler to James Bond, arguing that both characters share an analytical sense, are good at seducing "ambivalent" women, and are "masters of maneuvering behind enemy lines".[5] He also stated that "007's erotic quips follow straight from Rhett's verbal jousts with Scarlett."[5]
References[edit]

Portal icon Fictional characters portal
1.^ Jump up to: a b c Consumer Price Index (estimate) 1800–2014. Federal Reserve Bank of Minneapolis. Retrieved February 27, 2014.
2.Jump up ^ Selznick, David O. (2000). Memo from David O. Selznick. New York: Modern Library. pp. 172–173. ISBN 0-375-75531-4.
3.Jump up ^ GoneMovie -> Biography Gary Cooper
4.Jump up ^ Paul Donnelley (June 1, 2003). Fade To Black: A Book Of Movie Obituaries, 2nd Edition. Omnibus Press.
5.^ Jump up to: a b Patterson, Troy, Ty Burr, and Stephen Whitty. "Gone With the Wind." (video review) Entertainment Weekly. October 23, 1998. Retrieved on December 23, 2013. This document has three separate reviews of the film, one per author.


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: Fictional gamblers
Fictional characters from South Carolina
Gone with the Wind characters
Fictional soldiers
Fictional socialites
Fictional characters introduced in 1936
Fictional American Civil War veterans





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Melanie Hamilton
From Wikipedia, the free encyclopedia
Jump to: navigation, search




[hide]This article has multiple issues. Please help improve it or discuss these issues on the talk page.




This article consists almost entirely of a plot summary. It should be expanded to provide more balanced coverage that includes real-world context.  (February 2008)




This article describes a work or element of fiction in a primarily in-universe style.  (August 2009)



Melanie Wilkes
Olivia de Havilland in Gone with the Wind trailer 3.jpg
Melanie Hamilton as portrayed in the film by Olivia de Havilland

First appearance
Gone with the Wind
Created by
Margaret Mitchell
Portrayed by
Olivia de Havilland
Information

Gender
Female
Spouse(s)
Ashley Wilkes
Children
Beau Wilkes (son, with Ashley)
Relatives
Charles Hamilton (brother, deceased)
Scarlett O'Hara (sister-in-law)
John Wilkes (uncle and father-in-law)
India Wilkes (sister-in-law)
Honey Wilkes (sister-in-law; doesn't appear in the movie)
Henry Hamilton (uncle)
Sarah Jane "Pittypat" Hamilton (aunt)
Wade Hamilton (nephew)
Melanie Hamilton Wilkes is a fictional character first appearing in the novel Gone with the Wind by Margaret Mitchell. In the 1939 film she was portrayed by Olivia de Havilland. Melanie is Scarlett O'Hara's sister-in-law and eventually her best friend.


Contents  [hide]
1 Biography 1.1 1861
1.2 1862
1.3 1863
1.4 1864 and later
2 References
3 External links

Biography[edit]
Melanie and her brother Charles are among the last members left of the wealthy Hamilton family. The family has always valued education and sought to provide its members with the finest available. As a result, they have gained a reputation for producing a fair number of intellectuals and several noted lawyers. For several generations they have intermarried with the like-minded Wilkes family. Unfortunately, this practice of apparent inbreeding has eventually resulted in the birth of progressively sicklier children.
Melanie and Charles' parents die when their children are still young. Their father, Col. William R. Hamilton, was described as a hot-tempered, fiery soldier "with a ramrod for a backbone". The two siblings are placed under the joint guardianship of Henry Hamilton and Sarah Jane "Pittypat" Hamilton, their father's brother and sister. Neither Henry nor Pittypat is married and so they consider their nephew and niece as their children. Henry is a lawyer and resident of Atlanta and the family fortune has been placed under his management. Pittypat is described as having the maturity of a child herself. The one actually responsible for raising the two children is Uncle Peter, an African American slave. Peter is fiercely loyal to the Hamiltons and has served the orphans' father during his military service in the Mexican-American War. Though the Hamiltons are nominally his masters, Peter views them more as his charges and acts as the protector of Pittypat, her niece and nephew throughout their lives. He is described as a brave and intelligent man who, in serving the interests of the Hamiltons, often advises his charges and on several occasions makes decisions for them. Thanks to their devoted uncles and aunt, the siblings grow to be well-educated and well-read young people, but due to their somewhat sheltered environment, they tend to be naive in worldly ways.
1861[edit]
In keeping with the family tradition, in April 1861, Melanie becomes engaged to her distant cousin, Ashley Wilkes. Melanie is unaware that Scarlett O'Hara intended to marry Ashley. For Scarlett, the news is shocking. Nevertheless, she is present at the engagement celebration, along with her family and most other plantation owners of the county. According to her description, Melanie is a rather petite and delicate young woman with the height and weight of a child. Her most notable feature is a pair of large brown eyes. To Scarlett, she seems quite shy and sweet but not particularly beautiful. However, her way of movement is described as graceful beyond her years. To Scarlett, she seems more interested in discussing books than in flirting with men. While most young girls present at the celebration seek to impress the young men with their dress sense, Melanie is plainly clothed, discussing the works of William Makepeace Thackeray and Charles Dickens.
Scarlett is certain that Ashley will prefer her to Melanie. Confronting him privately, she confesses her love for him. Ashley admits he is attracted to her but he is determined to marry Melanie. His main stated reason is that he believes he has more in common with Melanie than with Scarlett. Scarlett feels disappointed and hurt. In her confusion she decides to hurt Ashley in return by accepting a marriage proposal by Melanie's brother Charles. Scarlett also considers that she is taking revenge against Melanie by marrying her brother.
The wedding takes place two weeks later on April 30, 1861, but Melanie is actually pleased about the marriage as she views her new sister-in-law as a true sister. Melanie seems to take an instant liking to Scarlett and welcomes her to their family. On May 1, 1861, Melanie herself marries Ashley. Meanwhile the American Civil War is raging and Georgia is now part of the Confederate States of America. Charles has to leave two weeks after his marriage to enlist in the forces of Wade Hampton, known as "Hampton's Legion". A week later Ashley follows him. In his absence Melanie accepts the invitation of Aunt Pittypat to stay with her in Atlanta. The fortunes of both women are still under the management of Uncle Henry.
In Atlanta, Melanie receives two important pieces of news. Her brother has died less than two months after his enlistment, having contracted and recovered from the measles but then succumbing to pneumonia. His share of the family fortune is inherited by Scarlett, his widow. This sad news is followed by the news of Scarlett's pregnancy. Melanie's nephew is born by the end of the year and is named Wade Hampton Hamilton.
Throughout the year both Melanie and her aunt send Scarlett several invitations to join them. Melanie expresses an interest in getting to know her "sister" better and later in seeing her nephew. On the other hand, Scarlett is going through a state of depression. Her mother is concerned about her and finally manages to convince her to accept the invitations. Following a short visit to maternal relatives in Charleston, South Carolina, Scarlett and her son, accompanied by her maid, Prissy, arrive in Atlanta during the first months of 1862. She is welcomed by Uncle Peter, aging but still determined to take care of his new charges. He brings her to the house of her aunt and sister-in-law.
At first feeling awkward with the thought of living under the same roof with Ashley's wife, Scarlett progressively regains her interest in life. Partly responsible for that is Melanie's interest and affection towards her, though her occasional crushing hugs are hard for Scarlett to get used to. Melanie is serving as a volunteer nurse in the local hospital. Soon Scarlett joins her. Scarlett is somewhat impressed with Melanie's ability to keep a straight face and a smile in the presence of the wounded and her willingness to help and comfort them. Even if some of the gravest wounds make her pale and even cause her to vomit privately, Melanie avoids letting others find out. Scarlett starts considering that her sister-in-law is braver than she appears. At the same time Melanie maintains correspondence with Ashley, and Scarlett is still interested in hearing of his activities.
Scarlett has come to Atlanta intending to stay for a short while and as a visitor, but soon she finds herself settled more permanently and one of Atlanta's socialites. Melanie seems content with the new situation as Scarlett proves to be a better companion than their elderly aunt. At the time Atlanta is seemingly populated mostly by women, by men too old or too young to fight, and the wounded returning from the front. However, a number of men eligible to fight still remain in the city as part of the local militia. Melanie harshly criticizes their presence in the city, while more forces are needed at the front. Scarlett soon finds that, as passively as Melanie usually acts, she can become surprisingly passionate and even aggressive in support of her ideals.
1862[edit]
By the summer of 1862, Melanie and Scarlett have been re-acquainted to a man they met during Melanie's engagement celebration: Captain Rhett Butler, at the time about 35 years old. Born to a respected family of Charleston, Rhett was disinherited by his father when he refused to marry according to the latter's wishes. He has worked his way up and has made his own fortune in the California Gold Rush of 1849. He has gained wealth and success as a trader but he has a poor reputation. At the time he and his sailing ship have been smuggling supplies from the United Kingdom of Great Britain and Ireland, France and even the port of New York Harbor to the Confederation. Noted for his cynicism, he observes that he has gained both in wealth and in appreciation by this practice. He seems to take an instant interest in befriending both young women and soon starts flirting with Scarlett. Though this provides a subject of gossip for the local society, Melanie seems to approve of both her friends and verbally defends their reputations.
1863[edit]
By early 1863 Rhett has established himself as a friend of both women and a frequent visitor to their house. To Melanie he seems a bitter man in need of a woman to comfort him. On the other hand, Scarlett shares much of his cynical view towards people and their ideas. Both women find some of his ideas disturbing but still thought-provoking. In discussion with patriots and idealists who think this is a just war, Rhett tends to point that all wars seem just to the soldiers fighting them, but that the leaders and orators guiding them to war tend to place themselves behind the lines and are more interested in monetary gain than ideals. Rhett also points out that those ideals are little more than a cover for the actual financial motivation behind wars. Rhett's often stated beliefs have earned him a fair number of enemies, but Melanie and Scarlett are not among them as they also tend to question the motivations behind the war.
Generally less judgmental than most members of her social circle, Melanie is surprised when she is approached by Belle Watling, an affluent prostitute and owner of a local brothel. Belle has become well known in the local society and respected members of it frequent her brothel, but in public she usually finds herself isolated. Intending to contribute part of her weekly earnings as charity for the local hospital, Belle has found her offer being rejected. The idea is that money from such a source would be an insult to the heroic and wounded soldiers. Instead, Melanie accepts the offer. Melanie privately explains to Scarlett, who by this point has become her closest confidante, that in the process she risks her own reputation, but she reasons that the hospital needs any help it can get and that Belle's intentions are noble in this case.
Meanwhile Ashley has been serving in the Army of Northern Virginia and has been promoted to the rank of major. Having participated in a number of victorious battles, this army is steadily advancing towards the northern states under the orders of General Robert Edward Lee. On July 1, 1863, the army is engaged in battle against the Federals near the village of Gettysburg, Pennsylvania. The Battle of Gettysburg lasted until July 3 and ends in the defeat and retreat of the Confederates. The news of the battle reach Atlanta early but both the outcome and the fates of many of the soldiers remain uncertain for some time after. Many wait to learn news of their relatives and friends. Melanie and Scarlett have a personal interest in the fate of Ashley, whom they both love. When the first lists of casualties reaches Atlanta, both are relieved not to find Ashley among them. But their relief is soon followed by grief as, not surprisingly, Melanie, Scarlett and every resident of Atlanta find many of their acquaintances to be included in the lists. As well, several additions to the lists follow. The battle has been the first major defeat of the Confederates and is considered to have turned the tide of the war.
On December 20, 1863, Ashley returns home. He has received a week-long leave, and it is the first time Melanie and Scarlett have seen him in about two years. The weary soldier is met with the joy and affection of both women and seems to return it. Before leaving to rejoin his unit, Ashley explains to Scarlett his worries about his wife's current health and her fate in case he falls in battle. Ashley meets Scarlett with the specific request to look and care after Melanie in his absence. Scarlett is at first taken by surprise but she agrees. Scarlett accepts Melanie as her new charge and for the first time feels responsible for her sister-in-law and rival in love's health and care. Melanie is left blissfully unaware of the feelings her husband and "sister" have for each other and the latter's new responsibility towards herself.
1864 and later[edit]
Ashley's short visit has apparently been enough for Melanie to be three months pregnant by March 1864. Melanie has wanted a child for some time and already acted as a second mother to her nephew Wade. She is glad for the chance to have her own child. Melanie announces the news to Scarlett as soon as she is certain. She expects her friend to share her joy. Having lost her mother years ago, Melanie also seems to expect Scarlett to assume the role of the experienced woman advising her on her pregnancy. Instead Scarlett reacts in surprise, confusion and even anger to finding Melanie pregnant with Ashley's child. Melanie is unable to grasp the reasons for this reaction but fears that she has somehow hurt her friend. Melanie is also met with the fears of the doctor examining her. According to his examination, Melanie's hip bone seems to be too narrow to safely allow her to give birth. In any case Melanie receives a telegram from Ashley's superior officer explaining that her husband has been reported as missing in action for the last three days. Melanie finds herself believed to be a widow.
Turning to each other for comfort, Melanie and Scarlett reconcile. They spend that night crying in each other's arms. But the news of Ashley's death prove to have been premature. Another report informs the two women that efforts to recover his body have failed and that he is considered likely to have been captured by enemy forces. Anxious over her husband's uncertain fate, Melanie grows restless for some time. Even late at night Scarlett can hear Melanie pacing her bedroom back and forth, apparently suffering from insomnia. This practice gradually exhausts her health and at one point she even passes out in public, an unusual incident for her. Fortunately for Melanie, Rhett happens to be near and returns her home safely. Rhett is worried about her, and ascertaining the reasons behind her current state, he promises to use his connections in Washington, DC to find out whether Major Wilkes has been captured or not. In exchange, Rhett asks Melanie to promise him that she will try to get some rest.
A month later Rhett announces to Melanie and Scarlett what has happened to Ashley. He has been wounded in conflict, captured, and is being held in a prisoner camp in Rock Island, Illinois. The women receive the news with mixed feelings. Their loved one is still alive but for how long is questionable. Rock Island's reputation among the Confederates was no better than that of Andersonville among the Federals; only one quarter of the prisoners held there have ever returned home. The rest die from smallpox, pneumonia and typhus, among other diseases.
Melanie's pregnancy continues even though her health is frail. She is put on bed rest for most of the third trimester of her pregnancy. General William Tecumseh Sherman's troops begin to approach Atlanta. Because of this, Aunt Pittypat and Uncle Peter flee to relatives in Macon, Georgia, and Melanie is left in Scarlett's care. A short while later, Melanie goes into labor. At this time, however, General Sherman is beginning to wage battle with the Home Guard. Scarlett sends her servant, Prissy to find help, but is unable to find any for various reasons. Scarlett and Prissy are then forced to deliver Melanie's baby. The delivery is very difficult due to Melanie's health and body structure.
After her son is born, Melanie and Scarlett make a difficult, dangerous journey to Scarlett's home Tara. There, Melanie, her son Beau, Scarlett and Wade live with Scarlet's father, 2 sisters, and few remaining house servants. They face much hardship, living in near constant starvation. After a few months' time, the war finally comes to an end. Eventually Ashley returns to Tara and Melanie is over-joyed.
Soon, Scarlet remarries her sister's old flame Frank Kennedy and moves to Atlanta. The Wilkes move there also with their little boy after Melanie persuades Ashley to help Scarlett start a lumber business.
Melanie becomes a social pillar of Atlanta, known for her charity and kindness. She even takes in an old convict, Archie. He, along with India Wilkes, witness Scarlett's embrace with Ashley one day at the mill. Melanie refuses to believe the rumors that there is anything wrong between her husband and 'sister', and saves Scarlett's reputation by graciously asking her to co-hostess Ashley's birthday party that night.
Melanie and Rhett continue to have a good relationship, even as his and Scarlett's marriage falls apart. Rhett says Melanie is one of the few real ladies he's ever known. After Scarlett falls down the stairs and miscarries, Melanie comforts Rhett, who in a drunken state, cries on her lap, lamenting that his wife never loved him. He almost reveals that Scarlett has long been in love with Ashley before he realizes who he's talking to. He subsequently gives up his feelings for Scarlett and focuses his attentions on their daughter Bonnie, who later dies in a riding accident. It is Melanie that convinces the grief-stricken Rhett to allow them to bury Bonnie after her death.
Melanie becomes pregnant again, although Dr. Meade had specifically warned her against it. She weakens considerably after a miscarriage and calls Scarlett to her, tells her how much she's loved her, asks her to take care of Beau and of Ashley, and then dies. Melanie's death serves as a catalyst for the final phase of Scarlett's character growth in the book. Scarlett mourns Melanie's death, and unselfishly thanks God for not allowing the dead woman to know about Ashley's emotional involvement with herself.
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Melanie Hamilton
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[hide]This article has multiple issues. Please help improve it or discuss these issues on the talk page.




This article consists almost entirely of a plot summary. It should be expanded to provide more balanced coverage that includes real-world context.  (February 2008)




This article describes a work or element of fiction in a primarily in-universe style.  (August 2009)



Melanie Wilkes
Olivia de Havilland in Gone with the Wind trailer 3.jpg
Melanie Hamilton as portrayed in the film by Olivia de Havilland

First appearance
Gone with the Wind
Created by
Margaret Mitchell
Portrayed by
Olivia de Havilland
Information

Gender
Female
Spouse(s)
Ashley Wilkes
Children
Beau Wilkes (son, with Ashley)
Relatives
Charles Hamilton (brother, deceased)
Scarlett O'Hara (sister-in-law)
John Wilkes (uncle and father-in-law)
India Wilkes (sister-in-law)
Honey Wilkes (sister-in-law; doesn't appear in the movie)
Henry Hamilton (uncle)
Sarah Jane "Pittypat" Hamilton (aunt)
Wade Hamilton (nephew)
Melanie Hamilton Wilkes is a fictional character first appearing in the novel Gone with the Wind by Margaret Mitchell. In the 1939 film she was portrayed by Olivia de Havilland. Melanie is Scarlett O'Hara's sister-in-law and eventually her best friend.


Contents  [hide]
1 Biography 1.1 1861
1.2 1862
1.3 1863
1.4 1864 and later
2 References
3 External links

Biography[edit]
Melanie and her brother Charles are among the last members left of the wealthy Hamilton family. The family has always valued education and sought to provide its members with the finest available. As a result, they have gained a reputation for producing a fair number of intellectuals and several noted lawyers. For several generations they have intermarried with the like-minded Wilkes family. Unfortunately, this practice of apparent inbreeding has eventually resulted in the birth of progressively sicklier children.
Melanie and Charles' parents die when their children are still young. Their father, Col. William R. Hamilton, was described as a hot-tempered, fiery soldier "with a ramrod for a backbone". The two siblings are placed under the joint guardianship of Henry Hamilton and Sarah Jane "Pittypat" Hamilton, their father's brother and sister. Neither Henry nor Pittypat is married and so they consider their nephew and niece as their children. Henry is a lawyer and resident of Atlanta and the family fortune has been placed under his management. Pittypat is described as having the maturity of a child herself. The one actually responsible for raising the two children is Uncle Peter, an African American slave. Peter is fiercely loyal to the Hamiltons and has served the orphans' father during his military service in the Mexican-American War. Though the Hamiltons are nominally his masters, Peter views them more as his charges and acts as the protector of Pittypat, her niece and nephew throughout their lives. He is described as a brave and intelligent man who, in serving the interests of the Hamiltons, often advises his charges and on several occasions makes decisions for them. Thanks to their devoted uncles and aunt, the siblings grow to be well-educated and well-read young people, but due to their somewhat sheltered environment, they tend to be naive in worldly ways.
1861[edit]
In keeping with the family tradition, in April 1861, Melanie becomes engaged to her distant cousin, Ashley Wilkes. Melanie is unaware that Scarlett O'Hara intended to marry Ashley. For Scarlett, the news is shocking. Nevertheless, she is present at the engagement celebration, along with her family and most other plantation owners of the county. According to her description, Melanie is a rather petite and delicate young woman with the height and weight of a child. Her most notable feature is a pair of large brown eyes. To Scarlett, she seems quite shy and sweet but not particularly beautiful. However, her way of movement is described as graceful beyond her years. To Scarlett, she seems more interested in discussing books than in flirting with men. While most young girls present at the celebration seek to impress the young men with their dress sense, Melanie is plainly clothed, discussing the works of William Makepeace Thackeray and Charles Dickens.
Scarlett is certain that Ashley will prefer her to Melanie. Confronting him privately, she confesses her love for him. Ashley admits he is attracted to her but he is determined to marry Melanie. His main stated reason is that he believes he has more in common with Melanie than with Scarlett. Scarlett feels disappointed and hurt. In her confusion she decides to hurt Ashley in return by accepting a marriage proposal by Melanie's brother Charles. Scarlett also considers that she is taking revenge against Melanie by marrying her brother.
The wedding takes place two weeks later on April 30, 1861, but Melanie is actually pleased about the marriage as she views her new sister-in-law as a true sister. Melanie seems to take an instant liking to Scarlett and welcomes her to their family. On May 1, 1861, Melanie herself marries Ashley. Meanwhile the American Civil War is raging and Georgia is now part of the Confederate States of America. Charles has to leave two weeks after his marriage to enlist in the forces of Wade Hampton, known as "Hampton's Legion". A week later Ashley follows him. In his absence Melanie accepts the invitation of Aunt Pittypat to stay with her in Atlanta. The fortunes of both women are still under the management of Uncle Henry.
In Atlanta, Melanie receives two important pieces of news. Her brother has died less than two months after his enlistment, having contracted and recovered from the measles but then succumbing to pneumonia. His share of the family fortune is inherited by Scarlett, his widow. This sad news is followed by the news of Scarlett's pregnancy. Melanie's nephew is born by the end of the year and is named Wade Hampton Hamilton.
Throughout the year both Melanie and her aunt send Scarlett several invitations to join them. Melanie expresses an interest in getting to know her "sister" better and later in seeing her nephew. On the other hand, Scarlett is going through a state of depression. Her mother is concerned about her and finally manages to convince her to accept the invitations. Following a short visit to maternal relatives in Charleston, South Carolina, Scarlett and her son, accompanied by her maid, Prissy, arrive in Atlanta during the first months of 1862. She is welcomed by Uncle Peter, aging but still determined to take care of his new charges. He brings her to the house of her aunt and sister-in-law.
At first feeling awkward with the thought of living under the same roof with Ashley's wife, Scarlett progressively regains her interest in life. Partly responsible for that is Melanie's interest and affection towards her, though her occasional crushing hugs are hard for Scarlett to get used to. Melanie is serving as a volunteer nurse in the local hospital. Soon Scarlett joins her. Scarlett is somewhat impressed with Melanie's ability to keep a straight face and a smile in the presence of the wounded and her willingness to help and comfort them. Even if some of the gravest wounds make her pale and even cause her to vomit privately, Melanie avoids letting others find out. Scarlett starts considering that her sister-in-law is braver than she appears. At the same time Melanie maintains correspondence with Ashley, and Scarlett is still interested in hearing of his activities.
Scarlett has come to Atlanta intending to stay for a short while and as a visitor, but soon she finds herself settled more permanently and one of Atlanta's socialites. Melanie seems content with the new situation as Scarlett proves to be a better companion than their elderly aunt. At the time Atlanta is seemingly populated mostly by women, by men too old or too young to fight, and the wounded returning from the front. However, a number of men eligible to fight still remain in the city as part of the local militia. Melanie harshly criticizes their presence in the city, while more forces are needed at the front. Scarlett soon finds that, as passively as Melanie usually acts, she can become surprisingly passionate and even aggressive in support of her ideals.
1862[edit]
By the summer of 1862, Melanie and Scarlett have been re-acquainted to a man they met during Melanie's engagement celebration: Captain Rhett Butler, at the time about 35 years old. Born to a respected family of Charleston, Rhett was disinherited by his father when he refused to marry according to the latter's wishes. He has worked his way up and has made his own fortune in the California Gold Rush of 1849. He has gained wealth and success as a trader but he has a poor reputation. At the time he and his sailing ship have been smuggling supplies from the United Kingdom of Great Britain and Ireland, France and even the port of New York Harbor to the Confederation. Noted for his cynicism, he observes that he has gained both in wealth and in appreciation by this practice. He seems to take an instant interest in befriending both young women and soon starts flirting with Scarlett. Though this provides a subject of gossip for the local society, Melanie seems to approve of both her friends and verbally defends their reputations.
1863[edit]
By early 1863 Rhett has established himself as a friend of both women and a frequent visitor to their house. To Melanie he seems a bitter man in need of a woman to comfort him. On the other hand, Scarlett shares much of his cynical view towards people and their ideas. Both women find some of his ideas disturbing but still thought-provoking. In discussion with patriots and idealists who think this is a just war, Rhett tends to point that all wars seem just to the soldiers fighting them, but that the leaders and orators guiding them to war tend to place themselves behind the lines and are more interested in monetary gain than ideals. Rhett also points out that those ideals are little more than a cover for the actual financial motivation behind wars. Rhett's often stated beliefs have earned him a fair number of enemies, but Melanie and Scarlett are not among them as they also tend to question the motivations behind the war.
Generally less judgmental than most members of her social circle, Melanie is surprised when she is approached by Belle Watling, an affluent prostitute and owner of a local brothel. Belle has become well known in the local society and respected members of it frequent her brothel, but in public she usually finds herself isolated. Intending to contribute part of her weekly earnings as charity for the local hospital, Belle has found her offer being rejected. The idea is that money from such a source would be an insult to the heroic and wounded soldiers. Instead, Melanie accepts the offer. Melanie privately explains to Scarlett, who by this point has become her closest confidante, that in the process she risks her own reputation, but she reasons that the hospital needs any help it can get and that Belle's intentions are noble in this case.
Meanwhile Ashley has been serving in the Army of Northern Virginia and has been promoted to the rank of major. Having participated in a number of victorious battles, this army is steadily advancing towards the northern states under the orders of General Robert Edward Lee. On July 1, 1863, the army is engaged in battle against the Federals near the village of Gettysburg, Pennsylvania. The Battle of Gettysburg lasted until July 3 and ends in the defeat and retreat of the Confederates. The news of the battle reach Atlanta early but both the outcome and the fates of many of the soldiers remain uncertain for some time after. Many wait to learn news of their relatives and friends. Melanie and Scarlett have a personal interest in the fate of Ashley, whom they both love. When the first lists of casualties reaches Atlanta, both are relieved not to find Ashley among them. But their relief is soon followed by grief as, not surprisingly, Melanie, Scarlett and every resident of Atlanta find many of their acquaintances to be included in the lists. As well, several additions to the lists follow. The battle has been the first major defeat of the Confederates and is considered to have turned the tide of the war.
On December 20, 1863, Ashley returns home. He has received a week-long leave, and it is the first time Melanie and Scarlett have seen him in about two years. The weary soldier is met with the joy and affection of both women and seems to return it. Before leaving to rejoin his unit, Ashley explains to Scarlett his worries about his wife's current health and her fate in case he falls in battle. Ashley meets Scarlett with the specific request to look and care after Melanie in his absence. Scarlett is at first taken by surprise but she agrees. Scarlett accepts Melanie as her new charge and for the first time feels responsible for her sister-in-law and rival in love's health and care. Melanie is left blissfully unaware of the feelings her husband and "sister" have for each other and the latter's new responsibility towards herself.
1864 and later[edit]
Ashley's short visit has apparently been enough for Melanie to be three months pregnant by March 1864. Melanie has wanted a child for some time and already acted as a second mother to her nephew Wade. She is glad for the chance to have her own child. Melanie announces the news to Scarlett as soon as she is certain. She expects her friend to share her joy. Having lost her mother years ago, Melanie also seems to expect Scarlett to assume the role of the experienced woman advising her on her pregnancy. Instead Scarlett reacts in surprise, confusion and even anger to finding Melanie pregnant with Ashley's child. Melanie is unable to grasp the reasons for this reaction but fears that she has somehow hurt her friend. Melanie is also met with the fears of the doctor examining her. According to his examination, Melanie's hip bone seems to be too narrow to safely allow her to give birth. In any case Melanie receives a telegram from Ashley's superior officer explaining that her husband has been reported as missing in action for the last three days. Melanie finds herself believed to be a widow.
Turning to each other for comfort, Melanie and Scarlett reconcile. They spend that night crying in each other's arms. But the news of Ashley's death prove to have been premature. Another report informs the two women that efforts to recover his body have failed and that he is considered likely to have been captured by enemy forces. Anxious over her husband's uncertain fate, Melanie grows restless for some time. Even late at night Scarlett can hear Melanie pacing her bedroom back and forth, apparently suffering from insomnia. This practice gradually exhausts her health and at one point she even passes out in public, an unusual incident for her. Fortunately for Melanie, Rhett happens to be near and returns her home safely. Rhett is worried about her, and ascertaining the reasons behind her current state, he promises to use his connections in Washington, DC to find out whether Major Wilkes has been captured or not. In exchange, Rhett asks Melanie to promise him that she will try to get some rest.
A month later Rhett announces to Melanie and Scarlett what has happened to Ashley. He has been wounded in conflict, captured, and is being held in a prisoner camp in Rock Island, Illinois. The women receive the news with mixed feelings. Their loved one is still alive but for how long is questionable. Rock Island's reputation among the Confederates was no better than that of Andersonville among the Federals; only one quarter of the prisoners held there have ever returned home. The rest die from smallpox, pneumonia and typhus, among other diseases.
Melanie's pregnancy continues even though her health is frail. She is put on bed rest for most of the third trimester of her pregnancy. General William Tecumseh Sherman's troops begin to approach Atlanta. Because of this, Aunt Pittypat and Uncle Peter flee to relatives in Macon, Georgia, and Melanie is left in Scarlett's care. A short while later, Melanie goes into labor. At this time, however, General Sherman is beginning to wage battle with the Home Guard. Scarlett sends her servant, Prissy to find help, but is unable to find any for various reasons. Scarlett and Prissy are then forced to deliver Melanie's baby. The delivery is very difficult due to Melanie's health and body structure.
After her son is born, Melanie and Scarlett make a difficult, dangerous journey to Scarlett's home Tara. There, Melanie, her son Beau, Scarlett and Wade live with Scarlet's father, 2 sisters, and few remaining house servants. They face much hardship, living in near constant starvation. After a few months' time, the war finally comes to an end. Eventually Ashley returns to Tara and Melanie is over-joyed.
Soon, Scarlet remarries her sister's old flame Frank Kennedy and moves to Atlanta. The Wilkes move there also with their little boy after Melanie persuades Ashley to help Scarlett start a lumber business.
Melanie becomes a social pillar of Atlanta, known for her charity and kindness. She even takes in an old convict, Archie. He, along with India Wilkes, witness Scarlett's embrace with Ashley one day at the mill. Melanie refuses to believe the rumors that there is anything wrong between her husband and 'sister', and saves Scarlett's reputation by graciously asking her to co-hostess Ashley's birthday party that night.
Melanie and Rhett continue to have a good relationship, even as his and Scarlett's marriage falls apart. Rhett says Melanie is one of the few real ladies he's ever known. After Scarlett falls down the stairs and miscarries, Melanie comforts Rhett, who in a drunken state, cries on her lap, lamenting that his wife never loved him. He almost reveals that Scarlett has long been in love with Ashley before he realizes who he's talking to. He subsequently gives up his feelings for Scarlett and focuses his attentions on their daughter Bonnie, who later dies in a riding accident. It is Melanie that convinces the grief-stricken Rhett to allow them to bury Bonnie after her death.
Melanie becomes pregnant again, although Dr. Meade had specifically warned her against it. She weakens considerably after a miscarriage and calls Scarlett to her, tells her how much she's loved her, asks her to take care of Beau and of Ashley, and then dies. Melanie's death serves as a catalyst for the final phase of Scarlett's character growth in the book. Scarlett mourns Melanie's death, and unselfishly thanks God for not allowing the dead woman to know about Ashley's emotional involvement with herself.
References[edit]

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Scarlett O'Hara
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 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2012)

Scarlett O'Hara
Vivien Leigh Gone Wind Restaured.jpg
Scarlett O'Hara as portrayed by Vivien Leigh in the 1939 film adaptation of Gone with the Wind.

First appearance
Gone with the Wind
Created by
Margaret Mitchell
Portrayed by
Vivien Leigh (Gone with the Wind)
Joanne Whalley (Scarlett)
Information

Nickname(s)
Scarlett
Aliases
Katie Scarlett O'Hara
(birthname)
Gender
Female
Family
Gerald O'Hara (father, deceased)
Ellen Robillard O'Hara (mother, deceased)
Susan Elinor "Suellen" O'Hara Benteen (sister)
Caroline Irene "Carreen" O'Hara (sister)
Gerald O'Hara Jr. (name of 3 brothers, all deceased)
Spouse(s)
Charles Hamilton
(1st; deceased)
Frank Kennedy
(2nd; deceased)
Rhett Butler
(3rd)
Children
Wade Hampton Hamilton
(son with Charles)
Ella Lorena Kennedy
(daughter with Frank)
Eugenie Victoria "Bonnie Blue" Butler
(daughter with Rhett; deceased)
Katie Colum "Cat" Butler
(daughter with Rhett in Scarlett)
Mr. Butler (stepson via Rhett)
Relatives
Langston Butler (father-in-law named in Scarlett; deceased)
Eleanor Butler (mother-in-law in sequel Scarlett)
Ross Butler (brother-in-law named in Scarlett)
Rosemary Butler (sister-in-law)
Pauline Robillard (maternal aunt)
Eulalie Robillard (maternal aunt)
Philippe Robillard (cousin of her mother)
James O'Hara (paternal uncle)
Andrew O'Hara (paternal uncle)
Pierre Robillard (maternal grandfather)
Solange Prudhomme Robillard (maternal grandmother)
Katie Scarlett O'Hara (paternal grandmother)
Will Benteen (brother-in-law)
Unnamed Benteen (niece or nephew, via Sullen and Will)
Melanie Hamilton (sister-in-law)
Beau Wilkes (nephew)
Religion
Roman Catholic
Scarlett O'Hara (born Katie Scarlett O'Hara; credited as Scarlett O'Hara Hamilton Kennedy Butler) is the protagonist in Margaret Mitchell's 1936 novel Gone with the Wind and in the later film of the same name. She also is the main character in the 1970 musical Scarlett and the 1991 book Scarlett, a sequel to Gone with the Wind that was written by Alexandra Ripley and adapted for a television mini-series in 1994. During early drafts of the original novel, Mitchell referred to her heroine as "Pansy", and did not decide on the name "Scarlett" until just before the novel went to print.[1]


Contents  [hide]
1 Biography
2 Personality
3 Searching for Scarlett
4 Other actresses considered for Scarlett
5 Adaptations
6 Historical sources for the character
7 Comparisons to other characters
8 References
9 External links

Biography[edit]
Katie Scarlett O'Hara is the oldest living child of Gerald and Ellen O'Hara. She was born on her family's plantation Tara in Georgia. She was named Katie Scarlett, after her father's mother, but is always called Scarlett. She is of Irish and French ancestry, and a descendent of an aristocratic Savannah family on her mother's side (the Robillards). Scarlett has dark hair, green eyes, pale skin, and is very slender. She is famous for her fashionably small seventeen-inch waist. Scarlett has two younger sisters, Susan Elinor ("Suellen") O'Hara and Caroline Irene ("Carreen") O'Hara, and three little brothers who died in infancy. Her baby brothers are buried in the family burying ground at Tara, and each was named Gerald O'Hara, Jr.
Personality[edit]
She is an atypical protagonist, especially as a female romantic lead in fiction. When the novel opens, Scarlett is sixteen. She is vain, self-centered, and very spoiled by her doting parents. She can also be insecure; but is very intelligent, despite her fashionable Southern-belle pretense at ignorance and helplessness around men. She is somewhat unique among Southern women, who society preferred to act as dainty creatures who needed protection from their men. Scarlett is aware that she is only acting empty-headed, and resents the fashionable "necessity" of it, unlike most of her typical party-going Southern belles social set.
Outwardly, Scarlett is the picture of Southern charm and womanly virtues, and a popular belle with the County males. The one man she truly wants, however is her neighbor, Ashley Wilkes - the one man she can't have! The Wilkes family has a tradition of intermarrying with their cousins, and Ashley is promised to his cousin, Melanie Hamilton of Atlanta. Scarlett's motivation in the early part of the novel centers on her desire to win Ashley's heart. When he refuses her advances (which no well-bred Southern lady would be so forward as to make!), she takes refuge in childish rage, and spitefully accepts the proposal of Charles Hamilton, Melanie's brother, in a misguided effort to get back at Ashley and Melanie.
Rhett Butler, an older bachelor and a society pariah, overhears Scarlett express her love to Ashley during a barbecue at Twelve Oakes, the Wilkes' estate. Rhett admires Scarlett's willfulness and her departure from accepted propriety. He pursues Scarlett, but is aware of her impetuousness, childish spite, and her fixation on Ashley. He assists Scarlett in defiance of proper Victorian mourning customs when her husband, Charles Hamilton, dies and encourages her hoyden behavior (by antebellum custom) in Atlanta society. Scarlett, chafing from the strict rules of polite society, finds friendship with Rhett liberating.
The Civil War sweeps away the lifestyle for which Scarlett was raised, and Southern society falls into ruin. Scarlett, left destitute after Sherman's army marches through Georgia, becomes the sole source of strength for her family. Her character begins to harden as her relatives, the family servants and the Wilkes family look to her for protection from homelessness and starvation. Scarlett becomes money-conscious and more materialistic in her motivation to ensure that her family survives and Tara stays in her family, while other Georgia planters are losing their homes. This extends to stealing her sister's fiance, going into business for herself (well-bred southern ladies never work outside the home), engages in controversial business practices and exploits convict labor in order to make her lumber business profit. Her conduct results in the death of her second husband, Frank Kennedy, and she immediately marries Rhett Butler for "fun" and because he is very wealthy.
Scarlett is too insecure and vain to truly grow up and realize her pursuit of Ashley is misdirected until the climax of the novel. With the death of Melanie Wilkes, she realizes her pursuit of Ashley was a childish romance. She realizes she never really loved Ashley and that she has loved Rhett Butler for some time. She pursues Rhett from Melanie's deathbed to their home, only to discover he has given up hope of ever receiving her love, and is about to leave her. Wracked with grief, but determined to once again pursue and win her man, Scarlett returns home to Tara, to lick her wounds and launch her pursuit of Rhett.
Searching for Scarlett[edit]
While the studio and the public agreed that the part of Rhett Butler should go to Clark Gable (except for Clark Gable himself), casting for the role of Scarlett was a little harder. The search for an actress to play Scarlett in the film version of the novel famously drew the biggest names in the history of cinema, such as Bette Davis (whose had been cast as a Southern belle in Jezebel in 1938), and Katharine Hepburn, who went so far as demanding an appointment with producer David O. Selznick and saying, "I am Scarlett O'Hara! The role is practically written for me." David replied rather bluntly, "I can't imagine Rhett Butler chasing you for twelve years."[citation needed]Jean Arthur and Lucille Ball were also considered, as well as relatively unknown actress Doris Davenport. Susan Hayward was "discovered" when she tested for the part, and the career of Lana Turner developed quickly after her screen test. Tallulah Bankhead and Joan Bennett were widely considered to be the most likely choices until they were supplanted by Paulette Goddard.
The young English actress Vivien Leigh, virtually unknown in America, saw that several English actors, including Ronald Colman and Leslie Howard, were in consideration for the male leads in Gone with the Wind. Her agent happened to be the London representative of the Myron Selznick talent agency, headed by David Selznick's brother, Myron. Leigh asked Myron to put her name into consideration as Scarlett on the eve of the American release of her picture Fire Over England in February 1938. David Selznick watched both Fire Over England and her most recent picture, A Yank at Oxford, that month, and thought she was excellent but in no way a possible Scarlett, as she was "too British." But Myron Selznick arranged for David to first meet Leigh on the night in December 1938 when the burning of the Atlanta Depot was being filmed on the Forty Acres backlot that Selznick International and RKO shared. Leigh and her then lover Laurence Olivier (later to be her husband) were visiting as guests of Myron Selznick, who was also Olivier's agent, while Leigh was in Hollywood hoping for a part in Olivier's current movie, Wuthering Heights. In a letter to his wife two days later, David Selznick admitted that Leigh was "the Scarlett dark horse," and after a series of screen tests, her casting was announced on January 13, 1939. Just before the shooting of the film, Selznick informed Ed Sullivan: "Scarlett O'Hara's parents were French and Irish. Identically, Miss Leigh's parents are French and Irish."[2]
In any case, Leigh was cast—despite public protest that the role was too "American" for an English actress—and eventually won an Academy Award for her performance.
Other actresses considered for Scarlett[edit]
A great number of actresses were considered for the role of Scarlett. In fact, there were approximately 32 women who were considered and or tested for the role. The search for Scarlett began in 1936 (the year of the book's publication) and ended in December 1938.[3]
Between 1936 and 1938, the following actresses were considered for the role, which required playing Scarlett from 16 years of age until her mid-30s (actress' age in 1939, the year of Gone With the Wind's release, when Leigh was 27):
Lucille Ball (28)
Constance Bennett (35)
Clara Bow (34)
Mary Brian (33)
Ruth Chatterton (47)
Claudette Colbert (36)
Joan Crawford (35)
Bette Davis (31)
Frances Dee (30)
Irene Dunne (41)
Madge Evans (30)
Glenda Farrell (35)
Alice Faye (24)
Joan Fontaine, sister of Olivia DeHaviland, who played Mellie (22)
Kay Francis (34)
Janet Gaynor (33)
Paulette Goddard (29)
Jean Harlow (28)
Susan Hayward who was considered by Cukor to be too young to have the depth for the role[4] (22)
Katharine Hepburn (32)
Miriam Hopkins (37)
Rochelle Hudson (23)
Dorothy Lamour (25)
Andrea Leeds[4] (25)
Carole Lombard (31)
Anita Louise (24)
Myrna Loy (34)
Pola Negri (42)
Maureen O'Sullivan (28)
Merle Oberon (28)
Ginger Rogers (29)
Norma Shearer (37)
Ann Sheridan (24)
Gale Sondergaard, who also was considered for but ultimately lost the role of the Wicked Witch of the West the same year[4] (40)
Barbara Stanwyck (32)
Gloria Stuart (29)
Margaret Sullavan (30)
Gloria Swanson (40)
Linda Watkins (31)
Mae West (46)
Jane Wyman (22)
Loretta Young (26)
Between late 1937 and mid-1938, approximately 128 actresses were nominated for the role of Scarlett through letters of suggestion sent to Selznick International Pictures from the public.[4]
Adaptations[edit]
A 1966 musical stage adaptation was a major hit in Japan and London's West End, but failed to survive in America where it starred Lesley Ann Warren and Harve Presnell. It closed after engagements in Los Angeles and San Francisco, never opening on Broadway.
In 1980 a film about the search for Scarlett O'Hara was made entitled Moviola: The Scarlett O'Hara War with actress Morgan Brittany in the role of Vivien Leigh.
In the 1994 TV mini-series based on the sequel Scarlett, the character was played by English actress Joanne Whalley.
In the Margaret Martin musical Gone with the Wind, the role of Scarlett O'Hara was originated by Jill Paice.
Historical sources for the character[edit]
While Margaret Mitchell used to say that her Gone with The Wind characters were not based on real people, modern researchers have found similarities to some of the people in Mitchell's own life as well as individuals she heard of. Rhett Butler is thought to be based on Mitchell's first husband, Red Upshaw. Scarlett's upbringing resembled that of Mitchell's maternal grandmother, Annie Fitzgerald Stephens (1844–1934), who was raised on a plantation in Clayton County, Georgia (where the fictional Tara was placed), and whose father was an Irish immigrant. Another source for Scarlett might have been Martha Bulloch Roosevelt, the mother of U.S. president Theodore Roosevelt. Martha grew up in a beautiful Southern mansion, Bulloch Hall, in Roswell, just north of Atlanta, Georgia. Her physical appearance, beauty, grace and intelligence were well known to Mitchell and the personality similarities (the positive ones) between Martha, who was also called Mittie, and Scarlett were striking.[citation needed]
Comparisons to other characters[edit]
Troy Patterson of Entertainment Weekly argued that Ally McBeal, the main character of the television series with the same name, has similarities to O'Hara and that "Scarlett and Ally are fairy-tale princesses who bear about as much resemblance to real women as Barbie and Skipper."[5] Patterson wrote that Ally is similar because she is also a child from a ruling class family, "pines hopelessly after an unavailable dreamboat", and has a "sassy black roommate" in place of a "mammy" to "comfort her".[5]
References[edit]
1.Jump up ^ "Shrewd, Selfish Scarlett: A Complicated Heroine". NPR. Retrieved 2010-09-26.
2.Jump up ^ "Letter from David O. Selznick to Ed Sullivan". Harry Ransom Center - The University Of Texas At Austin. Jan 7, 1939.
3.Jump up ^ Thompson, David. "Hollywood", 1930s pgs. 178 - 182
4.^ Jump up to: a b c d "The Making of Gone With The Wind" Part 2, Documentary circa 1990s.
5.^ Jump up to: a b Patterson, Troy, Ty Burr, and Stephen Whitty. "Gone With the Wind." (video review) Entertainment Weekly. October 23, 1998. Retrieved on December 23, 2013. This document has three separate reviews of the film, one per author.
External links[edit]

Portal icon Fictional characters portal
 Wikimedia Commons has media related to Scarlett O'Hara.
Short Bios of Scarlett and Vivien Leigh


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: Fictional American people of French descent
Fictional American people of Irish descent
Fictional characters from Georgia (U.S. state)
Fictional socialites
Gone with the Wind characters
Fictional characters introduced in 1936
Fictional antiheroes








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Scarlett O'Hara
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2012)

Scarlett O'Hara
Vivien Leigh Gone Wind Restaured.jpg
Scarlett O'Hara as portrayed by Vivien Leigh in the 1939 film adaptation of Gone with the Wind.

First appearance
Gone with the Wind
Created by
Margaret Mitchell
Portrayed by
Vivien Leigh (Gone with the Wind)
Joanne Whalley (Scarlett)
Information

Nickname(s)
Scarlett
Aliases
Katie Scarlett O'Hara
(birthname)
Gender
Female
Family
Gerald O'Hara (father, deceased)
Ellen Robillard O'Hara (mother, deceased)
Susan Elinor "Suellen" O'Hara Benteen (sister)
Caroline Irene "Carreen" O'Hara (sister)
Gerald O'Hara Jr. (name of 3 brothers, all deceased)
Spouse(s)
Charles Hamilton
(1st; deceased)
Frank Kennedy
(2nd; deceased)
Rhett Butler
(3rd)
Children
Wade Hampton Hamilton
(son with Charles)
Ella Lorena Kennedy
(daughter with Frank)
Eugenie Victoria "Bonnie Blue" Butler
(daughter with Rhett; deceased)
Katie Colum "Cat" Butler
(daughter with Rhett in Scarlett)
Mr. Butler (stepson via Rhett)
Relatives
Langston Butler (father-in-law named in Scarlett; deceased)
Eleanor Butler (mother-in-law in sequel Scarlett)
Ross Butler (brother-in-law named in Scarlett)
Rosemary Butler (sister-in-law)
Pauline Robillard (maternal aunt)
Eulalie Robillard (maternal aunt)
Philippe Robillard (cousin of her mother)
James O'Hara (paternal uncle)
Andrew O'Hara (paternal uncle)
Pierre Robillard (maternal grandfather)
Solange Prudhomme Robillard (maternal grandmother)
Katie Scarlett O'Hara (paternal grandmother)
Will Benteen (brother-in-law)
Unnamed Benteen (niece or nephew, via Sullen and Will)
Melanie Hamilton (sister-in-law)
Beau Wilkes (nephew)
Religion
Roman Catholic
Scarlett O'Hara (born Katie Scarlett O'Hara; credited as Scarlett O'Hara Hamilton Kennedy Butler) is the protagonist in Margaret Mitchell's 1936 novel Gone with the Wind and in the later film of the same name. She also is the main character in the 1970 musical Scarlett and the 1991 book Scarlett, a sequel to Gone with the Wind that was written by Alexandra Ripley and adapted for a television mini-series in 1994. During early drafts of the original novel, Mitchell referred to her heroine as "Pansy", and did not decide on the name "Scarlett" until just before the novel went to print.[1]


Contents  [hide]
1 Biography
2 Personality
3 Searching for Scarlett
4 Other actresses considered for Scarlett
5 Adaptations
6 Historical sources for the character
7 Comparisons to other characters
8 References
9 External links

Biography[edit]
Katie Scarlett O'Hara is the oldest living child of Gerald and Ellen O'Hara. She was born on her family's plantation Tara in Georgia. She was named Katie Scarlett, after her father's mother, but is always called Scarlett. She is of Irish and French ancestry, and a descendent of an aristocratic Savannah family on her mother's side (the Robillards). Scarlett has dark hair, green eyes, pale skin, and is very slender. She is famous for her fashionably small seventeen-inch waist. Scarlett has two younger sisters, Susan Elinor ("Suellen") O'Hara and Caroline Irene ("Carreen") O'Hara, and three little brothers who died in infancy. Her baby brothers are buried in the family burying ground at Tara, and each was named Gerald O'Hara, Jr.
Personality[edit]
She is an atypical protagonist, especially as a female romantic lead in fiction. When the novel opens, Scarlett is sixteen. She is vain, self-centered, and very spoiled by her doting parents. She can also be insecure; but is very intelligent, despite her fashionable Southern-belle pretense at ignorance and helplessness around men. She is somewhat unique among Southern women, who society preferred to act as dainty creatures who needed protection from their men. Scarlett is aware that she is only acting empty-headed, and resents the fashionable "necessity" of it, unlike most of her typical party-going Southern belles social set.
Outwardly, Scarlett is the picture of Southern charm and womanly virtues, and a popular belle with the County males. The one man she truly wants, however is her neighbor, Ashley Wilkes - the one man she can't have! The Wilkes family has a tradition of intermarrying with their cousins, and Ashley is promised to his cousin, Melanie Hamilton of Atlanta. Scarlett's motivation in the early part of the novel centers on her desire to win Ashley's heart. When he refuses her advances (which no well-bred Southern lady would be so forward as to make!), she takes refuge in childish rage, and spitefully accepts the proposal of Charles Hamilton, Melanie's brother, in a misguided effort to get back at Ashley and Melanie.
Rhett Butler, an older bachelor and a society pariah, overhears Scarlett express her love to Ashley during a barbecue at Twelve Oakes, the Wilkes' estate. Rhett admires Scarlett's willfulness and her departure from accepted propriety. He pursues Scarlett, but is aware of her impetuousness, childish spite, and her fixation on Ashley. He assists Scarlett in defiance of proper Victorian mourning customs when her husband, Charles Hamilton, dies and encourages her hoyden behavior (by antebellum custom) in Atlanta society. Scarlett, chafing from the strict rules of polite society, finds friendship with Rhett liberating.
The Civil War sweeps away the lifestyle for which Scarlett was raised, and Southern society falls into ruin. Scarlett, left destitute after Sherman's army marches through Georgia, becomes the sole source of strength for her family. Her character begins to harden as her relatives, the family servants and the Wilkes family look to her for protection from homelessness and starvation. Scarlett becomes money-conscious and more materialistic in her motivation to ensure that her family survives and Tara stays in her family, while other Georgia planters are losing their homes. This extends to stealing her sister's fiance, going into business for herself (well-bred southern ladies never work outside the home), engages in controversial business practices and exploits convict labor in order to make her lumber business profit. Her conduct results in the death of her second husband, Frank Kennedy, and she immediately marries Rhett Butler for "fun" and because he is very wealthy.
Scarlett is too insecure and vain to truly grow up and realize her pursuit of Ashley is misdirected until the climax of the novel. With the death of Melanie Wilkes, she realizes her pursuit of Ashley was a childish romance. She realizes she never really loved Ashley and that she has loved Rhett Butler for some time. She pursues Rhett from Melanie's deathbed to their home, only to discover he has given up hope of ever receiving her love, and is about to leave her. Wracked with grief, but determined to once again pursue and win her man, Scarlett returns home to Tara, to lick her wounds and launch her pursuit of Rhett.
Searching for Scarlett[edit]
While the studio and the public agreed that the part of Rhett Butler should go to Clark Gable (except for Clark Gable himself), casting for the role of Scarlett was a little harder. The search for an actress to play Scarlett in the film version of the novel famously drew the biggest names in the history of cinema, such as Bette Davis (whose had been cast as a Southern belle in Jezebel in 1938), and Katharine Hepburn, who went so far as demanding an appointment with producer David O. Selznick and saying, "I am Scarlett O'Hara! The role is practically written for me." David replied rather bluntly, "I can't imagine Rhett Butler chasing you for twelve years."[citation needed]Jean Arthur and Lucille Ball were also considered, as well as relatively unknown actress Doris Davenport. Susan Hayward was "discovered" when she tested for the part, and the career of Lana Turner developed quickly after her screen test. Tallulah Bankhead and Joan Bennett were widely considered to be the most likely choices until they were supplanted by Paulette Goddard.
The young English actress Vivien Leigh, virtually unknown in America, saw that several English actors, including Ronald Colman and Leslie Howard, were in consideration for the male leads in Gone with the Wind. Her agent happened to be the London representative of the Myron Selznick talent agency, headed by David Selznick's brother, Myron. Leigh asked Myron to put her name into consideration as Scarlett on the eve of the American release of her picture Fire Over England in February 1938. David Selznick watched both Fire Over England and her most recent picture, A Yank at Oxford, that month, and thought she was excellent but in no way a possible Scarlett, as she was "too British." But Myron Selznick arranged for David to first meet Leigh on the night in December 1938 when the burning of the Atlanta Depot was being filmed on the Forty Acres backlot that Selznick International and RKO shared. Leigh and her then lover Laurence Olivier (later to be her husband) were visiting as guests of Myron Selznick, who was also Olivier's agent, while Leigh was in Hollywood hoping for a part in Olivier's current movie, Wuthering Heights. In a letter to his wife two days later, David Selznick admitted that Leigh was "the Scarlett dark horse," and after a series of screen tests, her casting was announced on January 13, 1939. Just before the shooting of the film, Selznick informed Ed Sullivan: "Scarlett O'Hara's parents were French and Irish. Identically, Miss Leigh's parents are French and Irish."[2]
In any case, Leigh was cast—despite public protest that the role was too "American" for an English actress—and eventually won an Academy Award for her performance.
Other actresses considered for Scarlett[edit]
A great number of actresses were considered for the role of Scarlett. In fact, there were approximately 32 women who were considered and or tested for the role. The search for Scarlett began in 1936 (the year of the book's publication) and ended in December 1938.[3]
Between 1936 and 1938, the following actresses were considered for the role, which required playing Scarlett from 16 years of age until her mid-30s (actress' age in 1939, the year of Gone With the Wind's release, when Leigh was 27):
Lucille Ball (28)
Constance Bennett (35)
Clara Bow (34)
Mary Brian (33)
Ruth Chatterton (47)
Claudette Colbert (36)
Joan Crawford (35)
Bette Davis (31)
Frances Dee (30)
Irene Dunne (41)
Madge Evans (30)
Glenda Farrell (35)
Alice Faye (24)
Joan Fontaine, sister of Olivia DeHaviland, who played Mellie (22)
Kay Francis (34)
Janet Gaynor (33)
Paulette Goddard (29)
Jean Harlow (28)
Susan Hayward who was considered by Cukor to be too young to have the depth for the role[4] (22)
Katharine Hepburn (32)
Miriam Hopkins (37)
Rochelle Hudson (23)
Dorothy Lamour (25)
Andrea Leeds[4] (25)
Carole Lombard (31)
Anita Louise (24)
Myrna Loy (34)
Pola Negri (42)
Maureen O'Sullivan (28)
Merle Oberon (28)
Ginger Rogers (29)
Norma Shearer (37)
Ann Sheridan (24)
Gale Sondergaard, who also was considered for but ultimately lost the role of the Wicked Witch of the West the same year[4] (40)
Barbara Stanwyck (32)
Gloria Stuart (29)
Margaret Sullavan (30)
Gloria Swanson (40)
Linda Watkins (31)
Mae West (46)
Jane Wyman (22)
Loretta Young (26)
Between late 1937 and mid-1938, approximately 128 actresses were nominated for the role of Scarlett through letters of suggestion sent to Selznick International Pictures from the public.[4]
Adaptations[edit]
A 1966 musical stage adaptation was a major hit in Japan and London's West End, but failed to survive in America where it starred Lesley Ann Warren and Harve Presnell. It closed after engagements in Los Angeles and San Francisco, never opening on Broadway.
In 1980 a film about the search for Scarlett O'Hara was made entitled Moviola: The Scarlett O'Hara War with actress Morgan Brittany in the role of Vivien Leigh.
In the 1994 TV mini-series based on the sequel Scarlett, the character was played by English actress Joanne Whalley.
In the Margaret Martin musical Gone with the Wind, the role of Scarlett O'Hara was originated by Jill Paice.
Historical sources for the character[edit]
While Margaret Mitchell used to say that her Gone with The Wind characters were not based on real people, modern researchers have found similarities to some of the people in Mitchell's own life as well as individuals she heard of. Rhett Butler is thought to be based on Mitchell's first husband, Red Upshaw. Scarlett's upbringing resembled that of Mitchell's maternal grandmother, Annie Fitzgerald Stephens (1844–1934), who was raised on a plantation in Clayton County, Georgia (where the fictional Tara was placed), and whose father was an Irish immigrant. Another source for Scarlett might have been Martha Bulloch Roosevelt, the mother of U.S. president Theodore Roosevelt. Martha grew up in a beautiful Southern mansion, Bulloch Hall, in Roswell, just north of Atlanta, Georgia. Her physical appearance, beauty, grace and intelligence were well known to Mitchell and the personality similarities (the positive ones) between Martha, who was also called Mittie, and Scarlett were striking.[citation needed]
Comparisons to other characters[edit]
Troy Patterson of Entertainment Weekly argued that Ally McBeal, the main character of the television series with the same name, has similarities to O'Hara and that "Scarlett and Ally are fairy-tale princesses who bear about as much resemblance to real women as Barbie and Skipper."[5] Patterson wrote that Ally is similar because she is also a child from a ruling class family, "pines hopelessly after an unavailable dreamboat", and has a "sassy black roommate" in place of a "mammy" to "comfort her".[5]
References[edit]
1.Jump up ^ "Shrewd, Selfish Scarlett: A Complicated Heroine". NPR. Retrieved 2010-09-26.
2.Jump up ^ "Letter from David O. Selznick to Ed Sullivan". Harry Ransom Center - The University Of Texas At Austin. Jan 7, 1939.
3.Jump up ^ Thompson, David. "Hollywood", 1930s pgs. 178 - 182
4.^ Jump up to: a b c d "The Making of Gone With The Wind" Part 2, Documentary circa 1990s.
5.^ Jump up to: a b Patterson, Troy, Ty Burr, and Stephen Whitty. "Gone With the Wind." (video review) Entertainment Weekly. October 23, 1998. Retrieved on December 23, 2013. This document has three separate reviews of the film, one per author.
External links[edit]

Portal icon Fictional characters portal
 Wikimedia Commons has media related to Scarlett O'Hara.
Short Bios of Scarlett and Vivien Leigh


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: Fictional American people of French descent
Fictional American people of Irish descent
Fictional characters from Georgia (U.S. state)
Fictional socialites
Gone with the Wind characters
Fictional characters introduced in 1936
Fictional antiheroes








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This page was last modified on 24 October 2014 at 00:11.
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Rhett Butler's People
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Jump to: navigation, search

Rhett Butler's People
Cover of a book titled Rhett Butler's People.
The cover of the hardcover edition

Author
Donald McCaig
Country
United States
Language
English
Genre
Historical novel, Romance
Publisher
St. Martin's Press

Publication date
 November 2007 (hardcover)
Pages
512 (hardcover)
ISBN
ISBN 0312262515 (hardcover)
Preceded by
Gone with the Wind
Rhett Butler's People by Donald McCaig is an authorized sequel to Gone with the Wind. It was published in November 2007.
Fully authorized by the Margaret Mitchell estate, Rhett Butler’s People is a novel that parallels Gone with the Wind from Rhett Butler's perspective.[1] The book was unveiled on November 3, 2007[1] after several years of setbacks and two previous authors.[2][3] Both Emma Tennant and Pat Conroy had been previously commissioned by the estate to produce the book.[2]
McCaig chooses to disregard the novel Scarlett by Alexandra Ripley. He does not acknowledge its existence in the canon of Gone with the Wind nor does his novel incorporate any of its characters. McCaig's impression is that the Margaret Mitchell estate was "thoroughly embarrassed" by Ripley's novel.[4] The book attempts to present a semi-journalistic view of the life and times of Rhett Butler, while remaining faithful to the original Mitchell work. The Rhett-Scarlett love-story is downplayed in the book.
The novel begins with a duel which is mentioned in Gone with the Wind. This is the reason that Rhett is not received in Charleston. Eventually the novel flashes back to when Rhett is twelve. It continues through the time until Gone with the Wind and retells the story. The story is not completely from Rhett's perspective. It proceeds to tell other moments from the time during the original story and then proceeds to add a new ending to the story. The book only goes a short ways past the timeline of Gone with the Wind (unlike the sequel Scarlett, which travels several years further).
Reception[edit]
[icon] This section requires expansion. (November 2008)
The Daily Telegraph described McCaig's Butler as "touchy-feely".[4] In The New York Times, Stephen Carter noted that the character of Rhett Butler was made into a more human, flawed person than either Mitchell or Ripley portrayed him to be. However, he stated that the novel transformed Rhett from the man of mystery that drew readers to him into "a version of the angst-ridden, on-the-make, love-struck antihero of modern fiction: Rhett Butler as channeled by Rabbit Angstrom [of Rabbit, Run] or T. S. Garp [of The World According to Garp]." He then wondered if such a Rhett was one wanted by readers.[5]
References[edit]
1.^ Jump up to: a b "Second 'Gone with the Wind' sequel ready". Yahoo News. October 28, 2007. Archived from the original on 2007-10-30. Retrieved 2007-10-29.
2.^ Jump up to: a b Rich, Motoko (May 16, 2007). "Rhett, Scarlett and Friends Prepare for Yet Another Encore". The New York Times. Retrieved 2007-10-28.
3.Jump up ^ Patrick, Bethanne (November 7, 2007). "Gone but Not Forgotten: Rhett Butler's People". The Washington Post. pp. C08.
4.^ Jump up to: a b Whitworth, Melissa (November 20, 2007). "Fiction: This Rhett Butler does give a damn". The Daily Telegraph. Retrieved 2010-02-03.
5.Jump up ^ Carter, Stephen L. (November 4, 2007). "Almost a Gentleman". The New York Times. Retrieved 2010-02-03.
External links[edit]

Portal icon 2000s portal
Portal icon Novels portal
Portal icon United States portal
Official Site for Rhett Butler's People


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 




Stub icon This article about a historical novel of the 2000s is a stub. You can help Wikipedia by expanding it.




Stub icon This article about a romance novel of the 2000s is a stub. You can help Wikipedia by expanding it.




 


Categories: Sequel novels
21st-century American novels
2007 novels
Gone with the Wind
Novels set in Atlanta, Georgia
2000s historical novel stubs
2000s romance novel stubs







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Rhett Butler's People
From Wikipedia, the free encyclopedia
Jump to: navigation, search

Rhett Butler's People
Cover of a book titled Rhett Butler's People.
The cover of the hardcover edition

Author
Donald McCaig
Country
United States
Language
English
Genre
Historical novel, Romance
Publisher
St. Martin's Press

Publication date
 November 2007 (hardcover)
Pages
512 (hardcover)
ISBN
ISBN 0312262515 (hardcover)
Preceded by
Gone with the Wind
Rhett Butler's People by Donald McCaig is an authorized sequel to Gone with the Wind. It was published in November 2007.
Fully authorized by the Margaret Mitchell estate, Rhett Butler’s People is a novel that parallels Gone with the Wind from Rhett Butler's perspective.[1] The book was unveiled on November 3, 2007[1] after several years of setbacks and two previous authors.[2][3] Both Emma Tennant and Pat Conroy had been previously commissioned by the estate to produce the book.[2]
McCaig chooses to disregard the novel Scarlett by Alexandra Ripley. He does not acknowledge its existence in the canon of Gone with the Wind nor does his novel incorporate any of its characters. McCaig's impression is that the Margaret Mitchell estate was "thoroughly embarrassed" by Ripley's novel.[4] The book attempts to present a semi-journalistic view of the life and times of Rhett Butler, while remaining faithful to the original Mitchell work. The Rhett-Scarlett love-story is downplayed in the book.
The novel begins with a duel which is mentioned in Gone with the Wind. This is the reason that Rhett is not received in Charleston. Eventually the novel flashes back to when Rhett is twelve. It continues through the time until Gone with the Wind and retells the story. The story is not completely from Rhett's perspective. It proceeds to tell other moments from the time during the original story and then proceeds to add a new ending to the story. The book only goes a short ways past the timeline of Gone with the Wind (unlike the sequel Scarlett, which travels several years further).
Reception[edit]
[icon] This section requires expansion. (November 2008)
The Daily Telegraph described McCaig's Butler as "touchy-feely".[4] In The New York Times, Stephen Carter noted that the character of Rhett Butler was made into a more human, flawed person than either Mitchell or Ripley portrayed him to be. However, he stated that the novel transformed Rhett from the man of mystery that drew readers to him into "a version of the angst-ridden, on-the-make, love-struck antihero of modern fiction: Rhett Butler as channeled by Rabbit Angstrom [of Rabbit, Run] or T. S. Garp [of The World According to Garp]." He then wondered if such a Rhett was one wanted by readers.[5]
References[edit]
1.^ Jump up to: a b "Second 'Gone with the Wind' sequel ready". Yahoo News. October 28, 2007. Archived from the original on 2007-10-30. Retrieved 2007-10-29.
2.^ Jump up to: a b Rich, Motoko (May 16, 2007). "Rhett, Scarlett and Friends Prepare for Yet Another Encore". The New York Times. Retrieved 2007-10-28.
3.Jump up ^ Patrick, Bethanne (November 7, 2007). "Gone but Not Forgotten: Rhett Butler's People". The Washington Post. pp. C08.
4.^ Jump up to: a b Whitworth, Melissa (November 20, 2007). "Fiction: This Rhett Butler does give a damn". The Daily Telegraph. Retrieved 2010-02-03.
5.Jump up ^ Carter, Stephen L. (November 4, 2007). "Almost a Gentleman". The New York Times. Retrieved 2010-02-03.
External links[edit]

Portal icon 2000s portal
Portal icon Novels portal
Portal icon United States portal
Official Site for Rhett Butler's People


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 




Stub icon This article about a historical novel of the 2000s is a stub. You can help Wikipedia by expanding it.




Stub icon This article about a romance novel of the 2000s is a stub. You can help Wikipedia by expanding it.




 


Categories: Sequel novels
21st-century American novels
2007 novels
Gone with the Wind
Novels set in Atlanta, Georgia
2000s historical novel stubs
2000s romance novel stubs







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Scarlett (Ripley novel)
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2007)
Scarlett
Early edition cover
Early edition cover

Author
Alexandra Ripley
Country
United States
Language
English
Genre
Historical, Romance, Novel
Publisher
Warner Books

Publication date
 September 1991
Media type
Print (Hardback & Paperback)
ISBN
ISBN 0-446-51507-8 (first edition, hardback)
OCLC
23870219

Dewey Decimal
 813/.54 20
LC Class
PS3568.I597 S27 1991
Scarlett is a novel written in 1991 by Alexandra Ripley as a sequel to Margaret Mitchell's Gone with the Wind. The book debuted on The New York Times bestsellers list, but both critics and fans of the original novel found Ripley's version to be inconsistent with the literary quality of Gone with the Wind.
Reviewing the novel for The New York Times in 1991, Janet Maslin said the book was a "stunningly uneventful 823-page holding action." Donald McCaig, author of Rhett Butler's People, said it was his impression that the Margaret Mitchell estate was "thoroughly embarrassed" by Scarlett.[1] Scarlett, universally panned by critics, nevertheless was a commercial success. The book sold millions of copies and remains in print.[2]
It was adapted as a television mini-series of the same title in 1994 starring Timothy Dalton as Rhett Butler and Joanne Whalley-Kilmer as Scarlett O'Hara.
Plot summary[edit]
The book begins where Gone with the Wind left off, with Scarlett attending the funeral of her former sister-in-law and rival for Ashley Wilkes' affection, Melanie Wilkes, at which her estranged husband, Rhett Butler, is not present. Scarlett, heartbroken and aggravated that Rhett left her, sets out for Tara and is saddened when she learns that Mammy, her mainstay since birth, is dying. She sends a telegram to notify Rhett about Mammy under the name of Will Benteen (her sister, Suellen's, husband), because she knows that Rhett won't come if he suspects Scarlett is there. Before Mammy dies, she makes Rhett swear to look after Scarlett. Rhett agrees, although he has no intention of honoring the request. After Mammy's death, Rhett and Scarlett fight, which culminates in Rhett leaving and Scarlett returning to the Atlanta house, determined to win Rhett back.
Scarlett travels to Charleston to visit Rhett's family and tries to corner him by winning his mother's affection. She convinces Rhett to take her for a sail on the harbour, where their boat capsizes during a terrible storm. Scarlett and Rhett swim to an island, where they make love in a cave. Rhett initially denies, then admits, that he loves Scarlett, but he does not want to "lose himself" over her again. Back in Charleston, Rhett leaves Scarlett near death at his mother's house, telling her, in a letter, that while he admires her bravery, he will never see her again.
After Scarlett regains her strength, she leaves Charleston with her two aunts, Pauline and Eulalie, to attend her maternal grandfather's birthday celebration in Savannah. She leaves a note to Rhett's mother with Rhett's sister, Rosemary, who burns the note.
Scarlett connects with the Savannah O'Haras against her maternal family's wishes. Scarlett's grandfather offers Scarlett his inheritance if she remains with him in Savannah until his death and avoids contact with her father's side of the family. Scarlett refuses and storms out of the house. She goes to stay with her cousin Jamie and his family. Soon another cousin named Colum, a priest from Ireland, joins them. Scarlett agrees to travel to Ireland with him. By this time Scarlett has realized that she is pregnant with Rhett's child but she keeps her pregnancy hidden.
In Ireland, Scarlett is heartily welcomed by her Irish kin. Exploring with Colum, they pass an old house called 'Ballyhara'; it was O'Hara land long ago before the English seized it. Scarlett soon receives a notification of divorce from Rhett. She makes plans to leave for America but learns that Rhett is now married to Anne Hampton, who is said to resemble Melanie Wilkes. Heartbroken, Scarlett decides to remain in Ireland. She works with lawyers and leaves her two-third share of her father's plantation, Tara, to her son Wade Hamilton (fathered by her first husband, Charles Hamilton, brother of Melanie Wilkes), buys Ballyhara and settles down in Ireland, to her Irish family's delight. She and Colum tell everyone that her husband died rather than tell the truth that she was divorced.
As Ballyhara is restored, Scarlett eagerly awaits the birth of her child, praying for it to be a girl and vowing to be a good mother. She is well respected by the townspeople and her family, earning her a reputation as a hard worker. She becomes known as The O'Hara, a title reserved for the undisputed leader of a family clan.
On Halloween night, her water breaks. Her housekeeper, Mrs. Fitzpatrick, and the midwife whom Colum summons are unable to handle the situation, and it appears that Scarlett will die. Instead, she is saved by a wise old woman who lives near the haunted tower. The Caesarian birth is successful, but internal damage is done to Scarlett, who can no longer have children. The baby, a girl, is born with dark skin like Rhett's, but with blue eyes that slowly turn green. Scarlett names her Katie Colum O'Hara, and calls her "Cat" because of her green eyes.
After Scarlett has settled down in Ballyhara, she runs into Rhett a number of times—in America while she is on the boat to Boston, at a fair where she admits she still loves him, and at a hunt a week later. He still does not know he has a child. He then seeks her out at a society ball and Scarlett realizes he still loves her.
Lord Fenton, one of the wealthiest men in Europe, pursues Scarlett, wanting to marry her. He wants Scarlett to bear his children after seeing Cat's fiery spirit and fearlessness. He also plans to unite their estates; he owns Adamstown, the land adjacent to Scarlett's. Angered by his arrogance, Scarlett refuses and orders him out of her house. Scarlett leaves for Dublin for her yearly visit for parties and hunts. She later decides to accept Lord Fenton when she hears that Anne is pregnant with Rhett’s second child (the first child was lost to a miscarriage).
The news leaks out about her engagement and a drunken Rhett insults her when she runs into him at a horse race. A friend tells Scarlett that Anne and the baby both died, and she rushes back to Ballyhara hopeful that Rhett will come looking for her. She finds English there with a warrant to arrest Colum, who is the head of a group of Irish terrorists. Colum is murdered and Rosaleen Fitzpatrick sets fire to the English arsenal to avenge him. The villagers, thinking Scarlett is in league with the English, burn her house down. Rhett comes to her rescue and tries to convince her to escape with him, but Scarlett runs around her house yelling for her daughter. When she tells Rhett that he is Cat's father, he helps her search. After finding Cat, the three climb into a high tower on Ballyhara and stay there for the night. Rhett and Scarlett both say "I love you". They wake up the next morning ready to start their new lives together and leave Ireland.
TV adaptation[edit]
Main article: Scarlett (TV miniseries)
It was adapted as a television mini-series of the same title in 1994 starring Timothy Dalton as Rhett Butler and Joanne Whalley-Kilmer as Scarlett O'Hara. The plot of the mini-series varies considerably from the book.
References[edit]

Portal icon Novels portal
Portal icon 1990s portal
1.Jump up ^ Whitworth, Melissa (November 20, 2007). "Fiction: This Rhett Butler does give a damn". The Daily Telegraph. Retrieved 2010-02-03.
2.Jump up ^ "Alexandra Ripley, 'Scarlett' Author, Dies at 70", New York Times, January 27, 2004.


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: 1991 novels
20th-century American novels
Sequel novels
American Civil War novels
Gone with the Wind
Novels set in Atlanta, Georgia
Fan fiction works






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This page was last modified on 14 February 2014 at 01:32.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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 http://en.wikipedia.org/wiki/Scarlett_(Ripley_novel)













Scarlett (Ripley novel)
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2007)
Scarlett
Early edition cover
Early edition cover

Author
Alexandra Ripley
Country
United States
Language
English
Genre
Historical, Romance, Novel
Publisher
Warner Books

Publication date
 September 1991
Media type
Print (Hardback & Paperback)
ISBN
ISBN 0-446-51507-8 (first edition, hardback)
OCLC
23870219

Dewey Decimal
 813/.54 20
LC Class
PS3568.I597 S27 1991
Scarlett is a novel written in 1991 by Alexandra Ripley as a sequel to Margaret Mitchell's Gone with the Wind. The book debuted on The New York Times bestsellers list, but both critics and fans of the original novel found Ripley's version to be inconsistent with the literary quality of Gone with the Wind.
Reviewing the novel for The New York Times in 1991, Janet Maslin said the book was a "stunningly uneventful 823-page holding action." Donald McCaig, author of Rhett Butler's People, said it was his impression that the Margaret Mitchell estate was "thoroughly embarrassed" by Scarlett.[1] Scarlett, universally panned by critics, nevertheless was a commercial success. The book sold millions of copies and remains in print.[2]
It was adapted as a television mini-series of the same title in 1994 starring Timothy Dalton as Rhett Butler and Joanne Whalley-Kilmer as Scarlett O'Hara.
Plot summary[edit]
The book begins where Gone with the Wind left off, with Scarlett attending the funeral of her former sister-in-law and rival for Ashley Wilkes' affection, Melanie Wilkes, at which her estranged husband, Rhett Butler, is not present. Scarlett, heartbroken and aggravated that Rhett left her, sets out for Tara and is saddened when she learns that Mammy, her mainstay since birth, is dying. She sends a telegram to notify Rhett about Mammy under the name of Will Benteen (her sister, Suellen's, husband), because she knows that Rhett won't come if he suspects Scarlett is there. Before Mammy dies, she makes Rhett swear to look after Scarlett. Rhett agrees, although he has no intention of honoring the request. After Mammy's death, Rhett and Scarlett fight, which culminates in Rhett leaving and Scarlett returning to the Atlanta house, determined to win Rhett back.
Scarlett travels to Charleston to visit Rhett's family and tries to corner him by winning his mother's affection. She convinces Rhett to take her for a sail on the harbour, where their boat capsizes during a terrible storm. Scarlett and Rhett swim to an island, where they make love in a cave. Rhett initially denies, then admits, that he loves Scarlett, but he does not want to "lose himself" over her again. Back in Charleston, Rhett leaves Scarlett near death at his mother's house, telling her, in a letter, that while he admires her bravery, he will never see her again.
After Scarlett regains her strength, she leaves Charleston with her two aunts, Pauline and Eulalie, to attend her maternal grandfather's birthday celebration in Savannah. She leaves a note to Rhett's mother with Rhett's sister, Rosemary, who burns the note.
Scarlett connects with the Savannah O'Haras against her maternal family's wishes. Scarlett's grandfather offers Scarlett his inheritance if she remains with him in Savannah until his death and avoids contact with her father's side of the family. Scarlett refuses and storms out of the house. She goes to stay with her cousin Jamie and his family. Soon another cousin named Colum, a priest from Ireland, joins them. Scarlett agrees to travel to Ireland with him. By this time Scarlett has realized that she is pregnant with Rhett's child but she keeps her pregnancy hidden.
In Ireland, Scarlett is heartily welcomed by her Irish kin. Exploring with Colum, they pass an old house called 'Ballyhara'; it was O'Hara land long ago before the English seized it. Scarlett soon receives a notification of divorce from Rhett. She makes plans to leave for America but learns that Rhett is now married to Anne Hampton, who is said to resemble Melanie Wilkes. Heartbroken, Scarlett decides to remain in Ireland. She works with lawyers and leaves her two-third share of her father's plantation, Tara, to her son Wade Hamilton (fathered by her first husband, Charles Hamilton, brother of Melanie Wilkes), buys Ballyhara and settles down in Ireland, to her Irish family's delight. She and Colum tell everyone that her husband died rather than tell the truth that she was divorced.
As Ballyhara is restored, Scarlett eagerly awaits the birth of her child, praying for it to be a girl and vowing to be a good mother. She is well respected by the townspeople and her family, earning her a reputation as a hard worker. She becomes known as The O'Hara, a title reserved for the undisputed leader of a family clan.
On Halloween night, her water breaks. Her housekeeper, Mrs. Fitzpatrick, and the midwife whom Colum summons are unable to handle the situation, and it appears that Scarlett will die. Instead, she is saved by a wise old woman who lives near the haunted tower. The Caesarian birth is successful, but internal damage is done to Scarlett, who can no longer have children. The baby, a girl, is born with dark skin like Rhett's, but with blue eyes that slowly turn green. Scarlett names her Katie Colum O'Hara, and calls her "Cat" because of her green eyes.
After Scarlett has settled down in Ballyhara, she runs into Rhett a number of times—in America while she is on the boat to Boston, at a fair where she admits she still loves him, and at a hunt a week later. He still does not know he has a child. He then seeks her out at a society ball and Scarlett realizes he still loves her.
Lord Fenton, one of the wealthiest men in Europe, pursues Scarlett, wanting to marry her. He wants Scarlett to bear his children after seeing Cat's fiery spirit and fearlessness. He also plans to unite their estates; he owns Adamstown, the land adjacent to Scarlett's. Angered by his arrogance, Scarlett refuses and orders him out of her house. Scarlett leaves for Dublin for her yearly visit for parties and hunts. She later decides to accept Lord Fenton when she hears that Anne is pregnant with Rhett’s second child (the first child was lost to a miscarriage).
The news leaks out about her engagement and a drunken Rhett insults her when she runs into him at a horse race. A friend tells Scarlett that Anne and the baby both died, and she rushes back to Ballyhara hopeful that Rhett will come looking for her. She finds English there with a warrant to arrest Colum, who is the head of a group of Irish terrorists. Colum is murdered and Rosaleen Fitzpatrick sets fire to the English arsenal to avenge him. The villagers, thinking Scarlett is in league with the English, burn her house down. Rhett comes to her rescue and tries to convince her to escape with him, but Scarlett runs around her house yelling for her daughter. When she tells Rhett that he is Cat's father, he helps her search. After finding Cat, the three climb into a high tower on Ballyhara and stay there for the night. Rhett and Scarlett both say "I love you". They wake up the next morning ready to start their new lives together and leave Ireland.
TV adaptation[edit]
Main article: Scarlett (TV miniseries)
It was adapted as a television mini-series of the same title in 1994 starring Timothy Dalton as Rhett Butler and Joanne Whalley-Kilmer as Scarlett O'Hara. The plot of the mini-series varies considerably from the book.
References[edit]

Portal icon Novels portal
Portal icon 1990s portal
1.Jump up ^ Whitworth, Melissa (November 20, 2007). "Fiction: This Rhett Butler does give a damn". The Daily Telegraph. Retrieved 2010-02-03.
2.Jump up ^ "Alexandra Ripley, 'Scarlett' Author, Dies at 70", New York Times, January 27, 2004.


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: 1991 novels
20th-century American novels
Sequel novels
American Civil War novels
Gone with the Wind
Novels set in Atlanta, Georgia
Fan fiction works






Navigation menu



Create account
Log in



Article

Talk









Read

Edit

View history

















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Contents
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Random article
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Recent changes
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Tools
What links here
Related changes
Upload file
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Permanent link
Page information
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Cite this page

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Create a book
Download as PDF
Printable version

Languages
Deutsch
Français
Italiano
Magyar
日本語
Polski
Português
Русский
Edit links
This page was last modified on 14 February 2014 at 01:32.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
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Contact Wikipedia
Developers
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Powered by MediaWiki
 

 http://en.wikipedia.org/wiki/Scarlett_(Ripley_novel)
















The Scarlett O'Hara War
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2013)
The Scarlett O'Hara War is a 1980 made for TV movie directed by John Erman. It is based on the novel Moviola by Garson Kanin. The film is set against the backdrop of late 1930s Hollywood as the search for Scarlett O'Hara begins to unfold.


Contents  [hide]
1 Synopsis
2 Cast
3 Reception, Filming Locations, and Additional Details
4 References
5 External links

Synopsis[edit]
In 1936, Margaret Mitchell's Gone With The Wind is published and it is an instant nationwide sensation. As all things in Hollywood go, the movie rights are up for grabs and every studio in Hollywood wants in on it. While having lunch at the MGM dining room, Louis B. Mayer is talking to his son-in-law David O. Selznick about the film rights. In time, Selznick establishes his own production company, Selznick International Pictures, and wants his studio to have a film that will cement both its fame and his as well.
Back at MGM, Joan Crawford is negotiating the idea of her portraying the acclaimed heroine, even getting Selznick to come back to her place to spend the night to "seal the deal". However, other actresses must be tested in order to expand possibilities. One of the first to do this is Paulette Goddard and her screen test is the most praised out of them all. Tallulah Bankhead comes down from New York and auditions for the role and although she herself is a Southerner who could easily play the part, Selznick decides to give her more tests and seek other candidates. But when Louella Parsons gets wind of this, she misinforms her radio audience that Tallulah has gotten the part, thanks to the influential power of her father William Brockman Bankhead. When this is announced, Joan Crawford throws her radio at a mirror and Paulette makes a beeline to the study of her lover, Charles Chaplin, announcing that Tallulah has gotten the part.
After this error has been cleared and the actresses have been reassured that the role is still up for grabs, the casting process continues. One day while Clark Gable and Myron Selznick are hunting, Gable mentions that he is being considered for the role of Rhett Butler. Fleming agrees that Gable would be an appropriate choice but Gable is uncertain about accepting the role because the film is to be directed by George Cukor, a woman's director. Gable first tries to withdraw from the very idea but later goes forth with the role after Louis B. Mayer threatens him with a suspension. It isn't long before Gable's love interest Carole Lombard is considered for the part.
One night at the Selznick lot, a party is thrown to honor the actresses who are closest to winning the role of Scarlett and entertaining such stars as Joan Bennett, Margaret Sullavan, Jean Arthur, and Miriam Hopkins. Tallulah Bankhead is there, too, sitting at the table saying to herself, "Oh God, when will it ever stop?". While at this party, George Cukor is talking with the actresses, seeing if they would be interested to star in his new film The Women (1939 film) after Gone With The Wind is filmed. When Cukor asks Bankhead if she would entertain appearing in The Women, her response is one of disbelief - why would any actress appear in a movie with "No men; at all?" When it comes time to have dinner at the party, Tallulah and Carole, who are sitting with Selznick between them, decide to get back at the producer for putting them through this acting contest. They stand up to make an announcement, pour their soup bowls onto his head, and declare, "Frankly my dear we don't give a damn". Laughter ensues.
Later in 1938 Selznick has still not decided who he'll have as his Scarlett after Paulette Goddard is denied the part for failing to verify whether she is married to Charlie Chaplin. As the burning of Atlanta scene is to begin for a test sequence, his brother Myron Selznick arrives with a new actress. When he directs Selznick to look at her, David first refuses but after more badgering finally submits. When the young actress removes her hat, he sees the beautiful Vivien Leigh and informs her that she is his Scarlett. The rest is film history.
Cast[edit]
Tony Curtis... David O. Selznick
Bill Macy... Myron Selznick
Harold Gould... Louis B. Mayer
Sharon Gless... Carole Lombard
George Furth... George Cukor
Edward Winter... Clark Gable
Barrie Youngfellow... Joan Crawford
Carrie Nye... Tallulah Bankhead
Clive Revill... Charlie Chaplin
Gwen Humble... Paulette Goddard
Jane Kean... Louella Parsons
Marianne Taylor... Katharine Hepburn
Gypsi DeYoung... Lucille Ball
Vicki Belmonte... Jean Arthur
Sheilah Wells... Miriam Hopkins
Morgan Brittany... Vivien Leigh
Reception, Filming Locations, and Additional Details[edit]
At the 1980 Emmy Awards, The Scarlett O'Hara War won two awards for make-up by Richard Blair and costume design by Travilla.[1] It was nominated in five categories; Outstanding Director in a Limited Series or Special, Outstanding Lead Actor in a Limited Series or Special (Tony Curtis), Outstanding Limited Series, Outstanding Supporting Actor in a Limited Series (Harold Gould), and Outstanding Actress in a Limited Series (Carrie Nye).[2] At the Golden Globe Awards in 1981 the movie was nominated for Best TV Series in the Drama category.[3]
A large percent of the studio scenes were filmed on Stages 12 and 19 at the Warner Bros. Burbank Studios in Burbank, California.[4] This film was so well received that a follow up was made entitled The Silent Lovers (1980) which was also set in the 1930s Hollywood and focused on the ill-fated relationship of Greta Garbo and John Gilbert.[5][6] The distribution company for this film was by Warner Bros. Television.[7]
Actress Morgan Brittany actually reprised her role as Vivien Leigh; in 1976 she first portrayed the famed actress in Gable and Lombard. Also, actress Annie Potts, of Designing Women fame, has a small, uncredited role as a starlet who auditions for the role of Scarlett.
The complete film is one of the bonus features on the Blu-ray Bonus disc (disc 2) included with the 70th Anniversary Limited Edition of "Gone With the Wind" from Warner Home Video.
References[edit]
1.Jump up ^ http://www.imdb.com/title/tt0081458/awards
2.Jump up ^ http://www.imdb.com/title/tt0081458/awards
3.Jump up ^ http://www.imdb.com/title/tt0081458/awards
4.Jump up ^ http://www.imdb.com/title/tt0081458/locations
5.Jump up ^ http://www.imdb.com/title/tt0081458/movieconnections
6.Jump up ^ http://www.imdb.com/title/tt0081514/
7.Jump up ^ http://www.imdb.com/title/tt0081458/
External links[edit]
The Scarlett O'Hara War at the Internet Movie Database
 


Categories: 1980 films
Films based on actual events
Films set in California
Films set in the 1930s
American biographical films
English-language films
American television films
1980 television films
Films based on novels
Warner Bros. films
Gone with the Wind
The Wolper Organization films





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 http://en.wikipedia.org/wiki/The_Scarlett_O%27Hara_War















The Scarlett O'Hara War
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2013)
The Scarlett O'Hara War is a 1980 made for TV movie directed by John Erman. It is based on the novel Moviola by Garson Kanin. The film is set against the backdrop of late 1930s Hollywood as the search for Scarlett O'Hara begins to unfold.


Contents  [hide]
1 Synopsis
2 Cast
3 Reception, Filming Locations, and Additional Details
4 References
5 External links

Synopsis[edit]
In 1936, Margaret Mitchell's Gone With The Wind is published and it is an instant nationwide sensation. As all things in Hollywood go, the movie rights are up for grabs and every studio in Hollywood wants in on it. While having lunch at the MGM dining room, Louis B. Mayer is talking to his son-in-law David O. Selznick about the film rights. In time, Selznick establishes his own production company, Selznick International Pictures, and wants his studio to have a film that will cement both its fame and his as well.
Back at MGM, Joan Crawford is negotiating the idea of her portraying the acclaimed heroine, even getting Selznick to come back to her place to spend the night to "seal the deal". However, other actresses must be tested in order to expand possibilities. One of the first to do this is Paulette Goddard and her screen test is the most praised out of them all. Tallulah Bankhead comes down from New York and auditions for the role and although she herself is a Southerner who could easily play the part, Selznick decides to give her more tests and seek other candidates. But when Louella Parsons gets wind of this, she misinforms her radio audience that Tallulah has gotten the part, thanks to the influential power of her father William Brockman Bankhead. When this is announced, Joan Crawford throws her radio at a mirror and Paulette makes a beeline to the study of her lover, Charles Chaplin, announcing that Tallulah has gotten the part.
After this error has been cleared and the actresses have been reassured that the role is still up for grabs, the casting process continues. One day while Clark Gable and Myron Selznick are hunting, Gable mentions that he is being considered for the role of Rhett Butler. Fleming agrees that Gable would be an appropriate choice but Gable is uncertain about accepting the role because the film is to be directed by George Cukor, a woman's director. Gable first tries to withdraw from the very idea but later goes forth with the role after Louis B. Mayer threatens him with a suspension. It isn't long before Gable's love interest Carole Lombard is considered for the part.
One night at the Selznick lot, a party is thrown to honor the actresses who are closest to winning the role of Scarlett and entertaining such stars as Joan Bennett, Margaret Sullavan, Jean Arthur, and Miriam Hopkins. Tallulah Bankhead is there, too, sitting at the table saying to herself, "Oh God, when will it ever stop?". While at this party, George Cukor is talking with the actresses, seeing if they would be interested to star in his new film The Women (1939 film) after Gone With The Wind is filmed. When Cukor asks Bankhead if she would entertain appearing in The Women, her response is one of disbelief - why would any actress appear in a movie with "No men; at all?" When it comes time to have dinner at the party, Tallulah and Carole, who are sitting with Selznick between them, decide to get back at the producer for putting them through this acting contest. They stand up to make an announcement, pour their soup bowls onto his head, and declare, "Frankly my dear we don't give a damn". Laughter ensues.
Later in 1938 Selznick has still not decided who he'll have as his Scarlett after Paulette Goddard is denied the part for failing to verify whether she is married to Charlie Chaplin. As the burning of Atlanta scene is to begin for a test sequence, his brother Myron Selznick arrives with a new actress. When he directs Selznick to look at her, David first refuses but after more badgering finally submits. When the young actress removes her hat, he sees the beautiful Vivien Leigh and informs her that she is his Scarlett. The rest is film history.
Cast[edit]
Tony Curtis... David O. Selznick
Bill Macy... Myron Selznick
Harold Gould... Louis B. Mayer
Sharon Gless... Carole Lombard
George Furth... George Cukor
Edward Winter... Clark Gable
Barrie Youngfellow... Joan Crawford
Carrie Nye... Tallulah Bankhead
Clive Revill... Charlie Chaplin
Gwen Humble... Paulette Goddard
Jane Kean... Louella Parsons
Marianne Taylor... Katharine Hepburn
Gypsi DeYoung... Lucille Ball
Vicki Belmonte... Jean Arthur
Sheilah Wells... Miriam Hopkins
Morgan Brittany... Vivien Leigh
Reception, Filming Locations, and Additional Details[edit]
At the 1980 Emmy Awards, The Scarlett O'Hara War won two awards for make-up by Richard Blair and costume design by Travilla.[1] It was nominated in five categories; Outstanding Director in a Limited Series or Special, Outstanding Lead Actor in a Limited Series or Special (Tony Curtis), Outstanding Limited Series, Outstanding Supporting Actor in a Limited Series (Harold Gould), and Outstanding Actress in a Limited Series (Carrie Nye).[2] At the Golden Globe Awards in 1981 the movie was nominated for Best TV Series in the Drama category.[3]
A large percent of the studio scenes were filmed on Stages 12 and 19 at the Warner Bros. Burbank Studios in Burbank, California.[4] This film was so well received that a follow up was made entitled The Silent Lovers (1980) which was also set in the 1930s Hollywood and focused on the ill-fated relationship of Greta Garbo and John Gilbert.[5][6] The distribution company for this film was by Warner Bros. Television.[7]
Actress Morgan Brittany actually reprised her role as Vivien Leigh; in 1976 she first portrayed the famed actress in Gable and Lombard. Also, actress Annie Potts, of Designing Women fame, has a small, uncredited role as a starlet who auditions for the role of Scarlett.
The complete film is one of the bonus features on the Blu-ray Bonus disc (disc 2) included with the 70th Anniversary Limited Edition of "Gone With the Wind" from Warner Home Video.
References[edit]
1.Jump up ^ http://www.imdb.com/title/tt0081458/awards
2.Jump up ^ http://www.imdb.com/title/tt0081458/awards
3.Jump up ^ http://www.imdb.com/title/tt0081458/awards
4.Jump up ^ http://www.imdb.com/title/tt0081458/locations
5.Jump up ^ http://www.imdb.com/title/tt0081458/movieconnections
6.Jump up ^ http://www.imdb.com/title/tt0081514/
7.Jump up ^ http://www.imdb.com/title/tt0081458/
External links[edit]
The Scarlett O'Hara War at the Internet Movie Database
 


Categories: 1980 films
Films based on actual events
Films set in California
Films set in the 1930s
American biographical films
English-language films
American television films
1980 television films
Films based on novels
Warner Bros. films
Gone with the Wind
The Wolper Organization films





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Edit links
This page was last modified on 31 October 2014 at 23:37.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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Powered by MediaWiki
 

 http://en.wikipedia.org/wiki/The_Scarlett_O%27Hara_War















Scarlett (miniseries)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Scarlett
Scarlett (TV miniseries).jpg
Genre
Romantic drama
Directed by
John Erman
Produced by
John Erman
Doris Kirch
Robert Halmi Sr.
Larry Strichman
Written by
Alexandra Ripley (Novel)
William Hanley
Starring
Joanne Whalley
Timothy Dalton
Stephen Collins
Music by
John Morris
Editing by
Malcolm Cooke
 Keith Palmer
 John W. Wheeler
Production company
TF1
Kirch Gruppe
Silvio Berlusconi Communications
Beta Film
RHI Entertainment
Country
 United States
Language
English
Release date
November 13, 1994
Running time
360 mins.
No. of episodes
4
Scarlett is a 1994 six hour miniseries loosely based on a book of the same name, written in 1991 by Alexandra Ripley as a sequel to Margaret Mitchell's popular 1936 novel, Gone with the Wind. The series was filmed at 53 locations in the United States and abroad, and stars Joanne Whalley as Scarlett O'Hara, Timothy Dalton as Rhett Butler, and Sean Bean as Lord Richard Fenton as well as many other notable British and American actors.


Contents  [hide]
1 Synopsis 1.1 Return to Tara
1.2 Going to Charleston
1.3 Savannah
1.4 Ireland
1.5 Katie Colm O'Hara
1.6 Lord Fenton
2 Cast
3 Awards and nominations
4 External links

Synopsis[edit]
The series begins with Scarlett attending the funeral of Melanie Wilkes, her ex-sister-in-law and rival for Ashley Wilkes' affection, at which her estranged husband, Rhett Butler, is not present. She, heartbroken that he left her, sets out for Tara and is saddened when she learns that Mammy, her mainstay since birth, is dying. When she arrives there, she sends a telegram to notify Rhett about Mammy under the name of Will Benteen (her sister, Suellen's, husband), because she knows that he won't come if he suspects she is there. Before Mammy passes away, she makes him swear to look after "her lamb", Miss Scarlett. He agrees, although he has no intention of honoring the request. After she dies, he and Scarlett have another snipe-filled encounter, which culminates in him leaving and her returning to the Atlanta house, determined to win him back.
Return to Tara[edit]
This section is practically identical to that of the book regarding Scarlett's actions at the funeral and Mammy's death bed.
Going to Charleston[edit]
The major differences in Charleston are that of the attitude and demeanors of the characters, but most notably Scarlett and Anne. Scarlett is not shown struggling with her unease in society but rather is criticized when Anne sees her and Ashley go into his hotel room together, resulting in a steamy kiss. Anne is completely different from her counterpart in the novel; while she is supposed to be a clone of Melanie, she shyly, yet coyly, flirts with Rhett and does other things that neither her character in the book nor Melanie ever would have done. The series continues to follow the relationship created between them after the book ceases doing so.
Savannah[edit]
Scarlett continues to distance herself from the same character in the novel as her relationship with her kin is not discovering and assimilating her Irish heritage and family, as much as escaping from her grandfather's household and passing the time. Her decision to go to Ireland is also preceded by cutting off all ties to America as well as the details concerning buying her sister Carreen's share of Tara, which had been donated to the convent as a dowry when she became a nun.
Ireland[edit]
Once in Ireland, Scarlett is faced with two main conflicts that differ from what her struggles were in the novel. She is pursued by Lord Richard Fenton, of whom her kin disapprove. She also faces quandaries and mixed emotions over the physical force the Irish rebels use against British rule, and it is contrasted to the way the English treated the Irish to how the South was treated by the North.
Katie Colm O'Hara[edit]
Scarlett keeps her daughter's birth a secret from Rhett to spite him, thinking that if Katie grows up not knowing her father she will, unlike Bonnie, not love him. The day that Rhett finally does meet his daughter, he will realize that she does not love him or even know him, thus giving Scarlett her revenge. Katie is barely talked about beyond this - her role in the book as the possible manifestation of a demon is entirely deleted. Anne Hampton-Butler also travels to Ireland with Rhett, which never occurred in the novel, and she even has a lengthy conversation with Scarlett. Her death from yellow fever is also detailed.
Lord Fenton[edit]
Lord Fenton's character is much more evil than in the novel. He forces a servant girl named Mary to have sex with him, and he also rapes Scarlett. Mary kills him in retaliation, but Scarlett is accused. The plot completely veers from the novel at this point; when Scarlett is put on trial, Rhett comes to her defense, after having learned about Katie. It is also discovered that Colm was killed by Lord Fenton when Colm wanted Fenton to support Mary who was pregnant with Fenton's child. Mary attempts suicide by drowning herself in the river, but is saved by Rhett. At the trial, Mary is still reluctant to confess that she killed Fenton, but does so after Scarlett is found guilty of murder. Later, Rhett and Scarlett make up with one another and decide to travel the world with Katie.
Cast[edit]
Joanne Whalley as Scarlett O'Hara
Timothy Dalton as Rhett Butler
Stephen Collins as Ashley Wilkes
Sean Bean as Lord Fenton
Esther Rolle as Mammy
Colm Meaney as Colm O'Hara
John Gielgud as Pierre Robillard (Scarlett's maternal grandfather)
Annabeth Gish as Anne Hampton-Butler
Julie Harris as Eleanor Butler (Rhett's mother)
Jean Smart as Sally Brewton
Ray McKinnon as Will Benteen (husband of Scarlett's sister Suellen)
Ann-Margret as Belle Watling
Barbara Barrie as Pauline Robillard (one of Scarlett's spinster aunts)
Paul Winfield as Big Sam
Awards and nominations[edit]

Year
Award
Result
Category
Recipient
1995 American Society of Cinematographers Nominated Outstanding Achievement in Cinematography in Mini-Series Tony Imi
Emmy Award Outstanding Individual Achievement in Costume Design for a Miniseries or a Special Marit Allen
(For episode 1)
Won Outstanding Individual Achievement in Hairstyling for a Miniseries or a Special Tricia Cameron and Linda De Andrea
Outstanding Individual Achievement in Art Direction for a Miniseries or a Special Brian Ackland-Snow, Joseph Litsch, Josie MacAvin, and Rodger Maus
(For episode 1)
External links[edit]

Portal icon Television in the United States portal
Portal icon 1990s portal
Scarlett at the Internet Movie Database
Scarlett at AllMovie
Scarlett at the TCM Movie Database


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: 1990s American television series
1994 American television series debuts
1994 American television series endings
American drama films
American television miniseries
English-language films
Films based on novels
Romantic epic films
Television sequel films
Television programs based on novels
Television series by Pinewood Studios
Gone with the Wind
Television shows set in Charleston, South Carolina


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This page was last modified on 16 October 2014 at 01:46.
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 http://en.wikipedia.org/wiki/Scarlett_(miniseries)















Scarlett (miniseries)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Scarlett
Scarlett (TV miniseries).jpg
Genre
Romantic drama
Directed by
John Erman
Produced by
John Erman
Doris Kirch
Robert Halmi Sr.
Larry Strichman
Written by
Alexandra Ripley (Novel)
William Hanley
Starring
Joanne Whalley
Timothy Dalton
Stephen Collins
Music by
John Morris
Editing by
Malcolm Cooke
 Keith Palmer
 John W. Wheeler
Production company
TF1
Kirch Gruppe
Silvio Berlusconi Communications
Beta Film
RHI Entertainment
Country
 United States
Language
English
Release date
November 13, 1994
Running time
360 mins.
No. of episodes
4
Scarlett is a 1994 six hour miniseries loosely based on a book of the same name, written in 1991 by Alexandra Ripley as a sequel to Margaret Mitchell's popular 1936 novel, Gone with the Wind. The series was filmed at 53 locations in the United States and abroad, and stars Joanne Whalley as Scarlett O'Hara, Timothy Dalton as Rhett Butler, and Sean Bean as Lord Richard Fenton as well as many other notable British and American actors.


Contents  [hide]
1 Synopsis 1.1 Return to Tara
1.2 Going to Charleston
1.3 Savannah
1.4 Ireland
1.5 Katie Colm O'Hara
1.6 Lord Fenton
2 Cast
3 Awards and nominations
4 External links

Synopsis[edit]
The series begins with Scarlett attending the funeral of Melanie Wilkes, her ex-sister-in-law and rival for Ashley Wilkes' affection, at which her estranged husband, Rhett Butler, is not present. She, heartbroken that he left her, sets out for Tara and is saddened when she learns that Mammy, her mainstay since birth, is dying. When she arrives there, she sends a telegram to notify Rhett about Mammy under the name of Will Benteen (her sister, Suellen's, husband), because she knows that he won't come if he suspects she is there. Before Mammy passes away, she makes him swear to look after "her lamb", Miss Scarlett. He agrees, although he has no intention of honoring the request. After she dies, he and Scarlett have another snipe-filled encounter, which culminates in him leaving and her returning to the Atlanta house, determined to win him back.
Return to Tara[edit]
This section is practically identical to that of the book regarding Scarlett's actions at the funeral and Mammy's death bed.
Going to Charleston[edit]
The major differences in Charleston are that of the attitude and demeanors of the characters, but most notably Scarlett and Anne. Scarlett is not shown struggling with her unease in society but rather is criticized when Anne sees her and Ashley go into his hotel room together, resulting in a steamy kiss. Anne is completely different from her counterpart in the novel; while she is supposed to be a clone of Melanie, she shyly, yet coyly, flirts with Rhett and does other things that neither her character in the book nor Melanie ever would have done. The series continues to follow the relationship created between them after the book ceases doing so.
Savannah[edit]
Scarlett continues to distance herself from the same character in the novel as her relationship with her kin is not discovering and assimilating her Irish heritage and family, as much as escaping from her grandfather's household and passing the time. Her decision to go to Ireland is also preceded by cutting off all ties to America as well as the details concerning buying her sister Carreen's share of Tara, which had been donated to the convent as a dowry when she became a nun.
Ireland[edit]
Once in Ireland, Scarlett is faced with two main conflicts that differ from what her struggles were in the novel. She is pursued by Lord Richard Fenton, of whom her kin disapprove. She also faces quandaries and mixed emotions over the physical force the Irish rebels use against British rule, and it is contrasted to the way the English treated the Irish to how the South was treated by the North.
Katie Colm O'Hara[edit]
Scarlett keeps her daughter's birth a secret from Rhett to spite him, thinking that if Katie grows up not knowing her father she will, unlike Bonnie, not love him. The day that Rhett finally does meet his daughter, he will realize that she does not love him or even know him, thus giving Scarlett her revenge. Katie is barely talked about beyond this - her role in the book as the possible manifestation of a demon is entirely deleted. Anne Hampton-Butler also travels to Ireland with Rhett, which never occurred in the novel, and she even has a lengthy conversation with Scarlett. Her death from yellow fever is also detailed.
Lord Fenton[edit]
Lord Fenton's character is much more evil than in the novel. He forces a servant girl named Mary to have sex with him, and he also rapes Scarlett. Mary kills him in retaliation, but Scarlett is accused. The plot completely veers from the novel at this point; when Scarlett is put on trial, Rhett comes to her defense, after having learned about Katie. It is also discovered that Colm was killed by Lord Fenton when Colm wanted Fenton to support Mary who was pregnant with Fenton's child. Mary attempts suicide by drowning herself in the river, but is saved by Rhett. At the trial, Mary is still reluctant to confess that she killed Fenton, but does so after Scarlett is found guilty of murder. Later, Rhett and Scarlett make up with one another and decide to travel the world with Katie.
Cast[edit]
Joanne Whalley as Scarlett O'Hara
Timothy Dalton as Rhett Butler
Stephen Collins as Ashley Wilkes
Sean Bean as Lord Fenton
Esther Rolle as Mammy
Colm Meaney as Colm O'Hara
John Gielgud as Pierre Robillard (Scarlett's maternal grandfather)
Annabeth Gish as Anne Hampton-Butler
Julie Harris as Eleanor Butler (Rhett's mother)
Jean Smart as Sally Brewton
Ray McKinnon as Will Benteen (husband of Scarlett's sister Suellen)
Ann-Margret as Belle Watling
Barbara Barrie as Pauline Robillard (one of Scarlett's spinster aunts)
Paul Winfield as Big Sam
Awards and nominations[edit]

Year
Award
Result
Category
Recipient
1995 American Society of Cinematographers Nominated Outstanding Achievement in Cinematography in Mini-Series Tony Imi
Emmy Award Outstanding Individual Achievement in Costume Design for a Miniseries or a Special Marit Allen
(For episode 1)
Won Outstanding Individual Achievement in Hairstyling for a Miniseries or a Special Tricia Cameron and Linda De Andrea
Outstanding Individual Achievement in Art Direction for a Miniseries or a Special Brian Ackland-Snow, Joseph Litsch, Josie MacAvin, and Rodger Maus
(For episode 1)
External links[edit]

Portal icon Television in the United States portal
Portal icon 1990s portal
Scarlett at the Internet Movie Database
Scarlett at AllMovie
Scarlett at the TCM Movie Database


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: 1990s American television series
1994 American television series debuts
1994 American television series endings
American drama films
American television miniseries
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Romantic epic films
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Television shows set in Charleston, South Carolina


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The Wind Done Gone
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (June 2011)
The Wind Done Gone
TWDG.jpg
Author
Alice Randall
Country
United States
Language
English
Publisher
Houghton Mifflin

Publication date
 1 May 2001
Media type
Print (Hardback & Paperback)
Pages
210 pp (first edition, hardback)
ISBN
ISBN 0-618-10450-X (first edition, hardback)
OCLC
45002181

Dewey Decimal
 813/.6 21
LC Class
PS3568.A486 W56 2001
The Wind Done Gone (2001) is the first novel written by Alice Randall. It was a bestselling historical novel that tells an alternative account of the story in the American novel Gone with the Wind (1936) by Margaret Mitchell. While the story of Gone with the Wind focuses on the life of a wealthy slave owner, Scarlett O'Hara, The Wind Done Gone tells the story of the life of one of her slaves, Cynara, during the same time period and events.
The title is an African American Vernacular English version of the original's title. Cynara's name comes from the Ernest Dowson poem Non sum qualís eram bonae sub regno Cynarae[citation needed], a line from which ("I have forgot much, Cynara! gone with the wind") was the origin of Mitchell's novel's title as well.


Contents  [hide]
1 Plot summary
2 Characters
3 Similarity to characters in Gone with the Wind
4 Legal controversy
5 References
6 Further reading
7 External links

Plot summary[edit]
Gone with the Wind revolves around O'Hara, a pampered Southern woman, who lives through the American Civil War and Reconstruction. The Wind Done Gone is the same story, but told from the viewpoint of Cynara, a mulatto slave on Scarlett's plantation and the daughter of Scarlett's father and Mammy.
Sold from the O'Haras, Cynara eventually makes her way back to Atlanta and becomes the mistress of a white businessman. She later leaves him for a black aspiring politician, eventually moving with him to Reconstruction Washington, D.C.
Characters[edit]
Cynara – The narrator of the novel, the recently freed slave is the daughter of white plantation owner Planter and his slave Mammy. She has a lifelong rivalry with her half-sister Other, sparked by jealousy that Mammy paid more attention to the white baby. They both came to love R.
Mammy - Cynara's mother and Other's wet nurse, Mammy doted on Other while neglecting her own daughter. Her masters believe she is a loyal slave, but the other slaves suspect that she killed Lady and Planter's male children—given to her to nurse—so that Planter would be Cotton Farm's last white master. Her real name, Pallas, is so rarely used that her daughter didn't learn it until after her death. A clear parallel to Gone with the Wind 's Mammy, she is the only major character called by the same name in both books.
Other – The daughter of Planter and Lady, Other formed a strong bond with her wet nurse Mammy. When her youngest daughter dies in an accident and her husband R. leaves her, she returns to Mammy and the Cotton Farm. Parallel to Scarlet O'Hara in Gone with the Wind.
R. – Other's husband R. leaves his wife and takes Cynara as a mistress and kept woman. Cynara sees him as a prize that she can win in her rivalry with her half-sister Other. While R. loves Cynara for her beauty, he never tries to understand her. Parallel to Rhett Butler in Gone with the Wind.
Beauty - A brothel owner who once owned Cynara, Beauty is a source of advice for the young woman. Although she had an affair with R., Cynara believes she is a lesbian. Parallel to Belle Watling in Gone with the Wind.
Garlic - Planter's manservant Garlic is the architect of his master's success, his master's marriage and the house Tata. He used his wits and patience to manipulate Planter, with the goal of becoming the estate's real master. Cynara suspects that he may also be the mastermind behind Planter's death. Parallels Pork in Gone with the Wind.
Lady - After the death of her cousin Filipe, her only love, Lady joined Planter in a chaste marriage. Hurt by the close relationship between Other and Mammy, she would sometimes care for and breast-feed Cynara. She kept a secret that could destroy her family: she learned that one of her distant ancestors was black, which by the One-drop rule made her and her children Negro. Parallel to Ellen O'Hara in Gone with the Wind.
Planter - Though he doted on his daughter Cynara when she was young, he gave her away to another family when he realized that she was Other's rival. His passion was for Mammy, not for his wife. Parallel to Gerald O'Hara in Gone with the Wind.
The Dreamy Gentleman - The unobtainable knight of Other's dreams, the Dreamy Gentleman chose to marry his plain cousin Mealy Mouth and live respectably. As a homosexual, he was horrified by Other's advances; he secretly loved Miss Priss' brother. When his lover revealed the affair to his wife, Mealy Mouth had the slave whipped to death. Parallels Ashley Wilkes in Gone with the Wind.
Miss Priss - Garlic's daughter holds a grudge against Mealy Mouth, whom she blames for two of her brothers' deaths. One of her brothers was whipped to death when Mealy Mouth discovered his affair with her husband. The other starved to death as a baby when his mother became wet nurse to Mealy Mouth's child. The whites believe she was psychologically broken by her brothers' deaths, but the slaves believe that she is a crafty woman who is responsible for Mealy Mouth's death. Probable parallel to Prissy in Gone with the Wind.
Similarity to characters in Gone with the Wind[edit]
The book consciously avoids using the names of Mitchell's characters or locations. Cynara refers to her sister as "Other", rather than Scarlett, and to Other's husband as "R" (and later, "Debt Chauffeur") instead of Rhett Butler. Other is in love with "Dreamy Gentleman" (Ashley Wilkes), although he is married to "Mealy Mouth" (Melanie Wilkes). The magnificence of the O'Haras' house, Tara, is reduced to "Tata" or "Cotton Farm", and Twelve Oaks is renamed for its builders, "Twelve Slaves Strong as Trees".
Legal controversy[edit]
The estate of Margaret Mitchell sued Randall and her publishing company, Houghton Mifflin, on the grounds that The Wind Done Gone was too similar to Gone with the Wind, thus infringing its copyright. The case attracted numerous comments from leading scholars, authors, and activists, regarding what Mitchell's attitudes would have been and how much The Wind Done Gone copies from its predecessor. After the U.S. Court of Appeals for the Eleventh Circuit vacated an injunction against publishing the book in Suntrust v. Houghton Mifflin (2001), the case was settled in 2002 when Houghton Mifflin agreed to make an unspecified donation to Morehouse College in exchange for Mitchell's estate dropping the litigation.[1]
The cover of the book bears a seal identifying it as "The Unauthorized Parody." It is parody in the broad legal sense: a work that comments on or criticizes a prior work. This characterization was important in the Suntrust case.
References[edit]
1.Jump up ^ "‘Wind Done Gone’ copyright case settled | Reporters Committee for Freedom of the Press". Rcfp.org. 2002-05-29. Retrieved 2012-01-25.
Randall, Alice (June 2001). The Wind Done Gone. Houghton Mifflin. ISBN 0-618-10450-X. (paperback ISBN 0-618-21906-4, CD ISBN 0-618-19424-X)
Further reading[edit]
Lawrence Lessig, The Future of Ideas, p. 198.
External links[edit]
"'Gone With the Wind' parody draws challenges, supporters". CNN. 2001-04-13.
"Settlement reached over 'Wind Done Gone'". Freedom Forum. Associated Press. 2002-05-10.


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: 2001 novels
21st-century American novels
Debut novels
Parallel literature
Parody novels
Gone with the Wind
Houghton Mifflin books








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The Wind Done Gone
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (June 2011)
The Wind Done Gone
TWDG.jpg
Author
Alice Randall
Country
United States
Language
English
Publisher
Houghton Mifflin

Publication date
 1 May 2001
Media type
Print (Hardback & Paperback)
Pages
210 pp (first edition, hardback)
ISBN
ISBN 0-618-10450-X (first edition, hardback)
OCLC
45002181

Dewey Decimal
 813/.6 21
LC Class
PS3568.A486 W56 2001
The Wind Done Gone (2001) is the first novel written by Alice Randall. It was a bestselling historical novel that tells an alternative account of the story in the American novel Gone with the Wind (1936) by Margaret Mitchell. While the story of Gone with the Wind focuses on the life of a wealthy slave owner, Scarlett O'Hara, The Wind Done Gone tells the story of the life of one of her slaves, Cynara, during the same time period and events.
The title is an African American Vernacular English version of the original's title. Cynara's name comes from the Ernest Dowson poem Non sum qualís eram bonae sub regno Cynarae[citation needed], a line from which ("I have forgot much, Cynara! gone with the wind") was the origin of Mitchell's novel's title as well.


Contents  [hide]
1 Plot summary
2 Characters
3 Similarity to characters in Gone with the Wind
4 Legal controversy
5 References
6 Further reading
7 External links

Plot summary[edit]
Gone with the Wind revolves around O'Hara, a pampered Southern woman, who lives through the American Civil War and Reconstruction. The Wind Done Gone is the same story, but told from the viewpoint of Cynara, a mulatto slave on Scarlett's plantation and the daughter of Scarlett's father and Mammy.
Sold from the O'Haras, Cynara eventually makes her way back to Atlanta and becomes the mistress of a white businessman. She later leaves him for a black aspiring politician, eventually moving with him to Reconstruction Washington, D.C.
Characters[edit]
Cynara – The narrator of the novel, the recently freed slave is the daughter of white plantation owner Planter and his slave Mammy. She has a lifelong rivalry with her half-sister Other, sparked by jealousy that Mammy paid more attention to the white baby. They both came to love R.
Mammy - Cynara's mother and Other's wet nurse, Mammy doted on Other while neglecting her own daughter. Her masters believe she is a loyal slave, but the other slaves suspect that she killed Lady and Planter's male children—given to her to nurse—so that Planter would be Cotton Farm's last white master. Her real name, Pallas, is so rarely used that her daughter didn't learn it until after her death. A clear parallel to Gone with the Wind 's Mammy, she is the only major character called by the same name in both books.
Other – The daughter of Planter and Lady, Other formed a strong bond with her wet nurse Mammy. When her youngest daughter dies in an accident and her husband R. leaves her, she returns to Mammy and the Cotton Farm. Parallel to Scarlet O'Hara in Gone with the Wind.
R. – Other's husband R. leaves his wife and takes Cynara as a mistress and kept woman. Cynara sees him as a prize that she can win in her rivalry with her half-sister Other. While R. loves Cynara for her beauty, he never tries to understand her. Parallel to Rhett Butler in Gone with the Wind.
Beauty - A brothel owner who once owned Cynara, Beauty is a source of advice for the young woman. Although she had an affair with R., Cynara believes she is a lesbian. Parallel to Belle Watling in Gone with the Wind.
Garlic - Planter's manservant Garlic is the architect of his master's success, his master's marriage and the house Tata. He used his wits and patience to manipulate Planter, with the goal of becoming the estate's real master. Cynara suspects that he may also be the mastermind behind Planter's death. Parallels Pork in Gone with the Wind.
Lady - After the death of her cousin Filipe, her only love, Lady joined Planter in a chaste marriage. Hurt by the close relationship between Other and Mammy, she would sometimes care for and breast-feed Cynara. She kept a secret that could destroy her family: she learned that one of her distant ancestors was black, which by the One-drop rule made her and her children Negro. Parallel to Ellen O'Hara in Gone with the Wind.
Planter - Though he doted on his daughter Cynara when she was young, he gave her away to another family when he realized that she was Other's rival. His passion was for Mammy, not for his wife. Parallel to Gerald O'Hara in Gone with the Wind.
The Dreamy Gentleman - The unobtainable knight of Other's dreams, the Dreamy Gentleman chose to marry his plain cousin Mealy Mouth and live respectably. As a homosexual, he was horrified by Other's advances; he secretly loved Miss Priss' brother. When his lover revealed the affair to his wife, Mealy Mouth had the slave whipped to death. Parallels Ashley Wilkes in Gone with the Wind.
Miss Priss - Garlic's daughter holds a grudge against Mealy Mouth, whom she blames for two of her brothers' deaths. One of her brothers was whipped to death when Mealy Mouth discovered his affair with her husband. The other starved to death as a baby when his mother became wet nurse to Mealy Mouth's child. The whites believe she was psychologically broken by her brothers' deaths, but the slaves believe that she is a crafty woman who is responsible for Mealy Mouth's death. Probable parallel to Prissy in Gone with the Wind.
Similarity to characters in Gone with the Wind[edit]
The book consciously avoids using the names of Mitchell's characters or locations. Cynara refers to her sister as "Other", rather than Scarlett, and to Other's husband as "R" (and later, "Debt Chauffeur") instead of Rhett Butler. Other is in love with "Dreamy Gentleman" (Ashley Wilkes), although he is married to "Mealy Mouth" (Melanie Wilkes). The magnificence of the O'Haras' house, Tara, is reduced to "Tata" or "Cotton Farm", and Twelve Oaks is renamed for its builders, "Twelve Slaves Strong as Trees".
Legal controversy[edit]
The estate of Margaret Mitchell sued Randall and her publishing company, Houghton Mifflin, on the grounds that The Wind Done Gone was too similar to Gone with the Wind, thus infringing its copyright. The case attracted numerous comments from leading scholars, authors, and activists, regarding what Mitchell's attitudes would have been and how much The Wind Done Gone copies from its predecessor. After the U.S. Court of Appeals for the Eleventh Circuit vacated an injunction against publishing the book in Suntrust v. Houghton Mifflin (2001), the case was settled in 2002 when Houghton Mifflin agreed to make an unspecified donation to Morehouse College in exchange for Mitchell's estate dropping the litigation.[1]
The cover of the book bears a seal identifying it as "The Unauthorized Parody." It is parody in the broad legal sense: a work that comments on or criticizes a prior work. This characterization was important in the Suntrust case.
References[edit]
1.Jump up ^ "‘Wind Done Gone’ copyright case settled | Reporters Committee for Freedom of the Press". Rcfp.org. 2002-05-29. Retrieved 2012-01-25.
Randall, Alice (June 2001). The Wind Done Gone. Houghton Mifflin. ISBN 0-618-10450-X. (paperback ISBN 0-618-21906-4, CD ISBN 0-618-19424-X)
Further reading[edit]
Lawrence Lessig, The Future of Ideas, p. 198.
External links[edit]
"'Gone With the Wind' parody draws challenges, supporters". CNN. 2001-04-13.
"Settlement reached over 'Wind Done Gone'". Freedom Forum. Associated Press. 2002-05-10.


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: 2001 novels
21st-century American novels
Debut novels
Parallel literature
Parody novels
Gone with the Wind
Houghton Mifflin books








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This page was last modified on 6 September 2014 at 18:23.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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 http://en.wikipedia.org/wiki/The_Wind_Done_Gone
















The Making of a Legend: Gone with the Wind
From Wikipedia, the free encyclopedia
Jump to: navigation, search


The Making of a Legend: Gone with the Wind
The Making of a Legend- Gone with the Wind.jpg
Directed by
David Hinton
Produced by
Daniel Selznick
L. Jeffrey Selznick
Jonathan Wickham
Written by
David Thomson
Starring
Christopher Plummer (Narrator)
Music by
Greg Crawford
Max Steiner (original GWTW music recordings)
Cinematography
Glenn Roland
Edited by
Bobby Jones
Distributed by
Turner Entertainment
Daniel Selznick Properties
MGM/UA Home Entertainment
Release dates
October 1988
Running time
124 min.
Country
 United States
Language
English
The Making of a Legend: Gone with the Wind is a 1988 documentary outlining the successes and challenges of the casting, filming, and legacy of the 1939 film Gone with the Wind, from concept to finished product. The documentary focuses on David O. Selznick from the time of the book's publication to the Academy Awards ceremony of 1940. Included are interviews with many of the crew and office personnel involved in making the film. Producer David O. Selznick struggled to control his project, working with three directors along the way--George Cukor, Victor Fleming and Sam Wood. Each had their own vision and the strong-willed men often clashed.[1]
The Making of a Legend brings up many of the "what ifs?" that arose as different scenarios were discussed. Among these were the possibilities of Errol Flynn and Gary Cooper as Rhett Butler.[1]
Cast[edit]
Christopher Plummer ... Narrator (voice)
L. Jeffrey Selznick ... David O. Selznick (voice)
Arthur E. Arling ... Himself - Camera Operator (as Arthur Arling)
Katherine Brown ... Herself - Eastern Story Editor for David O. Selznick (as Kay Brown Barrett)
Arthur Fellows ... Himself - Assistant to George Cukor
Raymond A. Klune ... Himself - Production Manager in 'Gone with the Wind' (as Ray Klune)
Silvia Shulman Lardner ... Herself - Secretary to David O. Selznick
James E. Newcom ... Himself - Associate Film Editor in 'Gone with the Wind' (as James Newcom)
Marcella Rabwin ... Herself - Executive Assistant to David O. Selznick
Harry L. Wolf ... Himself - Assistant Cameraman in 'Gone with the Wind' (as Harry Wolf)
Evelyn Keyes ... Herself - Actress in 'Gone with the Wind'
Butterfly McQueen ... Herself - Actress in 'Gone with the Wind'
Ann Rutherford ... Herself - Actress in 'Gone with the Wind'
Sunny Lash ... Herself - Secretary and Friend to Vivien Leigh
William Erickson ... Himself - Preview Audience Member
Johnny Albright ... Himself - Extra in 'Gone with the Wind'
Philip Roth ... Himself
Julie Landau ... Herself
External links[edit]
The Making of a Legend: Gone With The Wind at the Internet Movie Database
Official DVD Website
References[edit]
1.^ Jump up to: a b [1][dead link]


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

Stub icon This article about a documentary film about the arts is a stub. You can help Wikipedia by expanding it.




 


Categories: English-language films
American documentary films
Documentary films about films
1988 films
1980s documentary films
Gone with the Wind
Peabody Award winning broadcasts
Arts documentary film stubs






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This page was last modified on 16 October 2014 at 13:21.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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 http://en.wikipedia.org/wiki/The_Making_of_a_Legend:_Gone_with_the_Wind













The Making of a Legend: Gone with the Wind
From Wikipedia, the free encyclopedia
Jump to: navigation, search


The Making of a Legend: Gone with the Wind
The Making of a Legend- Gone with the Wind.jpg
Directed by
David Hinton
Produced by
Daniel Selznick
L. Jeffrey Selznick
Jonathan Wickham
Written by
David Thomson
Starring
Christopher Plummer (Narrator)
Music by
Greg Crawford
Max Steiner (original GWTW music recordings)
Cinematography
Glenn Roland
Edited by
Bobby Jones
Distributed by
Turner Entertainment
Daniel Selznick Properties
MGM/UA Home Entertainment
Release dates
October 1988
Running time
124 min.
Country
 United States
Language
English
The Making of a Legend: Gone with the Wind is a 1988 documentary outlining the successes and challenges of the casting, filming, and legacy of the 1939 film Gone with the Wind, from concept to finished product. The documentary focuses on David O. Selznick from the time of the book's publication to the Academy Awards ceremony of 1940. Included are interviews with many of the crew and office personnel involved in making the film. Producer David O. Selznick struggled to control his project, working with three directors along the way--George Cukor, Victor Fleming and Sam Wood. Each had their own vision and the strong-willed men often clashed.[1]
The Making of a Legend brings up many of the "what ifs?" that arose as different scenarios were discussed. Among these were the possibilities of Errol Flynn and Gary Cooper as Rhett Butler.[1]
Cast[edit]
Christopher Plummer ... Narrator (voice)
L. Jeffrey Selznick ... David O. Selznick (voice)
Arthur E. Arling ... Himself - Camera Operator (as Arthur Arling)
Katherine Brown ... Herself - Eastern Story Editor for David O. Selznick (as Kay Brown Barrett)
Arthur Fellows ... Himself - Assistant to George Cukor
Raymond A. Klune ... Himself - Production Manager in 'Gone with the Wind' (as Ray Klune)
Silvia Shulman Lardner ... Herself - Secretary to David O. Selznick
James E. Newcom ... Himself - Associate Film Editor in 'Gone with the Wind' (as James Newcom)
Marcella Rabwin ... Herself - Executive Assistant to David O. Selznick
Harry L. Wolf ... Himself - Assistant Cameraman in 'Gone with the Wind' (as Harry Wolf)
Evelyn Keyes ... Herself - Actress in 'Gone with the Wind'
Butterfly McQueen ... Herself - Actress in 'Gone with the Wind'
Ann Rutherford ... Herself - Actress in 'Gone with the Wind'
Sunny Lash ... Herself - Secretary and Friend to Vivien Leigh
William Erickson ... Himself - Preview Audience Member
Johnny Albright ... Himself - Extra in 'Gone with the Wind'
Philip Roth ... Himself
Julie Landau ... Herself
External links[edit]
The Making of a Legend: Gone With The Wind at the Internet Movie Database
Official DVD Website
References[edit]
1.^ Jump up to: a b [1][dead link]


[hide]
v ·
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Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

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Scarlett (musical)
From Wikipedia, the free encyclopedia
Jump to: navigation, search

For the 2008 musical, see Gone with the Wind (musical).

Scarlett
Gone With The Wind
GWTW London.jpg
Original London Cast recording

Music
Harold Rome
Lyrics
Harold Rome
Book
Kazuo Kikuta (Japanese); Horton Foote (English)
Basis
Margaret Mitchell's novel Gone With the Wind
Productions
1970 Tokyo
 1972 West End
Scarlett is a musical with a score by Harold Rome. The original Japanese book is by Kazuo Kikuta, and the English version of the book is by Horton Foote. The Tokyo production was directed by American director/choreographer Joe Layton, who later directed a production in the London West End. London producer Henry Fielding cancelled his plans for a 1974 Broadway production, and the musical has never been performed on Broadway.
Based on Margaret Mitchell's bestseller Gone with the Wind, it traces the fate of self-centered Southern belle Scarlett O'Hara and her passionately turbulent relationship with dashing blockade runner Rhett Butler, from the days prior to the American Civil War through the war itself and the following period of Reconstruction.


Contents  [hide]
1 Productions
2 Song list (Japanese Cast Album)
3 Song list (London Cast Album)
4 Songs (Los Angeles - First Performance)
5 Notes
6 References
7 External links

Productions[edit]
In 1966, a nine-hour play (without music) based on Gone with the Wind opened at the Tokyo Imperial Theatre.[1] This production was highly successful, and Kazuo Kikuta and the Toho Company decided to produce a musical version of Gone with the Wind at the same theatre.[1] Kikuta wrote the book to the new musical, but the rest of the production was largely the work of Americans—the music and lyrics were by American Harold Rome, the director was American Joe Layton, and the musical director was well-known Broadway conductor Lehman Engel. The original Tokyo production was presented in two parts - each for 6 months - and each ran four hours long.[citation needed] The production opened in January 1970 with the title Scarlett.[1]
The show underwent severe trimming when it was translated into English, reduced to one part but still close to 4 hours long. It had a new book adapted by Horton Foote and was rechristened Gone with the Wind. The West End version, produced by Harold Fielding and again directed by Joe Layton, opened at the Theatre Royal, Drury Lane in 1972, with a cast headed by June Ritchie, Harve Presnell, Patricia Michael, and Robert Swann. The majority of reviews praised Ritchie's Scarlett and were duly impressed by Layton's staging; however, they criticized Foote's adaptation of the story, which relied heavily on the audience's prior knowledge of the characters and plot and as a result was sketchy in its presentation of both. Still, Fielding was encouraged enough to schedule a Broadway opening for April 7, 1974.
In August 1973, a revised version of the London production was mounted at the Dorothy Chandler Pavilion in Los Angeles by the city's Civic Light Opera Association, with Lesley Ann Warren, Pernell Roberts, Udana Power and Terence Monk in the leads. The strongly negative reviews prompted Layton to make numerous changes throughout the Los Angeles and subsequent San Francisco runs, but Fielding cancelled his plan to move the show to Broadway. In 1976, Lucia Victor staged a production in Dallas that travelled to three other cities, but that was the last time the musical was produced.
Song list (Japanese Cast Album)[edit]
Act IOverture/He Loves Me
We Belong to You
Scarlett
We Belong to You (Reprise)
Two of a Kind
Two of a Kind (Reprise)/Blissful Christmas/My Soldier/Blissful Christmas (Reprise)
Goodbye My Honey
Lonely Stranger
A Time for Love
What Is Love?
Gambling Man
Which Way is Home?
 Act IIEntracte/Bonnie Blue Flag


Original Japanese cast recording
O'Hara
The Newlyweds Song
Strange and Wonderful
Blueberry Eyes
Little Wonder
Bonnie Gone
Finale

Song list (London Cast Album)[edit]
Act IOverture/Today's The Day
We Belong to You
Tara
Two of a Kind
Blissful Christmas/Home Again/Tomorrow Is Another Day
Lonely Stranger
A Time for Love
Which Way Is Home?
 Act IIEntracte
How Often, How Often
If Only
A Southern Lady
Marrying For Fun
Blueberry Eyes
Strange and Wonderful
Little Wonders
Bonnie Gone
It Doesn't Matter Now/Finale

Songs (Los Angeles - First Performance)[edit]
Note: The score was heavily cut and revised during the Los Angeles & San Francisco runs
Act IOverture/Today's The Day
Cakewalk
We Belong to You
Scarlett
We Belong to You (Reprise)
Bonnie Blue Flag
Bazaar Hymn
Virginia Reel
Quadrille
Two of a Kind
Blissful Christmas
My Soldier
Tomorrow Is Another Day
Ashley's Departure
Where Is My Soldier Boy?/Why Did They Die?/Johnny Is My Darling/Bonnie Blue Flag
Lonely Stranger
Atlanta Burning
Tomorrow Is Another Day (Reprise)
 Act IIIf Only
How Often
Gone With The Wind
How Lucky
A Southern Lady
Marrying For Fun
Brand New Friends
Miss Fiddle-Dee-Dee
Blueberry Eyes
Bonnie Gone
Two Of A Kind (Reprise)
It Doesn't Matter Now

Notes[edit]
1.^ Jump up to: a b c Mandelbaum, 180
References[edit]
Mandelbaum, Ken (1991). Not Since Carrie: Forty Years of Broadway Musical Flops New York: St. Martin's Press. ISBN 0-312-06428-4
Performing Arts (September 1973) Los Angeles Civic Light Opera program for Gone with the Wind
External links[edit]
Kay Brown Barrett papers, 1906-1991, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts





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Scarlett (musical)
From Wikipedia, the free encyclopedia
Jump to: navigation, search

For the 2008 musical, see Gone with the Wind (musical).

Scarlett
Gone With The Wind
GWTW London.jpg
Original London Cast recording

Music
Harold Rome
Lyrics
Harold Rome
Book
Kazuo Kikuta (Japanese); Horton Foote (English)
Basis
Margaret Mitchell's novel Gone With the Wind
Productions
1970 Tokyo
 1972 West End
Scarlett is a musical with a score by Harold Rome. The original Japanese book is by Kazuo Kikuta, and the English version of the book is by Horton Foote. The Tokyo production was directed by American director/choreographer Joe Layton, who later directed a production in the London West End. London producer Henry Fielding cancelled his plans for a 1974 Broadway production, and the musical has never been performed on Broadway.
Based on Margaret Mitchell's bestseller Gone with the Wind, it traces the fate of self-centered Southern belle Scarlett O'Hara and her passionately turbulent relationship with dashing blockade runner Rhett Butler, from the days prior to the American Civil War through the war itself and the following period of Reconstruction.


Contents  [hide]
1 Productions
2 Song list (Japanese Cast Album)
3 Song list (London Cast Album)
4 Songs (Los Angeles - First Performance)
5 Notes
6 References
7 External links

Productions[edit]
In 1966, a nine-hour play (without music) based on Gone with the Wind opened at the Tokyo Imperial Theatre.[1] This production was highly successful, and Kazuo Kikuta and the Toho Company decided to produce a musical version of Gone with the Wind at the same theatre.[1] Kikuta wrote the book to the new musical, but the rest of the production was largely the work of Americans—the music and lyrics were by American Harold Rome, the director was American Joe Layton, and the musical director was well-known Broadway conductor Lehman Engel. The original Tokyo production was presented in two parts - each for 6 months - and each ran four hours long.[citation needed] The production opened in January 1970 with the title Scarlett.[1]
The show underwent severe trimming when it was translated into English, reduced to one part but still close to 4 hours long. It had a new book adapted by Horton Foote and was rechristened Gone with the Wind. The West End version, produced by Harold Fielding and again directed by Joe Layton, opened at the Theatre Royal, Drury Lane in 1972, with a cast headed by June Ritchie, Harve Presnell, Patricia Michael, and Robert Swann. The majority of reviews praised Ritchie's Scarlett and were duly impressed by Layton's staging; however, they criticized Foote's adaptation of the story, which relied heavily on the audience's prior knowledge of the characters and plot and as a result was sketchy in its presentation of both. Still, Fielding was encouraged enough to schedule a Broadway opening for April 7, 1974.
In August 1973, a revised version of the London production was mounted at the Dorothy Chandler Pavilion in Los Angeles by the city's Civic Light Opera Association, with Lesley Ann Warren, Pernell Roberts, Udana Power and Terence Monk in the leads. The strongly negative reviews prompted Layton to make numerous changes throughout the Los Angeles and subsequent San Francisco runs, but Fielding cancelled his plan to move the show to Broadway. In 1976, Lucia Victor staged a production in Dallas that travelled to three other cities, but that was the last time the musical was produced.
Song list (Japanese Cast Album)[edit]
Act IOverture/He Loves Me
We Belong to You
Scarlett
We Belong to You (Reprise)
Two of a Kind
Two of a Kind (Reprise)/Blissful Christmas/My Soldier/Blissful Christmas (Reprise)
Goodbye My Honey
Lonely Stranger
A Time for Love
What Is Love?
Gambling Man
Which Way is Home?
 Act IIEntracte/Bonnie Blue Flag


Original Japanese cast recording
O'Hara
The Newlyweds Song
Strange and Wonderful
Blueberry Eyes
Little Wonder
Bonnie Gone
Finale

Song list (London Cast Album)[edit]
Act IOverture/Today's The Day
We Belong to You
Tara
Two of a Kind
Blissful Christmas/Home Again/Tomorrow Is Another Day
Lonely Stranger
A Time for Love
Which Way Is Home?
 Act IIEntracte
How Often, How Often
If Only
A Southern Lady
Marrying For Fun
Blueberry Eyes
Strange and Wonderful
Little Wonders
Bonnie Gone
It Doesn't Matter Now/Finale

Songs (Los Angeles - First Performance)[edit]
Note: The score was heavily cut and revised during the Los Angeles & San Francisco runs
Act IOverture/Today's The Day
Cakewalk
We Belong to You
Scarlett
We Belong to You (Reprise)
Bonnie Blue Flag
Bazaar Hymn
Virginia Reel
Quadrille
Two of a Kind
Blissful Christmas
My Soldier
Tomorrow Is Another Day
Ashley's Departure
Where Is My Soldier Boy?/Why Did They Die?/Johnny Is My Darling/Bonnie Blue Flag
Lonely Stranger
Atlanta Burning
Tomorrow Is Another Day (Reprise)
 Act IIIf Only
How Often
Gone With The Wind
How Lucky
A Southern Lady
Marrying For Fun
Brand New Friends
Miss Fiddle-Dee-Dee
Blueberry Eyes
Bonnie Gone
Two Of A Kind (Reprise)
It Doesn't Matter Now

Notes[edit]
1.^ Jump up to: a b c Mandelbaum, 180
References[edit]
Mandelbaum, Ken (1991). Not Since Carrie: Forty Years of Broadway Musical Flops New York: St. Martin's Press. ISBN 0-312-06428-4
Performing Arts (September 1973) Los Angeles Civic Light Opera program for Gone with the Wind
External links[edit]
Kay Brown Barrett papers, 1906-1991, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts





[show]
v ·
 t ·
 e
 
Harold Rome musicals


















[show]
v ·
 t ·
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Gone with the Wind by Margaret Mitchell







































 


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West End musicals
Musicals based on novels
Gone with the Wind





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Gone with the Wind (musical)
From Wikipedia, the free encyclopedia
Jump to: navigation, search

For the 1972 Harold Rome musical, see Scarlett (musical). For the 2006 French musical production of Gone with the Wind, see Autant en emporte le vent.




Gone with the Wind
Gone Wind Musical Poster.jpg
Poster for Original London production

Music
Margaret Martin
Lyrics
Margaret Martin
Book
Margaret Martin
Basis
Book by Margaret Mitchell and 1937 film
Productions
2008 West End
Gone with the Wind is a musical based on the Margaret Mitchell's novel of the same name and its 1939 film adaptation, with music and lyrics by Margaret Martin, and a book by Martin, adapted by Sir Trevor Nunn.
It began previews on 5 April 2008 and officially opened at the New London Theatre in London's West End on 22 April 2008.[1] The production was directed by Sir Trevor Nunn and featured sets by John Napier and costumes by Andreane Neofitu. Darius Danesh and Jill Paice starred as Rhett Butler and Scarlett O'Hara respectively.[2] The show was produced by Aldo Scrofani, Colin Ingram, Gary McAvay and the Nederlander Producing Company. The production closed on 14 June 2008, after 79 performances.


Contents  [hide]
1 History
2 Synopsis 2.1 Act I
2.2 Act II
3 Differences from the novel and film
4 Roles and original principal cast
5 Musical numbers
6 Critical response
7 References
8 External links

History[edit]
This was not the first musical version of Gone With the Wind. A musical adaptation by Harold Rome played a year at the Drury Lane Theatre in 1972, featuring Bonnie Langford.[3] Margaret Martin, a newcomer to songwriting and playwriting, contacted the Stephen Mitchell Trust, sending tapes of songs and a draft script, and the Trust eventually agreed to give her the rights to make an adaptation of Gone with the Wind.[3] At about the same time, Martin learned that Nunn was extremely interested in American history, and she sent him the materials as well. They collaborated on revisions over the next couple of years, which resulted in a workshop production in London in 2004.[4] With the support of the Mitchell Trust and producer Aldo Scrofani of Columbia Artists Theatricals, plans began forming for the West End production.[5] Plans for the production were officially confirmed in 2007.[6]
Producer Scrofani said in interviews that their hope was that "this theatrical adaptation will cause our audiences to rediscover this timeless and rich story, while also providing each of them a meaningful and memorable experience".[7] Nunn said that "having now worked on adapting two vast novels for the stage, Nicholas Nickleby and Les Misérables, I am drawn to the challenge of telling Margaret Mitchell's epic story through words, music and the imaginative resources of the theatre."[5]
After opening to poor reviews and criticism of the length of the show, the producers announced that the show would be cut from its original running time of 3½ hours,[8] and they reduced the running time to 3 hours 10 minutes including interval. Producer Scrofani announced that the production would close on 14 June 2008, after 79 performances, adding that "plans for a New York production are currently on hold."[9]
Synopsis[edit]
Act I[edit]
In 1861 Atlanta, Georgia, 16-year-old Scarlett is the eldest of three daughters living a life of luxury on their father's plantation, Tara. The slaves are working ("Born to be Free"), and Scarlett discovers that Ashley Wilkes, who she secretly loves, is to marry his cousin, Melly Hamilton. Scarlett's father returns home ("On Your Land"), and the family hold evening prayers ("Mrs O'Hara's Prayer").
Scarlett dresses for the barbecue at the Wilkes' plantation. The guests arrive ("Good Time Good Cheer"), and they speculate about dashing Rhett Butler's past. Scarlett flirts with every man to try to get Ashley's attention. Charles Hamilton, Melly's brother, falls in love with Scarlett, while the women pass judgement on her ("She's No Lady"). The men talk about the War, and Rhett states his opinion. Ashley finds Scarlett in the library. She tells him that she loves him, he replies that he cares for her ("Softly") but is to be married. As Ashley leaves, Scarlett sees that Rhett has been in the library and has overheard, telling her she's "no lady" ("She's No Lady" reprise). Outside, Charles Hamilton tells her that War is declared, and as she cannot have Ashley, she agrees to marry him. The men are excited at the prospect of War ("Come Join the Troops"). The couples marry, and both Charles and Ashley join the War. She receives news of Charles' death and in due time their son Wade is born. Scarlett is upset to be a widow with a baby, and her family send her to Atlanta to the home of Aunt Pittypat.
In Atlanta, Scarlett is introduced to the society ladies ("The Very Best People"). The Hamilton ladies are still in mourning for Charles, but they help at the bazaar to raise War funds. Rhett arrives ("I'm Your Man"), and Dr Meade proposes an auction, with the men bidding to lead the dances with the lady of their choice. Rhett bids for Scarlett and scandalises society as he dances with her while she is still in mourning. Mr O'Hara hears about the scandal and wants to bring Scarlett home, but Scarlett blackmails her father into letting her stay; she wishes that she could be "Scarlett O'Hara Again".
In 1863 Rhett brings news from the War and gives out the casualty lists; there are many men dead, and the women of the city lament ("Can This Be All?") Ashley comes home on leave, and Scarlett promises him that she'll look after Melly, he kisses her as he leaves. At Mrs Elsing's home, Rhett questions the War, and Melly defends him as he has the same opinion as Ashley. Melly is pregnant, but news arrives that Ashley is missing.
The fighting closes in on Atlanta, but Melly cannot be moved in her condition, and Scarlett has to stay with her. Prissy says that she can help out with the birth. Rhett asks Scarlett to be his mistress ("I'm Your Man" (reprise)), but she refuses. Melly goes into labour, but the doctor is busy with wounded soldiers. Prissy knows nothing about childbirth, so Scarlett is left to deliver the baby herself. The Yankee army is very near, so Prissy finds Rhett, and they all flee the burning city. Outside Atlanta, stung by Scarlett's words, Rhett goes off to join the army, kissing her as he leaves. Scarlett makes her way back to Tara, but discovers that her mother has died, and her father is mad with grief. She walks to Ashley's plantation but finds it in ruins. The life she once knew is gone forever ("Gone With The Wind").
Act II[edit]
With the declaration that the slaves are freed ("Born to be Free" (reprise)), everything is in scarce supply during 1864. Scarlett says that everyone must work the fields. She shoots and kills a Yankee thief at Tara before ransacking his belongings with Melly ("Desperate Times"). In 1865 the War is over, and Ashley makes his way home. With Reconstruction after the War, the taxes on Tara have increased. Ashley tells Scarlett the world has passed him by, and only Rhett has money now. Scarlett says that they should run away together. Ashley refuses but admits that he loves her. Scarlett plans to find Rhett and get the money from him.
In Atlanta, Scarlett visits Rhett in gaol and tries to pretend that all is well, but he sees her rough hands and realises that she wants money. Scarlett offers to become his mistress, but Rhett refuses as he hasn't any money in Atlanta, and he knows her too well ("Nobody Knows You"). Scarlett thinks Tara is lost, but on her way home she meets Frank Kennedy. He boasts of his business and wealth, and seeing him as a way to save Tara, Scarlett lies that Suellen is marrying another. Two weeks later Scarlett marries Frank and pays the taxes for Tara. Scarlett runs Frank's businesses, but the gossips of Atlanta think her behaviour is wrong. Prissy opines that the world has changed since the War ("I'm Gonna Find My Own").
It is now 1866, and Scarlett hears that her father has died ("On Your Land" (reprise)). Ashley wants to leave Tara, but Scarlett persuades Melly that they must come to Atlanta instead. Scarlett bears Frank's daughter, Ella, and she still runs the businesses despite the danger of travelling alone. Scarlett is attacked while passing the shanty town; Ashley and Frank leave to exact revenge. Men come looking to arrest Ashley for the Klan raid, as Rhett arrives home with Ashley, apparently drunk, with a false alibi about spending the evening with a prostitute. Rhett tells Scarlett that her husband was killed, but Scarlett is more worried about Ashley being injured. As Frank lies in his coffin, Scarlett is drunk, and she agrees to marry Rhett. The slaves celebrate their freedom ("Wings of a Dove"), but they have misgivings about some of the changes.
Scarlett and Rhett return from their honeymoon with gifts, including a petticoat for Mammy, who declares she won't wear it as she does not like Captain Butler. Ashley cannot run Scarlett's mill at a profit, and she tells him he should use convict labour. Ashley cannot bear to see how brutal Scarlett has become, and he blames Rhett. Scarlett realises that Ashley still loves her, and she tells Rhett that she will no longer share a bedroom with him. Rhett says that this is no hardship to him; he is then seen with other women. Scarlett invites her old and new friends to her 'crush' ("Reconstruction Planning") but her old friends criticise her and leave. A drunken Rhett argues with Scarlett about Ashley, saying that tonight, instead of three people, there'll be "Just Two!" as he forcefully takes her to his bed. The next morning, Rhett has gone, but Scarlett realises that he loves her. Later, she is dismayed to find that she is pregnant again, but Rhett is delighted.
In 1867, Scarlett gives birth to a girl, Bonnie. Mammy finally accepts Captain Butler and wears the petticoat. Rhett restores his reputation with society for Bonnie's sake. Bonnie has nightmares and is afraid of the dark, so Rhett sings a lullaby ("Once Upon a Time"). Scarlett tells Mammy that she wants to love Bonnie, but the child only cares for her father ("Every Child"). By 1871, Bonnie is learning to ride her pony, but when she tries to take a jump, she is thrown to the ground. Bonnie dies, and Scarlett blames Rhett. In his grief, he refuses to bury her as she was afraid of the dark, and it takes kind words from Melly to comfort him. Rhett says a final goodbye to Bonnie ("Once Upon a Time" (reprise)). Scarlett feels all alone, and Rhett feels like a stranger ("Alone").
Melly becomes ill with a miscarriage. On her deathbed, she tells Scarlett to look after Ashley, and to be kind to Rhett as he helped her with money without Ashley knowing. Outside, Scarlett realises that Ashley loves Melly, and he never loved her. She runs home, telling Rhett that she must have loved him for years. But she is too late; he says it is over. Scarlett asks him what she will do if he goes, but as he leaves, he says that he doesn't "give a damn". Scarlett decides to return to Tara, knowing that she will win Rhett back somehow as tomorrow is another day ("Gone With The Wind" (reprise)).
Differences from the novel and film[edit]
The musical's story is generally more faithful to the novel than the film, with Scarlett's three children appearing, unlike the film, which portrayed only Bonnie. One character not included on stage is Belle Watling, the prostitute. The slaves have a greater voice, especially Prissy, whose character is more dignified than in the film or novel, as she sings of finding her own way in the world and teaching others.
Roles and original principal cast[edit]
Rhett Butler - Darius Danesh
Scarlett O'Hara - Jill Paice
Ashley Wilkes - Edward Baker-Duly
Melanie Hamilton - Madeleine Worrall
Mammy - NaTasha Yvette Williams
Prissy - Jina Burrows
Gerald O’Hara - Julian Forsyth
Ellen O’Hara / Mrs Elsing - Susannah Fellows
Pork - Ray Shell
Dilcey - Jacqueline Boatswain
Uncle Peter - Leon Herbert
Big Sam - Chris Jarman
Mrs Merryweather - Susan Tracy
John Wilkes / Dr Meade - Jeff Shankley
Mrs Meade - Kathryn Akin
Aunt Pittypat - Susan Jane Tanner
Frank Kennedy - Alan Vicary
Charles Hamilton - David Roberts
Suellen O’Hara - Emily Bryant
Careen O’Hara - Gemma Sutton
Stuart Tarleton - Gareth Chart
Brent Tarleton - Tom Sellwood
Cade Calvert - Alan Winner
Bonnie - Leilah de Meza
Wade Hamilton - Mischa Goodman, Gene Goodman & Guy Whitby
Musical numbers[edit]
Act IBorn to be Free
On Your Land
Ellen's Prayer
Gentle People
She's No Lady
Always In My Mind
Come Join the Troop
The Very Best People
I'm Your Man
Scarlett O'Hara Again
Can This Be All?
I'm Your Man (reprise)
Gone With The Wind
 Act IIBorn to be Free (reprise)
Desperate Times
Nobody Knows You
I'm Gonna Find My Own
On Your Land (reprise)
Wings of a Dove
Reconstruction Bounty
Just Two!
Once Upon a Time
Every Child
Once Upon a Time (reprise)
Alone
Ellen's Prayer (reprise)
Gone With The Wind (reprise)

When the musical opened, it contained two additional songs in Act II: "Abundantly Present" and "This Time". These, and several reprises, were cut in May 2008.[citation needed]
Critical response[edit]
Reviews of the musical were generally negative. Critics found fault with the work's structure and score, stating "the large ensemble combines dialogue with passages of narration from the novel. The songs seem constantly to interrupt the proceedings rather than deepening or advancing the narrative."[10][11] However, The Independent noted that "the score is enriched with spirituals, blues and gospel music, spine-tinglingly well-sung by such cast members as Natasha Yvette Williams's loveably sassy Mammy and Jina Burrows' Prissy."[12] The Independent also praised Danesh and Paice: "The diabolically dashing Darius Danesh brings a seductively insolent charm, a dark velvet voice and a genuine, fugitive pathos to the cynical blockade runner. If Jill Paice hasn't quite nailed the comic, outrageously feline wiliness of Scarlett, she boasts the bright, soaring vocal quality to convey the heroine's indomitable survivor's drive."[12] The Sunday Times wrote, "Frankly, I fear, you won't give a damn."[13][14]
References[edit]
1.Jump up ^ playbill article, April 22, 2008, "Gone with the Wind Opens at the New London Theatre April 22"
2.Jump up ^ Playbill.com article about the show
3.^ Jump up to: a b Article on the background of the show
4.Jump up ^ New York Times article featuring Margaret Martin
5.^ Jump up to: a b Playbill News: Trevor Nunn to Direct Gone with the Wind Musical
6.Jump up ^ Trevor Nunn to Direct Musical Version of Gone With the Wind: Theater News on TheaterMania.com
7.Jump up ^ Gone With The Wind to open at New London Theatre: LondonTheatreDirect.com
8.Jump up ^ "London's Gone with the Wind to Undergo Overhaul" (Playbill.com), 5 May 2008 Retrieved 7 May 2008
9.Jump up ^ Gans, Andrew and Mark Shenton. "London Musical Gone with the Wind to Close", Playbill.com, 30 May 2008
10.Jump up ^ whatsonstage.com Review roundup, 23 April 2008
11.Jump up ^ The Telegraph: "Gone with the Wind: Frankly, my dear, it's a damn long night", 23 April 2008
12.^ Jump up to: a b The Independent: "First Night: Gone With The Wind, New London Theatre, London", 23 April 2008
13.Jump up ^ Hart, Christopher. "Gone with the Wind is nothing more than a flatulent raspberry", The Sunday Times
14.Jump up ^ Roundup of review quotes: Akbar, Arifa. "Nunn hopes a shorter 'Gone with the Wind' will make the critics sweeter", The Independent, 3 May 2008
External links[edit]
"New music theatre adaptation of Gone With the Wind at New London Theatre in April 2008", 1 June, 2007
"Actors picked for Trevor Nunn's 'Gone With the Wind' musical" 2 February 2008


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: West End musicals
2008 musicals
Musicals based on novels
Gone with the Wind





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 http://en.wikipedia.org/wiki/Gone_with_the_Wind_(musical)















Gone with the Wind (musical)
From Wikipedia, the free encyclopedia
Jump to: navigation, search

For the 1972 Harold Rome musical, see Scarlett (musical). For the 2006 French musical production of Gone with the Wind, see Autant en emporte le vent.




Gone with the Wind
Gone Wind Musical Poster.jpg
Poster for Original London production

Music
Margaret Martin
Lyrics
Margaret Martin
Book
Margaret Martin
Basis
Book by Margaret Mitchell and 1937 film
Productions
2008 West End
Gone with the Wind is a musical based on the Margaret Mitchell's novel of the same name and its 1939 film adaptation, with music and lyrics by Margaret Martin, and a book by Martin, adapted by Sir Trevor Nunn.
It began previews on 5 April 2008 and officially opened at the New London Theatre in London's West End on 22 April 2008.[1] The production was directed by Sir Trevor Nunn and featured sets by John Napier and costumes by Andreane Neofitu. Darius Danesh and Jill Paice starred as Rhett Butler and Scarlett O'Hara respectively.[2] The show was produced by Aldo Scrofani, Colin Ingram, Gary McAvay and the Nederlander Producing Company. The production closed on 14 June 2008, after 79 performances.


Contents  [hide]
1 History
2 Synopsis 2.1 Act I
2.2 Act II
3 Differences from the novel and film
4 Roles and original principal cast
5 Musical numbers
6 Critical response
7 References
8 External links

History[edit]
This was not the first musical version of Gone With the Wind. A musical adaptation by Harold Rome played a year at the Drury Lane Theatre in 1972, featuring Bonnie Langford.[3] Margaret Martin, a newcomer to songwriting and playwriting, contacted the Stephen Mitchell Trust, sending tapes of songs and a draft script, and the Trust eventually agreed to give her the rights to make an adaptation of Gone with the Wind.[3] At about the same time, Martin learned that Nunn was extremely interested in American history, and she sent him the materials as well. They collaborated on revisions over the next couple of years, which resulted in a workshop production in London in 2004.[4] With the support of the Mitchell Trust and producer Aldo Scrofani of Columbia Artists Theatricals, plans began forming for the West End production.[5] Plans for the production were officially confirmed in 2007.[6]
Producer Scrofani said in interviews that their hope was that "this theatrical adaptation will cause our audiences to rediscover this timeless and rich story, while also providing each of them a meaningful and memorable experience".[7] Nunn said that "having now worked on adapting two vast novels for the stage, Nicholas Nickleby and Les Misérables, I am drawn to the challenge of telling Margaret Mitchell's epic story through words, music and the imaginative resources of the theatre."[5]
After opening to poor reviews and criticism of the length of the show, the producers announced that the show would be cut from its original running time of 3½ hours,[8] and they reduced the running time to 3 hours 10 minutes including interval. Producer Scrofani announced that the production would close on 14 June 2008, after 79 performances, adding that "plans for a New York production are currently on hold."[9]
Synopsis[edit]
Act I[edit]
In 1861 Atlanta, Georgia, 16-year-old Scarlett is the eldest of three daughters living a life of luxury on their father's plantation, Tara. The slaves are working ("Born to be Free"), and Scarlett discovers that Ashley Wilkes, who she secretly loves, is to marry his cousin, Melly Hamilton. Scarlett's father returns home ("On Your Land"), and the family hold evening prayers ("Mrs O'Hara's Prayer").
Scarlett dresses for the barbecue at the Wilkes' plantation. The guests arrive ("Good Time Good Cheer"), and they speculate about dashing Rhett Butler's past. Scarlett flirts with every man to try to get Ashley's attention. Charles Hamilton, Melly's brother, falls in love with Scarlett, while the women pass judgement on her ("She's No Lady"). The men talk about the War, and Rhett states his opinion. Ashley finds Scarlett in the library. She tells him that she loves him, he replies that he cares for her ("Softly") but is to be married. As Ashley leaves, Scarlett sees that Rhett has been in the library and has overheard, telling her she's "no lady" ("She's No Lady" reprise). Outside, Charles Hamilton tells her that War is declared, and as she cannot have Ashley, she agrees to marry him. The men are excited at the prospect of War ("Come Join the Troops"). The couples marry, and both Charles and Ashley join the War. She receives news of Charles' death and in due time their son Wade is born. Scarlett is upset to be a widow with a baby, and her family send her to Atlanta to the home of Aunt Pittypat.
In Atlanta, Scarlett is introduced to the society ladies ("The Very Best People"). The Hamilton ladies are still in mourning for Charles, but they help at the bazaar to raise War funds. Rhett arrives ("I'm Your Man"), and Dr Meade proposes an auction, with the men bidding to lead the dances with the lady of their choice. Rhett bids for Scarlett and scandalises society as he dances with her while she is still in mourning. Mr O'Hara hears about the scandal and wants to bring Scarlett home, but Scarlett blackmails her father into letting her stay; she wishes that she could be "Scarlett O'Hara Again".
In 1863 Rhett brings news from the War and gives out the casualty lists; there are many men dead, and the women of the city lament ("Can This Be All?") Ashley comes home on leave, and Scarlett promises him that she'll look after Melly, he kisses her as he leaves. At Mrs Elsing's home, Rhett questions the War, and Melly defends him as he has the same opinion as Ashley. Melly is pregnant, but news arrives that Ashley is missing.
The fighting closes in on Atlanta, but Melly cannot be moved in her condition, and Scarlett has to stay with her. Prissy says that she can help out with the birth. Rhett asks Scarlett to be his mistress ("I'm Your Man" (reprise)), but she refuses. Melly goes into labour, but the doctor is busy with wounded soldiers. Prissy knows nothing about childbirth, so Scarlett is left to deliver the baby herself. The Yankee army is very near, so Prissy finds Rhett, and they all flee the burning city. Outside Atlanta, stung by Scarlett's words, Rhett goes off to join the army, kissing her as he leaves. Scarlett makes her way back to Tara, but discovers that her mother has died, and her father is mad with grief. She walks to Ashley's plantation but finds it in ruins. The life she once knew is gone forever ("Gone With The Wind").
Act II[edit]
With the declaration that the slaves are freed ("Born to be Free" (reprise)), everything is in scarce supply during 1864. Scarlett says that everyone must work the fields. She shoots and kills a Yankee thief at Tara before ransacking his belongings with Melly ("Desperate Times"). In 1865 the War is over, and Ashley makes his way home. With Reconstruction after the War, the taxes on Tara have increased. Ashley tells Scarlett the world has passed him by, and only Rhett has money now. Scarlett says that they should run away together. Ashley refuses but admits that he loves her. Scarlett plans to find Rhett and get the money from him.
In Atlanta, Scarlett visits Rhett in gaol and tries to pretend that all is well, but he sees her rough hands and realises that she wants money. Scarlett offers to become his mistress, but Rhett refuses as he hasn't any money in Atlanta, and he knows her too well ("Nobody Knows You"). Scarlett thinks Tara is lost, but on her way home she meets Frank Kennedy. He boasts of his business and wealth, and seeing him as a way to save Tara, Scarlett lies that Suellen is marrying another. Two weeks later Scarlett marries Frank and pays the taxes for Tara. Scarlett runs Frank's businesses, but the gossips of Atlanta think her behaviour is wrong. Prissy opines that the world has changed since the War ("I'm Gonna Find My Own").
It is now 1866, and Scarlett hears that her father has died ("On Your Land" (reprise)). Ashley wants to leave Tara, but Scarlett persuades Melly that they must come to Atlanta instead. Scarlett bears Frank's daughter, Ella, and she still runs the businesses despite the danger of travelling alone. Scarlett is attacked while passing the shanty town; Ashley and Frank leave to exact revenge. Men come looking to arrest Ashley for the Klan raid, as Rhett arrives home with Ashley, apparently drunk, with a false alibi about spending the evening with a prostitute. Rhett tells Scarlett that her husband was killed, but Scarlett is more worried about Ashley being injured. As Frank lies in his coffin, Scarlett is drunk, and she agrees to marry Rhett. The slaves celebrate their freedom ("Wings of a Dove"), but they have misgivings about some of the changes.
Scarlett and Rhett return from their honeymoon with gifts, including a petticoat for Mammy, who declares she won't wear it as she does not like Captain Butler. Ashley cannot run Scarlett's mill at a profit, and she tells him he should use convict labour. Ashley cannot bear to see how brutal Scarlett has become, and he blames Rhett. Scarlett realises that Ashley still loves her, and she tells Rhett that she will no longer share a bedroom with him. Rhett says that this is no hardship to him; he is then seen with other women. Scarlett invites her old and new friends to her 'crush' ("Reconstruction Planning") but her old friends criticise her and leave. A drunken Rhett argues with Scarlett about Ashley, saying that tonight, instead of three people, there'll be "Just Two!" as he forcefully takes her to his bed. The next morning, Rhett has gone, but Scarlett realises that he loves her. Later, she is dismayed to find that she is pregnant again, but Rhett is delighted.
In 1867, Scarlett gives birth to a girl, Bonnie. Mammy finally accepts Captain Butler and wears the petticoat. Rhett restores his reputation with society for Bonnie's sake. Bonnie has nightmares and is afraid of the dark, so Rhett sings a lullaby ("Once Upon a Time"). Scarlett tells Mammy that she wants to love Bonnie, but the child only cares for her father ("Every Child"). By 1871, Bonnie is learning to ride her pony, but when she tries to take a jump, she is thrown to the ground. Bonnie dies, and Scarlett blames Rhett. In his grief, he refuses to bury her as she was afraid of the dark, and it takes kind words from Melly to comfort him. Rhett says a final goodbye to Bonnie ("Once Upon a Time" (reprise)). Scarlett feels all alone, and Rhett feels like a stranger ("Alone").
Melly becomes ill with a miscarriage. On her deathbed, she tells Scarlett to look after Ashley, and to be kind to Rhett as he helped her with money without Ashley knowing. Outside, Scarlett realises that Ashley loves Melly, and he never loved her. She runs home, telling Rhett that she must have loved him for years. But she is too late; he says it is over. Scarlett asks him what she will do if he goes, but as he leaves, he says that he doesn't "give a damn". Scarlett decides to return to Tara, knowing that she will win Rhett back somehow as tomorrow is another day ("Gone With The Wind" (reprise)).
Differences from the novel and film[edit]
The musical's story is generally more faithful to the novel than the film, with Scarlett's three children appearing, unlike the film, which portrayed only Bonnie. One character not included on stage is Belle Watling, the prostitute. The slaves have a greater voice, especially Prissy, whose character is more dignified than in the film or novel, as she sings of finding her own way in the world and teaching others.
Roles and original principal cast[edit]
Rhett Butler - Darius Danesh
Scarlett O'Hara - Jill Paice
Ashley Wilkes - Edward Baker-Duly
Melanie Hamilton - Madeleine Worrall
Mammy - NaTasha Yvette Williams
Prissy - Jina Burrows
Gerald O’Hara - Julian Forsyth
Ellen O’Hara / Mrs Elsing - Susannah Fellows
Pork - Ray Shell
Dilcey - Jacqueline Boatswain
Uncle Peter - Leon Herbert
Big Sam - Chris Jarman
Mrs Merryweather - Susan Tracy
John Wilkes / Dr Meade - Jeff Shankley
Mrs Meade - Kathryn Akin
Aunt Pittypat - Susan Jane Tanner
Frank Kennedy - Alan Vicary
Charles Hamilton - David Roberts
Suellen O’Hara - Emily Bryant
Careen O’Hara - Gemma Sutton
Stuart Tarleton - Gareth Chart
Brent Tarleton - Tom Sellwood
Cade Calvert - Alan Winner
Bonnie - Leilah de Meza
Wade Hamilton - Mischa Goodman, Gene Goodman & Guy Whitby
Musical numbers[edit]
Act IBorn to be Free
On Your Land
Ellen's Prayer
Gentle People
She's No Lady
Always In My Mind
Come Join the Troop
The Very Best People
I'm Your Man
Scarlett O'Hara Again
Can This Be All?
I'm Your Man (reprise)
Gone With The Wind
 Act IIBorn to be Free (reprise)
Desperate Times
Nobody Knows You
I'm Gonna Find My Own
On Your Land (reprise)
Wings of a Dove
Reconstruction Bounty
Just Two!
Once Upon a Time
Every Child
Once Upon a Time (reprise)
Alone
Ellen's Prayer (reprise)
Gone With The Wind (reprise)

When the musical opened, it contained two additional songs in Act II: "Abundantly Present" and "This Time". These, and several reprises, were cut in May 2008.[citation needed]
Critical response[edit]
Reviews of the musical were generally negative. Critics found fault with the work's structure and score, stating "the large ensemble combines dialogue with passages of narration from the novel. The songs seem constantly to interrupt the proceedings rather than deepening or advancing the narrative."[10][11] However, The Independent noted that "the score is enriched with spirituals, blues and gospel music, spine-tinglingly well-sung by such cast members as Natasha Yvette Williams's loveably sassy Mammy and Jina Burrows' Prissy."[12] The Independent also praised Danesh and Paice: "The diabolically dashing Darius Danesh brings a seductively insolent charm, a dark velvet voice and a genuine, fugitive pathos to the cynical blockade runner. If Jill Paice hasn't quite nailed the comic, outrageously feline wiliness of Scarlett, she boasts the bright, soaring vocal quality to convey the heroine's indomitable survivor's drive."[12] The Sunday Times wrote, "Frankly, I fear, you won't give a damn."[13][14]
References[edit]
1.Jump up ^ playbill article, April 22, 2008, "Gone with the Wind Opens at the New London Theatre April 22"
2.Jump up ^ Playbill.com article about the show
3.^ Jump up to: a b Article on the background of the show
4.Jump up ^ New York Times article featuring Margaret Martin
5.^ Jump up to: a b Playbill News: Trevor Nunn to Direct Gone with the Wind Musical
6.Jump up ^ Trevor Nunn to Direct Musical Version of Gone With the Wind: Theater News on TheaterMania.com
7.Jump up ^ Gone With The Wind to open at New London Theatre: LondonTheatreDirect.com
8.Jump up ^ "London's Gone with the Wind to Undergo Overhaul" (Playbill.com), 5 May 2008 Retrieved 7 May 2008
9.Jump up ^ Gans, Andrew and Mark Shenton. "London Musical Gone with the Wind to Close", Playbill.com, 30 May 2008
10.Jump up ^ whatsonstage.com Review roundup, 23 April 2008
11.Jump up ^ The Telegraph: "Gone with the Wind: Frankly, my dear, it's a damn long night", 23 April 2008
12.^ Jump up to: a b The Independent: "First Night: Gone With The Wind, New London Theatre, London", 23 April 2008
13.Jump up ^ Hart, Christopher. "Gone with the Wind is nothing more than a flatulent raspberry", The Sunday Times
14.Jump up ^ Roundup of review quotes: Akbar, Arifa. "Nunn hopes a shorter 'Gone with the Wind' will make the critics sweeter", The Independent, 3 May 2008
External links[edit]
"New music theatre adaptation of Gone With the Wind at New London Theatre in April 2008", 1 June, 2007
"Actors picked for Trevor Nunn's 'Gone With the Wind' musical" 2 February 2008


[hide]
v ·
 t ·
 e
 
Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 

 


Categories: West End musicals
2008 musicals
Musicals based on novels
Gone with the Wind





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 http://en.wikipedia.org/wiki/Gone_with_the_Wind_(musical)















Gone with the Wind
From Wikipedia, the free encyclopedia
Jump to: navigation, search

This article is about the novel. For the film, see Gone with the Wind (film). For other uses, see Gone with the Wind (disambiguation).
Gone with the Wind
Gone with the Wind cover.jpg
First edition cover

Author
Margaret Mitchell
Country
United States
Language
English
Genre
Historical Fiction
Publisher
Macmillan Publishers

Publication date
 June 10, 1936[1]
Media type
Print (hardback & paperback)
Pages
1037 (first edition)
 1024 (Warner Books paperback)
ISBN
ISBN 978-0-446-36538-3 (Warner)
OCLC
28491920
Followed by
Scarlett
Rhett Butler's People
Gone with the Wind is a novel written by Margaret Mitchell, first published in 1936. The story is set in Clayton County, Georgia, and Atlanta during the American Civil War and Reconstruction era. It depicts the experiences of Scarlett O'Hara, the spoiled daughter of a well-to-do plantation owner, who must use every means at her disposal to come out of the poverty she finds herself in after Sherman's March to the Sea. A historical novel, the story is a Bildungsroman or coming-of-age story, with the title taken from a poem written by Ernest Dowson.
Gone with the Wind was popular with American readers from the onset and was the top American fiction bestseller in the year it was published and in 1937. As of 2014, a Harris poll found it to be the second favorite book of American readers, just behind the Bible. More than 30 million copies have been printed worldwide.
Written from the perspective of the slaveholder, Gone with the Wind is Southern plantation fiction. Its portrayal of slavery and African Americans is controversial, as well as its use of a racial epithet and ethnic slurs. However, the novel has become a reference point for subsequent writers about the South, both black and white. Scholars at American universities refer to it in their writings, interpret and study it. The novel has been absorbed into American popular culture.
Margaret Mitchell was imaginative in the use of color symbolism, especially the colors red and green, which surround Scarlett O'Hara. Mitchell identified the primary theme as survival. She left the ending speculative for the reader, however. She was often asked what became of her lovers, Rhett and Scarlett. She did not know, and said, "For all I know, Rhett may have found someone else who was less difficult."[2] Two sequels authorized by Mitchell's estate were published more than a half century later. A parody was also produced.
Mitchell received the Pulitzer Prize for Fiction for the book in 1937. It was adapted into a 1939 American film. The book is often read or misread through the film. Gone with the Wind is the only novel by Mitchell published during her lifetime.[3]


Contents  [hide]
1 Biographical background and publication
2 Title
3 Plot summary 3.1 Part I
3.2 Part II
3.3 Part III
3.4 Part IV
3.5 Part V
4 Structure 4.1 Coming-of-Age story
4.2 Genre
5 Plot discussion 5.1 Slavery 5.1.1 Caste system
5.1.2 Faithful and devoted slave
5.2 Southern belle 5.2.1 Some historical background
5.3 Battles 5.3.1 Early and mid war years
5.3.2 Atlanta Campaign
5.3.3 March to the Sea
5.3.4 Mr. Lincoln's demise
5.4 Beau ideal
5.5 Scallawag
5.6 Dark sexuality
6 Characters 6.1 Main characters
6.2 Minor characters 6.2.1 Scarlett's immediate family
6.2.2 Tara
6.2.3 Clayton County
6.2.4 Atlanta
6.2.5 Robillard family

7 Themes 7.1 Survival
8 Color symbolism
9 Reception 9.1 Reviews
9.2 Racial, ethnicity and social issues
9.3 Awards and recognition
10 Adaptations
11 In popular culture 11.1 Books, television and more
11.2 Collectibles
11.3 The Windies
12 Legacy
13 Original manuscript
14 Publication and reprintings (1936-USA)
15 Sequels and prequels
16 See also
17 References
18 Further reading
19 External links

Biographical background and publication[edit]
Born in 1900 in Atlanta, Georgia, Margaret Mitchell was a writer and a Southerner throughout her life. She grew up hearing stories about the American Civil War and the Reconstruction from her tyrannical Irish American grandmother who endured its suffering. Her forceful and intellectual mother was a suffragist who fought for the rights of women to vote. As a young woman, Mitchell found love with an army lieutenant who was killed in the Great War, and she would carry his memory for the remainder of her life. After studying at Smith College for a year, during which time her mother died from the Spanish flu, she returned to Atlanta. An unsuccessful marriage to an abusive bootlegger husband followed. She then got a job writing feature articles for the Atlanta Journal at a time when Atlanta debutantes did not work. She married again, this time to a man who shared her interest in writing and literature.
Margaret Mitchell began writing Gone with the Wind in 1926 to pass the time while recovering from an auto-crash injury that refused to heal.[2] In April 1935, Harold Latham of MacMillan, an editor who was looking for new fiction, read what she had written and saw that it could be a best-seller. After Latham had agreed to publish the book, Mitchell worked for another six months checking the historical references and rewriting the opening chapter several times.[4] Mitchell and her husband John Marsh, a copy editor by trade, edited the final version of the novel. Mitchell wrote the book's final moments first and then wrote the events that led up to it.[5] Gone With the Wind was released to the public in June 1936.
Title[edit]
The author tentatively titled the novel Tomorrow is Another Day, from its last line.[6] Other proposed titles included Bugles Sang True, Not in Our Stars, and Tote the Weary Load.[4] The title Mitchell finally chose is from the first line of the third stanza of the poem Non Sum Qualis Eram Bonae sub Regno Cynarae by Ernest Dowson:


 I have forgot much, Cynara! gone with the wind,
 Flung roses, roses riotously with the throng,
 Dancing, to put thy pale, lost lilies out of mind...[7]
Scarlett O'Hara uses the title phrase when she wonders to herself if her home on a plantation called "Tara" is still standing or if it is "gone with the wind which had swept through Georgia."[8] In a general sense, the title is a metaphor for the departure of a way of life that existed in the South prior to the Civil War. When taken in the context of Dowson's poem about "Cynara", the phrase "gone with the wind" alludes to erotic loss.[9] The poem expresses the regrets of someone who has lost his passionate feelings for his "old passion", Cynara.[10] Dowson's Cynara, a name that comes from the Greek word for artichoke, represents a lost love.[11]
The title was printed throughout the 1,037 pages of the book as shown here: Gone with the Wind, using lower case letters for the words with and the. An upper case W for the word with appeared in the title printed on the dust jacket where the words GONE, WITH and WIND were in capital letters in brown ink against a yellow background (GONE WITH the WIND), giving the title a billboard-like presentation. The title was printed in all capitals, partially italicized, on two lines in blue ink: GONE (first line), WITH THE WIND (second line), on the hardcover, which was "Confederate gray".[12]
Plot summary[edit]



Negro Life at the South, oil on canvas, 1859, by Eastman Johnson
Gone with the Wind takes place in the southern United States in the state of Georgia during the American Civil War (1861–1865) and the Reconstruction Era (1865–1877) that followed the war. The novel unfolds against the backdrop of rebellion wherein seven southern states, Georgia among them, have declared their secession from the United States (the "Union") and formed the Confederate States of America (the "Confederacy"), after Abraham Lincoln was elected president with no ballots from ten Southern states where slavery was legal. A dispute over states' rights has arisen[13] involving enslaved African people who were the source of manual labor on cotton plantations throughout the South.
Part I[edit]
It is April 1861 at the "Tara" plantation, owned by Gerald O'Hara, a lucky Irish immigrant, and his wife, Ellen Robillard O’Hara, who is from a coastal aristocratic family of French descent. Their sixteen-year-old daughter, Scarlett, is not beautiful, but men seldom realized it once they were caught up in her charm.[14] It was the day before the men were called to war, Fort Sumter having been fired on two days earlier.
There are brief but vivid descriptions of the South as it began and grew, with backgrounds of the main characters: the stylish and highbrow French, the gentlemanly English, the forced-to-flee and looked-down-upon Irish. Scarlett learns that one of her many beaux, Ashley Wilkes, will soon be engaged to his cousin, Melanie Hamilton. She is heart-stricken. The next day at the Wilkeses' barbecue at "Twelve Oaks," Scarlett tells Ashley she loves him, and he admits he cares for her.[13] However, he knows he would not be happily married to her because of their personality differences. She loses her temper at him, and he silently takes it.
Rhett Butler, who has a reputation as a rogue, had been alone in the library when Ashley and Scarlett entered and felt it wiser to stay unseen during the argument. Rhett applauds Scarlett for the unladylike spirit she displayed with Ashley. Infuriated and humiliated, she tells Rhett, "You aren't fit to wipe Ashley's boots!"[13]
After rejoining the other party guests, she learns that war has been declared and the men are going to enlist. Seeking revenge for being jilted by Ashley, Scarlett accepts a marriage proposal from Melanie's brother, Charles Hamilton. They marry two weeks later. Charles dies from measles two months after the war begins. A young widow, she gives birth to her first child, Wade Hampton Hamilton, named after his father's general.[15] She is bound by tradition to wear black and avoid conversation with young men. Scarlett is saddened by these restrictions.
Part II[edit]
Aunt Pittypat, who is living with Melanie in Atlanta, invites Scarlett to stay with them. In Atlanta, Scarlett's spirits revive, and she is busy with hospital work and sewing circles for the Confederate army. Scarlett encounters Rhett Butler again at a dance for the Confederacy, and he is dressed like a dandy.[16] Although Rhett believes the war is a lost cause, he is blockade running for the profit. The men must bid for a dance with a lady, and Rhett bids "one hundred fifty dollars-in gold"[16] for a dance with Scarlett. They waltz to the tune of "When This Cruel War is Over", and Scarlett sings the words:

Dearest one! do you remember,
 When we first did meet?
 When you told me how you loved me,
 Kneeling at my feet?
 Oh! how proud you stood before me
 In your suit of grey,
 When you vow’d to me and country,
 Ne’er to go astray.
Weeping, sad and lonely,
Sighs and tears how vain,
When this cruel war is over,
Praying then to meet again![16][17][18]
Everyone at the dance is shocked that Rhett would bid for Scarlett, the widow still dressed in black. Melanie comes to Scarlett's defense because she is supporting the cause for which her husband, Ashley, is fighting.
At Christmas (1863), Ashley is granted a furlough from the army. Melanie becomes pregnant with their first child.
Part III[edit]
The war is going badly for the Confederacy. Atlanta is besieged from three sides (September 1864).[19] The city becomes desperate and hundreds of wounded Confederate soldiers pour in. Melanie goes into labor with only the inexperienced Scarlett to assist, as all the doctors are attending the soldiers. Prissy, a young Negro servant girl, cries out in despair and fear, "De Yankees is comin!"[20] In the chaos, Scarlett, left to fend for herself, cries for the comfort and safety of her mother and Tara. The tattered Confederate States Army sets flame to Atlanta and abandons it to the Union Army.
Melanie gives birth to a boy, "Beau", and now they must hurry for refuge. Scarlett tells Prissy to go find Rhett, but she is afraid to "go runnin' roun' in de dahk". Scarlett says, "Haven't you any gumption?"[20] Prissy then finds Rhett, and Scarlett begs him to take herself, Wade, Melanie, Beau, and Prissy to Tara. Rhett laughs at the idea but steals an emaciated horse and a small wagon, and they follow the retreating army out of Atlanta.
Part way to Tara, Rhett has a change of heart and abandons Scarlett to enlist in the army. She makes her way to Tara where she is welcomed on the steps by her father, Gerald. Things have drastically changed: Scarlett's mother is dead, her father has lost his mind with grief, her sisters are sick with typhoid fever, the field slaves left after Emancipation, the Yankees have burned all the cotton, and there is no food in the house. Scarlett avows that she and her family will survive and never be hungry again.
The long tiring struggle for post-war survival begins that has Scarlett working in the fields. There are hungry people to feed and little food. There is the ever-present threat of the Yankees who steal and burn, and at one point, Scarlett pulls Charles's pistol out from her thigh and kills a Yankee marauder with a single shot leaving "a bloody pit where the nose had been."[21]
A long succession of Confederate soldiers returning home stop at Tara to find food and rest. Two men stay on, an invalid Cracker, Will Benteen, and Ashley Wilkes, whose spirit is broken.
Part IV[edit]
Life at Tara slowly begins to recover when new taxes are put on Tara. Scarlett knows only one man with enough money to help her, Rhett Butler. She looks for him in Atlanta only to learn he is in jail. Leaving the jailhouse, she runs into Frank Kennedy, who is betrothed to Scarlett's sister, Suellen, and runs a store in Atlanta. Realizing Frank also has money, Scarlett hatches a plot and tells Frank that Suellen will not marry him. Frank succumbs to Scarlett's feminine charms and he marries her two weeks later knowing he has done "something romantic and exciting for the first time in his life."[22] Always wanting her to be happy and radiant, Frank gives her the money to pay the taxes.
While Frank has a cold and is pampered by Aunt Pittypat, Scarlett goes over the accounts at Frank's store and finds many of his friends owe him money. Scarlett is now terrified about the taxes and decides money, a lot of it, is needed. She takes control of his store, and her business practices leave many Atlantans resentful of her. With a loan from Rhett she buys a sawmill and runs it herself, all very unladylike conduct. To Frank's relief, Scarlett learns she is pregnant, which curtails her activities for a while. She convinces Ashley to come to Atlanta and manage the mill, all the while still in love with him. At Melanie's urging, Ashley takes the job. Melanie becomes the center of Atlanta society, and Scarlett gives birth to Ella Lorena. "Ella for her grandmother Ellen, and Lorena because it was the most fashionable name of the day for girls."[23]
Georgia is under martial law, and life has taken on a new and more frightening tone. For protection, Scarlett keeps Frank's pistol tucked in the upholstery of the buggy. Her trips alone to and from the mill take her past a shanty town where criminal elements live. One evening coming home, she is accosted by two men who try to rob her, but she escapes with the help of Big Sam, the former negro foreman from Tara. Attempting to avenge his wife, Frank and the Ku Klux Klan raid the shanty town whereupon Frank is shot dead. Scarlett is a widow again.
Rhett puts on a charade to keep the raiders from being arrested. He walks into the Wilkeses' home with Hugh Elsing and Ashley, singing and pretending to be drunk. Yankee officers outside question Rhett, and he says he and the other men had been at Belle Watling's brothel that evening, a story Belle later confirms to the officers. The men are indebted to Rhett, and his Scallawag reputation among them improves a notch, but the men's wives, except Melanie, are livid at owing their husbands' lives to Belle Watling.
Frank Kennedy lies in a coffin in the quiet stillness of the parlor in Aunt Pittypat's home. Scarlett is remorseful. She is swigging brandy from Aunt Pitty's swoon bottle when Rhett comes to call. She tells him tearfully, "I'm afraid I'll die and go to hell." He says, "Maybe there isn't a hell."[24] Before she can cry any further, he asks her to marry him saying, "I always intended having you, one way or another."[24] She says she doesn't love him and doesn't want to be married again. However, he kisses her passionately, and in the heat of the moment she agrees to marry him. One year later, Scarlett and Rhett announce their engagement, which becomes the talk of the town.
Part V[edit]
Mr. and Mrs. Butler honeymoon in New Orleans, spending lavishly. Upon returning to Atlanta, they stay in the bridal suite at the National Hotel while their new home on Peachtree Street is being built. Scarlett chooses a modern Swiss chalet style home like the one she saw in Harper's Weekly, with red wallpaper, thick red carpet, and black walnut furniture. Rhett describes it as an "architectural horror".[25] Shortly after they move into their new home, the sardonic jabs between them turn into full-blown quarrels. Scarlett wonders why Rhett married her. Then "with real hate in her eyes",[25] she tells Rhett she will have a baby, which she does not want.



The Bonnie Blue Flag, is an 1861 marching song that refers to the first unofficial flag of the Confederacy.
Wade is seven years old in 1869 when his half-sister, Eugenie Victoria, named after two queens, is born. She has blue eyes like Gerald O'Hara, and Melanie nicknames her, "Bonnie Blue," in reference to the Bonnie Blue Flag of the Confederacy.
When Scarlett is feeling well again, she makes a trip to the mill and talks to Ashley, who is alone in the office. In their conversation, she comes away believing Ashley still loves her and is jealous of her intimate relations with Rhett, which excites her. She returns home and tells Rhett she does not want more children. From then on, they sleep separately, and when Bonnie is two years old, she sleeps in a little bed beside Rhett (with the light on all night because she is afraid of the dark). Rhett turns his attention towards Bonnie, dotes on her, spoils her, and worries about her reputation when she is older.
Melanie is giving a surprise birthday party for Ashley. Scarlett goes to the mill to keep Ashley there until party time, a rare opportunity for her to see him alone. When she sees him, she feels "sixteen again, a little breathless and excited."[26] Ashley tells her how pretty she looks, and they reminisce about the days when they were young and talk about their lives now. Suddenly Scarlett's eyes fill with tears, and Ashley holds her head against his chest. Ashley sees his sister, India Wilkes, standing in the doorway. Before the party has even begun, a rumor of an affair between Ashley and Scarlett spreads, and Rhett and Melanie hear it. Melanie refuses to accept any criticism of her sister in-law, and India Wilkes is banished from the Wilkeses' home for it, causing a rift in the family.
Rhett, more drunk than Scarlett has ever seen him, returns home the evening of the party long after Scarlett. His eyes are bloodshot, and his mood is dark and violent. He enjoins Scarlett to drink with him. Not wanting him to know she is fearful of him, she throws back a drink and gets up from her chair to go back to her bedroom. He stops her and pins her shoulders to the wall. She tells him he is jealous of Ashley, and Rhett accuses her of "crying for the moon"[27] over Ashley. He tells her they could have been happy together saying, "for I loved you and I know you."[27] He then takes her in his arms and carries her up the stairs to her bedroom where passion envelops them.
Next morning Rhett leaves town for three months with Bonnie and Prissy. Scarlett finds herself missing him, but she is still unsure if Rhett loves her, having said it while drunk. She learns she is pregnant with her fourth child.
When Rhett returns, Scarlett waits for him at the top of the stairs. She wonders if Rhett will kiss her, but to her irritation, he does not. He says she looks pale. She says it's because she is pregnant. He sarcastically asks if the father is Ashley. She calls Rhett a cad and tells him no woman would want his baby. He says, "Cheer up, maybe you'll have a miscarriage."[28] She lunges at him, but he dodges, and she tumbles backwards down the stairs. She is seriously ill for the first time in her life, having lost her child and broken her ribs. Rhett is remorseful, believing he has killed her. Sobbing and drunk, he buries his head in Melanie's lap and confesses he had been a jealous cad.
Scarlett, who is thin and pale, goes to Tara taking Wade and Ella with her, to regain her strength and vitality from "the green cotton fields of home."[29] When she returns a healthy woman to Atlanta, she sells the mills to Ashley. She finds Rhett's attitude has noticeably changed. He is sober, kinder, polite, and seemingly disinterested. Though she misses the old Rhett at times, Scarlett is content to leave well enough alone.
Bonnie is four years old in 1873. Spirited and willful, she has her father wrapped around her finger and giving into her every demand. Even Scarlett is jealous of the attention she gets. Rhett rides his horse around town with Bonnie in front of him, but Mammy insists it is not fitting for a girl to ride a horse with her dress flying up. Rhett heeds her words and buys Bonnie a Shetland pony, whom she names "Mr. Butler," and teaches her to ride sidesaddle. Then Rhett pays a boy named Wash twenty-five cents to teach Mr. Butler to jump over wood bars. When Mr. Butler is able to get his fat legs over a one foot high bar, Rhett puts Bonnie on the pony, and soon Mr. Butler is leaping bars and Aunt Melly's rose bushes.
Wearing her blue velvet riding habit with a red feather in her black hat, Bonnie pleads with her father to raise the bar to one and a half feet. He gives in, warning her not to come crying if she falls. Bonnie yells to her mother, "Watch me take this one!"[30] The pony gallops towards the wood bar, but trips over it. Bonnie breaks her neck in the fall, killing her.
In the dark days and months following Bonnie's death, Rhett is often drunk and disheveled, while Scarlett, though deeply grieved also, seems to hold up under the strain. With the untimely death of Melanie Wilkes a short time later, Rhett decides he only wants the calm dignity of the genial South he once knew in his youth and leaves Atlanta to find it. Meanwhile, Scarlett dreams of love that has eluded her for so long. However, she still has Tara and knows she can win Rhett back, because "tomorrow is another day."[31]
Structure[edit]
Coming-of-Age story[edit]
Margaret Mitchell arranged Gone with the Wind chronologically, basing it on the life and experiences of the main character, Scarlett O'Hara, as she grew from adolescence into adulthood. During the time span of the novel, from 1861 to 1873, Scarlett ages from sixteen to twenty-eight years. The literary technique applied in telling the story is Bildungsroman,[32] which is a type of novel concerned with the moral and psychological growth of the protagonist from youth to adulthood (coming-of-age story). The growth and education of Scarlett O'Hara is influenced by the events of her time.[32] Mitchell used a smooth linear narrative structure. The novel is known for its exceptional "readability".[33] The plot is rich with vivid characters.
Genre[edit]
Gone with the Wind is often placed in the literary sub-genre of the historical romance novel.[34] However, it has been argued the novel does not contain all of the elements of the romance genre,[35] making it simply a historical novel. The novel has also been described as an early classic of the erotic historical genre because it is thought to contain some degree of pornography.[36]
Plot discussion[edit]
Slavery[edit]



'Way back in the dark days of the Early Sixties, regrettable tho it was—men fought, bled, and died for the freedom of the negro—her freedom!—and she stood by and did her duty to the last ditch—
It was and is her life to serve, and she has done it well.
While shot and shell thundered to release the shackles of slavery from her body and her soul—she loved, fought for, and protected—Us who held her in bondage, her "Marster" and her "Missus!"
Excerpt from My Old Black Mammy by James W. Elliott,1914.[37]
Slavery in Gone with the Wind is a backdrop to a story that is essentially about other things.[38] Southern plantation fiction (also known as Anti-Tom literature) from the early 19th century culminating in Gone With the Wind is written from the perspective and values of the slaveholder and tends to present slaves as docile and happy.[39]
Caste system[edit]
The characters in the novel are organized into two basic groups along class lines: the white planter class, such as Scarlett and Ashley, and the black house servant class. The slaves depicted in Gone with the Wind are primarily loyal house servants, such as Mammy, Pork, Prissy, and Uncle Peter.[40] House servants are the highest "caste" in Mitchell's caste system of the slaves.[41] They stay on with their masters after the Emancipation Proclamation of 1863 and subsequent Thirteenth Amendment of 1865 sets them free. Of the servants that stayed on at Tara, Scarlett thinks to herself, "There were qualities of loyalty and tirelessness and love in them that no strain could break, no money could buy."[42]
The field slaves make up the lower class in Mitchell's caste system.[41][43] The field slaves from the Tara plantation and the foreman, Big Sam, are taken away by Confederate soldiers to dig ditches[19] and apparently never return to the plantation. There were yet other field slaves, Mitchell wrote, who were "loyal" and "refused to avail themselves of the new freedom",[41] but there are no field slave characters in the novel that stay on the plantation after they have been emancipated.
James Stirling, a British writer who visited the Southern United States in 1857, described the distinction between slaves who were house servants and slaves who were field hands in his book, Letters from the Slave States:

In judging of the welfare of the slaves, it is necessary to distinguish the different conditions of slavery. The most important distinction, both as regards numbers and its influence on the wellbeing of the slave, is that between house-servants and farm or field-hands. The house-servant is comparatively well off.[44]
A slave narrative by William Wells Brown published in 1847 spoke of the disparity in conditions between the house servant and the field hand:

During the time that Mr. Cook was overseer, I was a house servant—a situation preferable to a field hand, as I was better fed, better clothed, and not obliged to rise at the ringing bell, but about an half hour after. I have often laid and heard the crack of the whip, and the screams of the slave.[45]
Faithful and devoted slave[edit]
Although the novel is over one thousand pages, Mammy never considers what her life might be like away from Tara.[46] She recognizes her freedom to come and go as she pleases saying, "Ah is free, Miss Scarlett. You kain sen' me nowhar Ah doan wanter go," but Mammy remains duty-bound to "Miss Ellen's chile".[24] (Mammy apparently had no real name; at least it is not mentioned in the novel.)
Eighteen years before the publication of Gone with the Wind, an article titled, "The Old Black Mammy," written in the Confederate Veteran in 1918, discussed the romanticized view of the mammy character that had been passed on in literature of the South:

...for her faithfulness and devotion, she has been immortalized in the literature of the South; so the memory of her will never pass, but live on in the tales that are told of those "dear dead days beyond recall".[47][48]
Micki McElya, in her book, Clinging to Mammy, suggests the myth of the faithful slave, in the figure of mammy, lingers because white Americans wish to live in a world where African Americans are not angry over the injustice of slavery.[49]
The best-selling anti-slavery novel from the 19th century is Uncle Tom's Cabin, by Harriet Beecher Stowe, published in 1852. Uncle Tom's Cabin is mentioned briefly in Gone with the Wind as being accepted by the Yankees as, "revelation second only to the Bible".[42] The enduring interest of both Uncle Tom's Cabin and Gone with the Wind has resulted in lingering stereotypes of 19th-century African American slaves.[50] However, since its publication, Gone with the Wind has become a reference point for subsequent writers about the South, both black and white alike.[51]
Southern belle[edit]
“ Young misses whut frowns an' pushes out dey chins an' says 'Ah will' an' 'Ah woan' mos' gener'ly doan ketch husbands.[52] ”
—Mammy

The southern belle is an archetype for a young woman of the antebellum American South upper class. The southern belle's attractiveness is not physical beauty, but rather lies in her charm. She is subject to the correct code of female behavior.[53] The novel's heroine, Scarlett O'Hara, charming though not beautiful, is a southern belle.
For young Scarlett, the ideal southern belle is represented by her mother, Ellen O'Hara. In "A Study in Scarlett", published in The New Yorker, Claudia Roth Pierpont wrote:

The Southern belle was bred to conform to a subspecies of the nineteenth-century "lady"... For Scarlett, the ideal is embodied in her adored mother, the saintly Ellen, whose back is never seen to rest against the back of any chair on which she sits, whose broken spirit everywhere is mistaken for righteous calm...[54]
However, Scarlett is not always willing to conform. Kathryn Lee Seidel, in her book, The Southern Belle in the American Novel, wrote:

...part of her does try to rebel against the restraints of a code of behavior that relentlessly attempts to mold her into a form to which she is not naturally suited.[55]
Scarlett, the figure of a pampered southern belle, lives through an extreme reversal of fortune and wealth, and survives to rebuild Tara and her self-esteem.[56] Scarlett's bad belle traits, her deceitfulness, shrewdness, manipulativeness, and superficiality, in contrast to Melanie's good belle traits, trust, self-sacrifice, and loyalty, enable Scarlett to survive in the post-war South, and pursue her main interest, making money.[57]
Some historical background[edit]
Marriage was the goal of all southern belles, and all social and educational pursuits were directed towards it. Regardless of war and the loss of eligible men, young ladies were still subjected to the pressure to marry.[58] By law and Southern social convention, household heads were adult, white propertied males, and all white women and all African Americans were thought to require protection and guidance because they lacked the capacity for reason and self-control.[59]
The Atlanta Historical Society has held a number of Gone with the Wind exhibits, among them a 1994 exhibit titled, "Disputed Territories: Gone with the Wind and Southern Myths". One question addressed by the exhibit, "Was Scarlett a Lady?", found that historically women of the period were not involved in feminist activities as Scarlett was during Reconstruction when she ran a sawmill. White women performed traditional jobs such as teaching and sewing and generally disliked work outside the home.[60]
During the Civil War, Southern women played a major role as volunteer nurses working in makeshift hospitals. Many were middle- and upper class women who had never worked for wages or seen the inside of a hospital. One such nurse was Ada W. Bacot, a young widow who had lost two children. Bacot came from a wealthy South Carolina plantation family that owned 87 slaves.[61]
In the fall of 1862, Confederate laws were changed to permit the employment of women in hospitals as members of the Confederate Medical Department.[62] Twenty-seven year-old nurse Kate Cumming from Mobile, Alabama, described the primitive hospital conditions in her journal:

They are in the hall, on the gallery, and crowded into very small rooms. The foul air from this mass of human beings at first made me giddy and sick, but I soon got over it. We have to walk, and when we give the men any thing kneel, in blood and water; but we think nothing of it at all.[63]
Battles[edit]



 Battle of Kennesaw Mountain, June 27, 1864.
The Civil War came to an end on April 26, 1865 when Confederate General Johnston surrendered his armies in the Carolinas Campaign to Union General Sherman. Several battles are mentioned or depicted in Gone with the Wind.
Early and mid war years[edit]
Seven Days Battles, June 25 – July 1, 1862, Richmond, Virginia, Confederate victory.[16]
Battle of Fredericksburg, December 11 – 15, 1862, Fredericksburg, Virginia, Confederate victory.[64]
Streight's Raid, April 19 – May 3, 1863, in northern Alabama. Union Colonel Streight and his men were captured by Confederate General Nathan Bedford Forrest.[64]
Battle of Chancellorsville, April 30 – May 6, 1863, in Spotsylvania County, Virginia, near the village of Chancellorsville, Confederate victory.[64]
Ashley Wilkes is stationed on the Rapidan River, Virginia, in the winter of 1863,[65] later captured and sent to a Union prison camp, Rock Island.[66]Siege of Vicksburg, May 18 – July 4, 1863, Vicksburg, Mississippi, Union victory.[64]
Battle of Gettysburg, July 1–3, 1863, fought in and around the town of Gettysburg, Pennsylvania, Union victory. "They expected death. They did not expect defeat."[64]
Battle of Chickamauga, September 19–20, 1863, northwestern Georgia. The first fighting in Georgia and the most significant Union defeat.[66]
Chattanooga Campaign, November–December 1863, Tennessee, Union victory. The city became the supply and logistics base for Sherman's 1864 Atlanta Campaign.[66]
Atlanta Campaign[edit]



 Sherman's Atlanta Campaign
The Atlanta Campaign (May–September 1864) took place in northwest Georgia and the area around Atlanta.
Confederate General Johnston fights and retreats from Dalton (May 7–13)[19] to Resaca (May 13–15) to Kennesaw Mountain (June 27). Union General Sherman suffers heavy losses to the entrenched Confederate army. Unable to pass through Kennesaw, Sherman swings his men around to the Chattahoochee River where the Confederate army is waiting on the opposite side of the river. Once again, General Sherman flanks the Confederate army, forcing Johnston to retreat to Peachtree Creek (July 20), five miles northeast of Atlanta.
Battle of Atlanta, July 22, 1864, just southeast of Atlanta. The city would not fall until September 2, 1864. Heavy losses for Confederate General Hood.
Battle of Ezra Church, July 28, 1864, Sherman's failed attack west of Atlanta where the railroad entered the city.
Battle of Utoy Creek, August 5–7, 1864, Sherman's failed attempt to break the railroad line into Atlanta from the east, heavy Union losses.
Battle of Jonesborough, August 31 – September 1, 1864, Sherman successfully cut the railroad lines from the south into Atlanta. The city of Atlanta was abandoned by General Hood and then occupied by Union troops for the rest of the war.
March to the Sea[edit]
The Savannah Campaign was conducted in Georgia during November and December 1864.
Mr. Lincoln's demise[edit]
Although Abraham Lincoln is mentioned in the novel fourteen times, no reference is made to his assassination on April 14, 1865.
Beau ideal[edit]



Somebody's darling! so young and so brave!
 Wearing still on his pale, sweet face—
Soon to be hid by the dust of the grave—
The lingering light of his boyhood's grace!
Somebody's Darling by Marie La Coste, of Georgia.[19][67]
Ashley Wilkes is the beau ideal of Southern manhood. A planter by inheritance, Ashley knew the Confederate cause had died at the conclusion of the American Civil War.[68] Ashley's name signifies paleness. His "pallid skin literalizes the idea of Confederate death".[69]
He contemplates leaving Georgia for New York City, and had he gone north, he would have been a typical Confederate carpetbagger.[68] Ashley, embittered by war, tells Scarlett he has been "in a state of suspended animation"[70] since the surrender. He feels he is not "shouldering a man's burden" at Tara and views himself as "much less than a man—much less, indeed, than a woman".[70]
A "young girl's dream of the Perfect Knight",[71] Ashley is like a young girl himself.[72] With his "poet's eye",[73] Ashley has a "feminine sensitivity".[74] Scarlett is angered by the "slur of effeminacy flung at Ashley" when her father tells her the Wilkes family was "born queer".[75] (Mitchell's use of the word queer is for its sexual connotation because queer, in the 1930s, was associated with homosexuality.)[76] Ashley's effeminacy is associated with his appearance, his lack of force and sexual impotency.[77] He rides, plays poker and drinks like "proper men", but his heart is not in it, Gerald claims.[75][78] The embodiment of castration, Ashley wears the head of Medusa on his cravat pin.[75][76]
Not only is Scarlett's love interest, Ashley Wilkes, lacking manliness, her husbands, the "calf-like"[13] Charles Hamilton, and the "old-maid in britches",[13] Frank Kennedy, are unmanly as well. Mitchell is critiquing masculinity in southern society since Reconstruction.[79] Even Rhett Butler, the well groomed dandy,[80] is effeminate or "gay-coded".[81] Charles, Frank and Ashley represent the impotence of the post-war white South.[69] Its power and influence has been diminished.
Scallawag[edit]
The word scallawag is defined as a loafer, a vagabond, or a rogue.[82] Scallawag had a special meaning after the Civil War as an epithet for a white Southerner who willingly accepted the reforms by the Republicans.[83] Mitchell defines scallawags as "Southerners who had turned Republican very profitably."[84] Rhett Butler is accused of being a "damned Scallawag."[85] In addition to scallawags, there are also other types of scoundrels in the novel: Yankees, carpetbaggers, Republicans, prostitutes and overseers. In the early years of the Civil War, Rhett is called a "scoundrel" for his "selfish gains" profiteering as a blockade-runner.[86]
As a Scallawag, Rhett is despised. He is the "dark, mysterious, and slightly malevolent hero loose in the world".[87] Literary scholars have identified characteristics of Margaret Mitchell's first husband, Berrien "Red" Upshaw, in the character of Rhett.[87] Another sees the image of Italian actor Rudolph Valentino, whom Margaret Mitchell interviewed as a young reporter for The Atlanta Journal.[88][89] Fictional hero Rhett Butler has a "swarthy face, flashing teeth and dark alert eyes".[90] He is a "scamp, blackguard, without scruple or honor."[90]
Dark sexuality[edit]



Rudolph Valentino as Sheik Ahmed and Agnes Ayres as Lady Diana in the 1921 silent film, The Sheik. Mitchell used Valentino's image, which women found sexually appealing, to develop her character of the "ideal man", Rhett Butler.[91]
The most passionate and virile character in the novel is Rhett with whom Margaret Mitchell associates "dark sexuality" and the "black devil".[92] Further, Mitchell's romantic hero is colored—black and brown. Rhett's symbolic dark-colored image is placed within the context of two other images: the mythic black rapist and the dark-skinned Arab Sheik played by screen idol Rudolph Valentino in the film, The Sheik. By strategically placing Rhett's image in this manner, Mitchell simultaneously plays upon racial anxieties and sexual fantasies.[93] Rhett's demons are prostitutes and liquor as demonstrated by his intimacy with Belle Watling in whose brothel he often makes his own home,[87] and his bouts of drunkenness. The "black beast rapist" is associated with liquor.[94] Rhett is a "terrifying faceless black bulk" when he appears before Scarlett in a drunken jealous rage on the night of Ashley's party. He shows Scarlett his "large brown hands" and says, "I could tear you to pieces with them".[27][94]
With Rhett's "swarthy face"[90] juxtaposed against Scarlett's "magnolia-white skin",[14] the two white protagonists are a metaphor for an interracial couple, and their romance represents racial conflict.[95]
Rhett and Scarlett's bedroom scene (Chapter 54) is often read as a rape that was meant to suggest Reconstruction fear of black-on-white rape in the South.[92] Others have suggested the book was built around rape fantasies.[96][97] In one interpretation of the scene, the "dandified dangerous lover" carries Scarlett up the stairs into her first encounter with the erotic.[98] In another interpretation, a marital rape occurs.[99]
Characters[edit]
Main characters[edit]
Katie Scarlett (O'Hara) Hamilton Kennedy Butler: is the O'Haras' oldest daughter. Scarlett's forthright Irish blood is always at variance with the French teachings of style from her mother. Scarlett marries Charles Hamilton, Frank Kennedy, and Rhett Butler, all the time wishing she is married to Ashley Wilkes instead. She has three children, one from each husband: Wade Hampton Hamilton (son to Charles Hamilton), Ella Lorena Kennedy (daughter to Frank Kennedy) and Eugenie Victoria "Bonnie Blue" Butler (daughter to Rhett Butler). She miscarries a fourth child, the only one she wanted, during a quarrel with Rhett when she accidentally falls down the stairs.[28] Scarlett is secretly scornful of Melanie Wilkes,[8] wife to Ashley, who shows nothing but love and devotion towards Scarlett, and considers her a sister throughout her life because Scarlett married Melanie's brother Charles.[15] Scarlett is unaware of the extent of Rhett's love for her or that she might love him.[90]
Captain Rhett K. Butler: is Scarlett's admirer and then her third husband. Rhett is often publicly shunned for his scandalous behavior[13] and sometimes accepted for his charm. Rhett declares he is not a marrying man and propositions Scarlett to be his mistress,[100] but marries her after the death of Frank Kennedy, explaining that he won't take a chance on losing her to someone else, since it is unlikely she will ever need money again after Frank's death.[24] At the end of the novel, Rhett confesses to Scarlett, "I loved you but I couldn't let you know it. You're so brutal to those who love you, Scarlett."[31]
Major George Ashley Wilkes: The gallant Ashley married his cousin, Melanie, because, "Like must marry like or there'll be no happiness."[13] A man of honor, Ashley became a soldier in grey in the Confederate States Army though he says he would have freed his slaves after his father's death, if the war hadn't done it first.[29] Although many of his friends and relations were killed in the Civil War, Ashley survived to see its brutal aftermath. Ashley was "the Perfect Knight",[71] in the mind of Scarlett, even throughout her three marriages. "She loved him and wanted him and did not understand him."[75]
Melanie (Hamilton) Wilkes: is Ashley's wife and cousin. Melanie is a genuinely humble, serene and gracious Southern woman.[70] As the story unfolds, Melanie becomes progressively physically weaker, first by childbirth, then "the hard work she had done at Tara,"[70] and she ultimately dies after a miscarriage.[101] As Rhett Butler said, "She never had any strength. She's never had anything but heart."[101]
Minor characters[edit]
“ I made Tara up, just as I made up every character in the book. But nobody will believe me.[102] ”
—Margaret Mitchell

Scarlett's immediate family[edit]
Ellen (Robillard) O'Hara: is Scarlett's gracious mother of French ancestry. Ellen married Gerald O'Hara, who was 28 years her senior, after her true love, Philippe Robillard, was killed in a bar fight. She is Scarlett's ideal of a "great lady".[52] Ellen ran all aspects of the household and nursed negro slaves as well as poor white trash.[52] She dies from typhoid in August 1864 after nursing Emmie Slattery.[8]
Gerald O'Hara: is Scarlett's florid Irish father.[14] An excellent horseman,[75] Gerald is sometimes seen leaping fences on his horse while intoxicated, which eventually leads to his death.[103] Gerald's mind becomes addled after the death of his wife, Ellen.[104]
Susan Elinor ("Suellen") O'Hara: is Scarlett's middle sister. She became sickened by typhoid during the siege of Atlanta.[100] After the war, Scarlett steals and marries her beau, Frank Kennedy.[22] Later, Suellen marries Will Benteen and has at least one child, Susie, with him.[70]
Caroline Irene ("Carreen") O'Hara: is Scarlett's youngest sister and also became sickened by typhoid during the siege of Atlanta.[100] She is infatuated with and later engaged to the rowdy red-headed Brent Tarleton, who is killed in the war.[105] Broken-hearted by Brent's death, Carreen never truly gets over it and years later joins a convent.[103]
O'Hara Boys: are the three boys of Ellen and Gerald O'Hara who died in infancy and are buried 100 yards from the house at Tara under twisted cedars. The headstone of each boy is inscribed "Gerald O'Hara, Jr."[52]
Charles Hamilton: is Melanie Wilkes' brother and Scarlett's first husband. Charles is a shy and loving boy.[13] He is father to Wade Hampton, but Charles died of pneumonia before ever reaching a battlefield or seeing his son.[15]
Wade Hampton Hamilton: is the son of Scarlett and Charles, born in early 1862. He was named for his father's commanding officer, Wade Hampton III.[15]
Frank Kennedy: is Suellen O'Hara's former fiancé and Scarlett's second husband. Frank is an unattractive older man. He originally asks for Suellen's hand in marriage, but Scarlett steals him for herself in order to have enough money to pay the taxes on Tara.[106] Frank is unable to comprehend Scarlett's fears and her desperate struggle for survival after the war. He is unwilling to be as ruthless in business as Scarlett would like him to be.[106] Unknown to Scarlett, Frank is secretly involved in the Ku Klux Klan. He is "shot through the head",[107] according to Rhett Butler, while attempting to defend Scarlett's honor after she is attacked.
Ella Lorena Kennedy: is the homely, simple daughter of Scarlett and Frank.[23]
Eugenie Victoria "Bonnie Blue" Butler: is Scarlett and Rhett's beloved, pretty, strong-willed daughter. She is as Irish in looks and temper as Gerald O'Hara, with the same blue eyes.[25]
Tara[edit]
Mammy: is Scarlett's nurse from birth. She is a slave who originally belonged to Scarlett's grandmother and raised her mother, Ellen O'Hara.[75] Mammy is "head woman of the plantation".[108]
Pork: is Gerald O'Hara's valet and the first slave he owned. Pork was won in a game of poker (as was the plantation Tara, in a separate poker game).[52] When Gerald died, Scarlett gave his pocket watch to Pork. She wanted to have the watch engraved with the words, "To Pork from the O'Haras—Well done good and faithful servant,"[70] but Pork declined the offer.
Dilcey: is Pork's wife and a slave woman of mixed Indian and African descent.[109] Scarlett pushes her father into buying Dilcey and her daughter Prissy from John Wilkes, the latter as a favor to Dilcey that she never forgets.[75]
Prissy: is a child slave-girl, Dilcey's daughter.[109] Prissy is Wade's nurse and goes with Scarlett to Atlanta when she lives with Aunt Pittypat.[15]
Jonas Wilkerson: is the Yankee overseer of Tara before the Civil War.[109]
Big Sam: is a strong, husky, hardworking field slave and the foreman at Tara. In post-war lawlessness, Big Sam comes to Scarlett's rescue from would-be merciless thieves.[110]
Will Benteen: is a "South Georgia Cracker,"[105] Confederate soldier and patient listener to the troubles of all. Will lost part of his leg in the war and walks with the aid of a wooden stump. He is taken in by the O'Haras on his journey home from the war and after his recovery stays on to manage the farm at Tara.[105] Fond of Carreen O'Hara, he cannot pursue that relationship as she decides to enter a convent.[103] Not wanting to leave Tara, the land he has come to love, he later marries Suellen and has at least one child, Susie, with her.[70]
Clayton County[edit]
India Wilkes: is the sister of Honey and Ashley Wilkes. She is described as plain. India was courted by Stuart Tarleton before he and his brother Brent fell in love with Scarlett.[14]
Honey Wilkes: is the sister of India and Ashley Wilkes. Honey is described as having the "odd lashless look of a rabbit."[13] Honey is so called because she indiscriminately addresses everyone, from her father to the field hands, by that endearment.[108]
John Wilkes: is owner of "Twelve Oaks"[75] and patriarch of the Wilkes family. John Wilkes is educated and gracious.[13] He is killed during the siege of Atlanta.[100]
Tarleton Boys: Boyd, Tom, and the twins, Brent and Stuart: The red-headed Tarleton boys were in frequent scrapes, loved practical jokes and gossip, and "were worse than the plagues of Egypt,"[14] according to their mother. Mrs. Tarleton laid her riding crop on their backs if the occasion seem warranted, though Boyd, the oldest and the runt, never got hit much. The inseparable twins, Brent and Stuart, at 19 years old were six feet two inches tall.[14] All four boys were killed in the war, the twins just moments apart at the Battle of Gettysburg.[111] Boyd was buried in Virginia, but only God knew where.[64]
Tarleton Girls: Hetty, Camilla, 'Randa and Betsy: The stunning Tarleton girls have varying shades of red hair.[108]
Beatrice Tarleton: is the mistress of the "Fairhill" plantation.[108] She was a busy woman, having on her hands not only a large cotton plantation, a hundred negroes and eight children, but the largest horse-breeding farm in Georgia. She was hot-tempered. No one was permitted to whip a horse or a slave, but she felt that a lick every now and then did her boys no harm.[14]
Calvert Family: Raiford, Cade and Cathleen: are the O'Haras' Clayton County, neighbors from another plantation, "Pine Bloom".[111] Cathleen Calvert was young Scarlett's friend.[108] Their widowed father Hugh married a Yankee governess and she was called "the second Mrs. Calvert".[21] Next to Scarlett, Cathleen "had had more beaux than any girl in the County,"[111] but eventually married their former Yankee overseer, Mr. Hilton.
Fontaine Family: Joe, Tony and Alex are known for their hot tempers. Joe is killed at Gettysburg,[64] while Tony eventually murders Jonas Wilkerson in a barroom and flees to Texas, leaving Alex to tend to their plantation lands.[41] Grandma Fontaine, also known as "Old Miss," is the wife of old Doc Fontaine, the boys' grandfather. "Young Miss" and young Dr. Fontaine, the boys' parents, and Sally (Munroe) Fontaine, wife to Joe,[112] make up the remaining family of the "Mimosa" plantation.[21]
Emmie Slattery: is poor white trash. The daughter of Tom Slattery, her family lived on three meager acres along the swamp bottoms between the O'Hara and Wilkes plantations.[52] Emmie gave birth to an illegitimate child fathered by Jonas Wilkerson, a Yankee and the overseer at Tara.[109] The child died. Emmie later married Jonas, and after the war, flush with carpetbagger cash, they try to buy Tara, but Scarlett is insulted and refuses the offer.[113]
Atlanta[edit]
Aunt Pittypat Hamilton: Her real name is Sarah Jane Hamilton, but she acquired the nickname "Pittypat" in childhood because of the way she walked on her tiny feet. Aunt Pittypat is a spinster who lives in the red-brick house at the quiet end of Peachtree Street in Atlanta. The house is half-owned by Scarlett (after the death of Charles Hamilton). Pittypat's financial affairs are managed by her brother, Henry, whom she doesn't especially care for. Aunt Pittypat raised Melanie and Charles Hamilton after the death of their father, with considerable help from her slave, Uncle Peter.[114]
Uncle Henry Hamilton: is Aunt Pittypat's brother and the uncle of Charles and Melanie. He is a lawyer.[114]
Uncle Peter: is an older man and slave. Uncle Peter is Aunt Pittypat's coach driver. He always keeps her smelling salts handy. Uncle Peter looked after Melanie and Charles Hamilton when they were young.[114]
Beau Wilkes: is Melanie and Ashley's son who is born in Atlanta when the siege begins and hastily transported to Tara after birth.[115]
Archie: is an ex-convict and former Confederate soldier who was imprisoned for the murder of his adulterous wife before the war. Archie is taken in by Melanie and then later becomes Scarlett's coach driver.[23]
Meade Family: Atlanta society considers Dr. Meade to be "the root of all strength and all wisdom."[114] He looks after injured soldiers during the siege with assistance from Melanie and Scarlett.[116] Mrs. Meade is on the bandage-rolling committee.[114] Their two sons are killed in the war; the older Darcy at Gettysburg,[64] and the younger Phil as a member of the Confederate Home Guard during the Battle of Atlanta.[116]
Merriwether Family: Mrs. Dolly Merriwether is one of Atlanta's dowagers along with Mrs. Elsing and Mrs. Whiting.[114] Post-war she sells homemade pies to survive, eventually opening her own bakery.[70] Her father-in-law Grandpa Merriwether fights in the Home Guard[117] and survives the war. Her daughter Maybelle marries René Picard, a Louisiana Zouave.[16]
Belle Watling: is a prostitute[86] and brothel madam[41] who is portrayed as a loyal Confederate.[86] Melanie declares she will acknowledge Belle when she passes her in the street, but Belle tells her not to.[107]
Robillard family[edit]
Pierre Robillard: is the father of Ellen O'Hara. He was staunchly Presbyterian even though his family was Roman Catholic. The thought of his daughter becoming a nun was even worse than that of her marrying Gerald O'Hara.[52]
Solange Robillard: is the mother of Ellen O'Hara and Scarlett's grandmother. She was a dainty Frenchwoman who was snooty and cold.[75]
Eulalie and Pauline Robillard: are the married sisters of Ellen O'Hara who live in Charleston.[15]
Philippe Robillard: is the cousin of Ellen O'Hara and her first love. Philippe died in a bar fight in New Orleans around 1844.[75]
Themes[edit]
Survival[edit]

If Gone with the Wind has a theme it is that of survival. What makes some people come through catastrophes and others, apparently just as able, strong, and brave, go under? It happens in every upheaval. Some people survive; others don't. What qualities are in those who fight their way through triumphantly that are lacking in those that go under? I only know that survivors used to call that quality 'gumption.' So I wrote about people who had gumption and people who didn't.[1]
— Margaret Mitchell,1936
Color symbolism[edit]
Mitchell's use of color in the novel is symbolic and open to interpretation. Red, green, and a variety of hues of each of these colors, are the predominant palette of colors encompassing the character of Scarlett.[118] She is also inextricably linked to white by the color of her skin. Symbolically, red and green have been broadly defined to mean "vitality" (red) and "rebirth" (green),[118] but these are not the only meanings. Mitchell interwove the two colors into her description of the Tara plantation: "red fields with springing green cotton".[15] The red fields are "blood-colored after rains".[14] The whitewashed brick plantation house is virtually nondescript by comparison to the plantation fields and sits like an island in a sea of red.[14] In springtime, the lawn around the plantation house turns emerald green.[52]
For the Irish and others, green in the novel represents Mitchell's commemoration of her "Green Irish heritage", and is evidenced in the novel by Gerald O'Hara pridefully singing, albeit off-key, "The Wearin 'o the Green".[108][119] Scarlett's green-coded Irishness is the strength that ensures she will thrive post-war.[120] Rhett likens Scarlett's strength to the mythological figure Antaeus who stays strong only when he is in contact with his Mother Earth.[29] Scarlett's mythical mother is Tara.[121]
Scarlett is not all green as her name implies the "erotically-charged color", red. The only openly scarlet woman in the novel is the red-headed Belle Watling,[122] whose hair is "too red to be true".[114] Mammy is reluctant to reveal her red petticoat to Rhett,[25] nevertheless she has sexual knowledge akin to Belle Watling.[123] Scarlett, whom Mitchell pits against the grim realities of war, "prostitutes" herself to pay the taxes on Tara. By her name, Scarlett evokes emotions and images of the color scarlet: "blood, passion, anger, sexuality, madness".[124]
Reception[edit]
Reviews[edit]
The sales of Margaret Mitchell's novel in the summer of 1936, at the virtually unprecedented price of three dollars, reached about one million by the end of December.[33] The book was a bestseller by the time reviews began to appear in national magazines.[5] Herschel Brickell, a critic for the New York Evening Post, lauded Mitchell for the way she "tosses out the window all the thousands of technical tricks our novelists have been playing with for the past twenty years."[125]
Ralph Thompson, a book reviewer for The New York Times, was critical of the length of the novel, and wrote in June 1936:

I happen to feel that the book would have been infinitely better had it been edited down to say, 500 pages, but there speaks the harassed daily reviewer as well as the would-be judicious critic. Very nearly every reader will agree, no doubt, that a more disciplined and less prodigal piece of work would have more nearly done justice to the subject-matter.[126]



 The novel was released in the era of the Great Depression and Mitchell worried the high $3.00 price would ruin its chance for success. By the time Mary Louise received this copy from Mother and Dad in December 1937, the novel was the top American fiction bestseller for the second year in a row.[127]
Racial, ethnicity and social issues[edit]
One criticism leveled at Gone with the Wind is for its portrayal of African Americans in the 19th century South.[128] Former field hands during the early days of Reconstruction are described behaving "as creatures of small intelligence might naturally be expected to do. Like monkeys or small children turned loose among treasured objects whose value is beyond their comprehension, they ran wild—either from perverse pleasure in destruction or simply because of their ignorance."[41]
Commenting on this passage of the novel, Jabari Asim, author of The N Word: Who Can Say It, Who Shouldn't, and Why, says it is, "one of the more charitable passages in Gone With the Wind, Margaret Mitchell hesitated to blame black "insolence"[41] during Reconstruction solely on "mean niggers,"[41] of which, she said, there were few even in slavery days."[129]
It has also been argued that Mitchell downplayed the violent role of the Ku Klux Klan. Bestselling author Pat Conroy, in his preface to a later edition of the novel, describes Mitchell's portrayal of the Ku Klux Klan as having "the same romanticized role it had in The Birth of a Nation and appears to be a benign combination of the Elks Club and a men's equestrian society."[130]
Regarding the historical inaccuracies of the novel, historian Richard N. Current points out:

No doubt it is indeed unfortunate that Gone with the Wind perpetuates many myths about Reconstruction, particularly with respect to blacks. Margaret Mitchell did not originate them and a young novelist can scarcely be faulted for not knowing what the majority of mature, professional historians did not know until many years later.[131]
In Gone with the Wind Mitchell is blind to racial oppression and "the inseparability of race and gender" that defines the southern belle character of Scarlett, according to literary scholar Patricia Yaeger.[132] Yet there are complexities in the way that Mitchell dealt with racial issues. Scarlett was asked by a Yankee woman for advice on who to appoint as a nurse for her children; Scarlett suggested a "darky", much to the disgust of the Yankee woman who was seeking an Irish maid, a "Bridget".[42] African Americans and Irish Americans are treated "in precisely the same way" in Gone with the Wind, writes David O'Connell in his 1996 book, The Irish Roots of Margaret Mitchell's Gone With the Wind. Ethnic slurs on the Irish and Irish stereotypes pervade the novel, O'Connell claims, and Scarlett is not an exception to the insults.[133] Irish scholar Geraldine Higgins notes that Jonas Wilkerson labels Scarlett: "you highflying, bogtrotting Irish".[134] Higgins further states the Irish American O'Haras were slaveholders whereas African Americans were held in bondage, therefore the two ethnic groups are not equivalent in the ethnic hierarchy of the novel.[135]
Another criticism of the novel is that it promotes plantation values. Mitchell biographer Marianne Walker, author of Margaret Mitchell & John Marsh: The Love Story Behind Gone with the Wind, is of the opinion that those who believe Gone with the Wind promotes plantation values have not read the book. Walker states it is the popular 1939 film that "promotes a false notion of the Old South". She goes on to add that Mitchell had no involvement in the production of the film.[136]
Speaking on the subject of whether Gone with the Wind should be taught in schools, James Loewen, author of Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong, says the novel should be taught in schools. Students should be told that Gone with the Wind presents the "wrong" view of slavery, Loewen states.[128] In 1984, an alderman in Waukegan, Illinois challenged the appearance of the book on the reading list of the Waukegan School District on the grounds of "racism" and "unacceptable language". The main complaint was that the racial slur nigger appears repeatedly in the novel. In the same complaint were several other books: The Nigger of the 'Narcissus', Uncle Tom's Cabin, and The Adventures of Huckleberry Finn.[137]
Awards and recognition[edit]
In 1937, Margaret Mitchell received the Pulitzer Prize for Fiction for Gone with the Wind and the second annual National Book Award from the American Booksellers Association.[138] It is the second favorite book by American readers, just behind the Bible, according to a 2008 Harris Poll.[139] The poll found the novel has its strongest following among women, those aged 44 or more, both Southerners and Midwesterners, both whites and Hispanics, and those who have not attended college. Mitchell's novel was also the second favorite book in the U.S. in a 2014 Harris poll with the Bible again number one.[140] The novel is on the list of best-selling books. As of 2010, more than 30 million copies have been printed in the United States and abroad.[141] TIME magazine critics, Lev Grossman and Richard Lacayo, included the novel on their list of the 100 best English-Language novels from 1923 to the present (2005).[142][143] In 2003 the book was listed at number 21 on the BBC's The Big Read poll of the UK's "best-loved novel."[144]
Adaptations[edit]
Gone with the Wind has been adapted several times for stage and screen:
The novel is the basis of the Academy Award-winning 1939 film produced by David Oliver Selznick and starring Clark Gable and Vivien Leigh.[145]
The book was adapted into a musical, Scarlett, which opened in Tokyo in 1970 (in 1966 it was produced as a nine-hour play without music), and in London in 1972, where it was reduced to 4 hours. The London production opened in 1973 in Los Angeles, and again in Dallas in 1976.[146]
The Japanese Takarazuka Revue produced a musical adaptation of the novel, Kaze to Tomo ni Sarinu, which was performed by the all female Moon Troupe in 1977.[147] The most recent performance was in January 2014 by the Moon Troupe with Todoroki Yuu as Rhett Butler and Ryu Masaki as Scarlett O'Hara.[148]
There is a 2003 French musical adaptation by Gérard Presgurvic, Autant en Emporte le Vent.[149]
The book was adapted into a British musical, Gone with the Wind, and opened in 2008 in the U.K. at the New London Theatre.[150]
A full length three act classical ballet version with a score arranged from the works of Antonín Dvořák and choreographed by Lilla Pártay premiered in 2007 and was performed by the Hungarian National Ballet. It was revived in their 2013 season.[151]
A new stage adaptation by Niki Landau premiered at the Manitoba Theatre Center in Winnipeg, Canada in January 2013.[152]
In popular culture[edit]



 1940 Women's Press Club skit in which Mammy Congress puts Scarlett O'Budgett into her corset before going to a 'lection party.
Gone with the Wind has appeared in many places and forms in popular culture:
Books, television and more[edit]
A 1945 cartoon by World War II cartoonist, Bill Mauldin, shows an American soldier lying on the ground with Margaret Mitchell's bullet-riddled book. The caption reads: "Dear, Dear Miss Mitchell, You will probably think this is an awful funny letter to get from a soldier, but I was carrying your big book, "Gone with the Wind," under my shirt and a..."[153]
In the season 3 episode of I Love Lucy "Lucy Writes a Novel," which aired on April 5, 1954, "Lucy" (Lucille Ball) reads about a housewife who makes a fortune writing a novel in her spare time. Lucy then writes her own novel, which she titles "Real Gone with the Wind".[154]
Gone with the Wind is the book that S. E. Hinton's runaway teenage characters, "Ponyboy" and "Johnny," read while hiding from the law in the young adult novel The Outsiders (1967).[155]
A film parody titled "Went with the Wind!" aired in a 1976 episode of The Carol Burnett Show.[156] Burnett, as "Starlett", descends a long staircase wearing a green curtain complete with hanging rod. The outfit, designed by Bob Mackie, is now on display at the Smithsonian Institution.[157]
MAD magazine created a parody of the novel, "Groan With the Wind" (1991),[158] in which Ashley was renamed "Ashtray" and Rhett became "Rhetch." It ends with Rhetch and Ashtray running off together.[72]
A pictorial parody in which the slaves are white and the protagonists are black appeared in a 1995 issue of Vanity Fair titled, "Scarlett 'n the Hood."[159]
In a MADtv comedy sketch (2007),[160] "Slave Girl #8" introduces three alternative endings to the film. In one ending, Scarlett pursues Rhett wearing a jet pack.[161]



 2009 The "Curtain Dress" from The Carol Burnett Show on display at the Smithsonian Institution.
Collectibles[edit]
A wide array of collectibles related to both the novel and film are available for purchase, especially on auction websites. Items include vintage lamps, figurines, matchbooks, cookbooks, collector plates and various editions of the novel.
On June 30, 1986, the 50th anniversary of the day Gone with the Wind went on sale, the U.S. Post Office issued a 1-cent stamp showing an image of Margaret Mitchell. The stamp was designed by Ronald Adair and was part of the U.S. Postal Service's Great Americans series.[162]
On September 10, 1998, the U.S. Post Office issued a 32-cents stamp as part of its Celebrate the Century series recalling various important events in the 20th century. The stamp, designed by Howard Paine, displays the book with its original dust jacket, a white Magnolia blossom, and a hilt placed against a background of green velvet.[162]
To commemorate the 75th anniversary (2011) of the publication of Gone with the Wind in 1936, Scribner published a paperback edition featuring the book's original jacket art.[163]
The Windies[edit]
The Windies are ardent Gone with the Wind fans who follow all the latest news and events surrounding the book and film. They gather periodically in costumes from the film or dressed as Margaret Mitchell. Atlanta, Georgia is their mecca.[164]
Legacy[edit]
One enduring legacy of Gone with the Wind is that people worldwide incorrectly think it was the "true story" of the Old South and how it was changed by the American Civil War and Reconstruction. The film adaptation of the novel "amplified this effect."[165] The plantation legend was "burned" into the mind of the public through Mitchell's vivid prose.[166] Moreover, her fictional account of the war and its aftermath has influenced how the world has viewed the city of Atlanta for successive generations.[167]
Some readers of the novel have seen the film first and read the text of the novel through the film. One difference between the film and the novel is the staircase scene in which Rhett carries Scarlett up the stairs. In the film, Scarlett weakly struggles and does not scream as Rhett starts up the stairs. In the novel, "he hurt her and she cried out, muffled, frightened."[27][99]
Earlier in the novel, in an intended rape at Shantytown (Chapter 44), Scarlett is attacked by a black man who rips open her basque while a white man grabs hold of the horse's bridle. She is rescued by another black man, Big Sam.[92] In the film, she is attacked by a white man while a black man grabs hold of the horse's bridle.
The Library of Congress began a multiyear "Celebration of the Book" in July 2012 with an exhibition on "Books That Shaped America", and an initial list of 88 books by American authors that have influenced American lives. Gone with the Wind was included in the Library's list. Librarian of Congress, James H. Billington said:

This list is a starting point. It is not a register of the 'best' American books – although many of them fit that description. Rather, the list is intended to spark a national conversation on books written by Americans that have influenced our lives, whether they appear on this initial list or not.[168]
Among books on the list considered to be the Great American Novel were Moby-Dick, The Adventures of Huckleberry Finn, The Great Gatsby, The Grapes of Wrath, The Catcher in the Rye, Invisible Man and To Kill a Mockingbird.
Throughout the world, the novel is received for its crosscultural, universal themes: war, love, death, racial conflict, class, gender and generation, which speak especially to women.[169] In the police state of North Korea, readers relate to the novel's theme of survival, finding it to be "the most compelling message of the novel".[170]
More than 24 editions of Gone with the Wind have been issued in China in the past few years.[141] Lost in translation, a Taiwanese newspaper claimed that Mitchell's first choice of a title for the book was "Tote Your Heavy Bag".[171]
Margaret Mitchell's personal collection of nearly 70 foreign language translations of her novel was given to the Atlanta Public Library after her death.[172]
On August 16, 2012, the Archdiocese of Atlanta announced that it had been bequeathed a 50% stake in the trademarks and literary rights to Gone With the Wind from the estate of Margaret Mitchell's deceased nephew, Joseph Mitchell. One of Mitchell's biographers, Darden Asbury Pyron, stated that Margaret Mitchell had "an intense relationship" with her mother, who was a Roman Catholic.
Margaret Mitchell herself had separated from the Catholic Church.[173]
Original manuscript[edit]



 The Crescent Apartments in Atlanta, Georgia, where Margaret Mitchell wrote her Pulitzer Prize-winning novel, is now the Margaret Mitchell House & Museum.
Although some of Mitchell's papers and documents related to the writing of Gone with the Wind were burned after her death, many documents, including assorted draft chapters, were preserved.[174] The last four chapters of the novel are held by the Pequot Library of Southport, Connecticut.[175]
Publication and reprintings (1936-USA)[edit]
The first printing of 10,000 copies contained an inaccurate release date: "Published May, 1936". The May 1936 release was subsequently canceled and the first printing was released in June. The second printing of 25,000 copies contained the correct release date: "Published June, 1936" so that the first and the second printing could be distinguished for book collectors. The third printing of 15,000 copies was made in June 1936. Additionally, 50,000 indistinguishable copies were printed for the Book-of-the-Month Club July selection. Gone with the Wind was officially released to the American public on June 30, 1936.[176] A summary table of printings for 1936 is shown below:

Year
Month
Number of Times Printed[177]
1936 June published and reprinted twice
1936 July 3
1936 August 6
1936 September 4
1936 October 6 (7)[178]
1936 November 3 (4)[178]
1936 December 2
Sequels and prequels[edit]
Although Mitchell refused to write a sequel to Gone with the Wind, Mitchell's estate authorized Alexandra Ripley to write a sequel, which was titled Scarlett.[179] The book was subsequently adapted into a television mini-series in 1994.[180] A second sequel was authorized by Mitchell's estate titled Rhett Butler's People, by Donald McCaig.[181] The novel parallels Gone With the Wind from Rhett Butler's perspective. In 2010, Mitchell's estate authorized McCaig to write a prequel, which follows the life of the house servant Mammy, whom McCaig names "Ruth". The novel, "Ruth's Journey", was released in October 2014.[182]
The copyright holders of Gone with the Wind attempted to suppress publication of The Wind Done Gone by Alice Randall,[183] which retold the story from the perspective of the slaves. A federal appeals court denied the plaintiffs an injunction (Suntrust v. Houghton Mifflin) against publication on the basis that the book was parody and therefore protected by the First Amendment. The parties subsequently settled out of court and the book went on to become a New York Times Best Seller.
A book sequel unauthorized by the copyright holders, The Winds of Tara by Katherine Pinotti,[184] was blocked from publication in the United States. The novel was republished in Australia, avoiding U.S. copyright restrictions.
Numerous unauthorized sequels to Gone with the Wind have been published in Russia, mostly under the pseudonym Yuliya Hilpatrik, a cover for a consortium of writers. The New York Times states that most of these have a "Slavic" flavor.[185]
Several sequels were written in Hungarian under the pseudonym Audrey D. Milland or Audrey Dee Milland, by at least four different authors (who are named in the colophon as translators to make the book seem a translation from the English original, a procedure common in the 1990s but prohibited by law since then). The first one picks up where Ripley's Scarlett ended, the next one is about Scarlett's daughter Cat. Other books include a prequel trilogy about Scarlett's grandmother Solange and a three-part miniseries of a supposed illegitimate daughter of Carreen.[186]
See also[edit]


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 Nuvola apps bookcase.svgBooks portal
 

Lost Laysen, a 1916 novella written by Mitchell
Southern literature
Southern Renaissance
Le Monde's 100 Books of the Century
References[edit]
1.^ Jump up to: a b About the Author
2.^ Jump up to: a b "People on the Home Front: Margaret Mitchell", Sgt. H. N. Oliphant (October 19, 1945) Yank, p. 9. Retrieved May 12, 2011.
3.Jump up ^ Obituary: Miss Mitchell, 49, Dead of Injuries (August 17, 1949) New York Times. Retrieved May 14, 2011.
4.^ Jump up to: a b "The Making of Gone With the Wind", Gavin Lambert (February 1973) Atlantic Monthly. Retrieved May 14, 2011.
5.^ Jump up to: a b Joseph M. Flora, Lucinda H. MacKethan, Todd Taylor (2002), The Companion to Southern Literature: themes, genres, places, people, movements and motifs, Louisiana State University Press, p. 308. ISBN 0-8071-2692-6
6.Jump up ^ Jenny Bond and Chris Sheedy (2008), Who the Hell is Pansy O'Hara?: The Fascinating Stories Behind 50 of the World's Best-Loved Books, Penguin Books, p. 96. ISBN 978-0-14-311364-5
7.Jump up ^ Ernest Dowson (1867–1900), Non Sum Qualis Eram Bonae sub Regno Cynarae. Retrieved March 31, 2012
8.^ Jump up to: a b c Part 3, Chapter 24
9.Jump up ^ John Hollander, (1981) The Figure of Echo: a mode of allusion in Milton and after, University of California Press, p. 107. ISBN 978-0-520-05323-6
10.Jump up ^ William Flesch, (2010) The Facts on File Companion to British Poetry, 19th century, Infobase Publishing, p. 89. ISBN 978-0-8160-5896-9
11.Jump up ^ Poem of the week: Non sum qualis eram bonae sub regno Cynarae by Ernest Dowson Carol Rumen (March 14, 2011) The Guardian. Retrieved January 2, 2014.
12.Jump up ^ Ellen F. Brown and John Wiley (2011), Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, Taylor Trade Publishing, p. 59 & 60. ISBN 978-1-58979-567-9
13.^ Jump up to: a b c d e f g h i j Part 1, chapter 6
14.^ Jump up to: a b c d e f g h i Part 1, chapter 1
15.^ Jump up to: a b c d e f g Part 1, chapter 7
16.^ Jump up to: a b c d e Part 2, chapter 9
17.Jump up ^ "When this Cruel War is Over (Weeping, Sad and Lonely)", Charles C. Sawyer and Henry Tucker, published by J. C. Schreiner & Son, Savannah, Georgia, 1862. Stephen Collins Foster: Popular American Music Collection.
18.Jump up ^ Weeping Sad and Lonely sung by Elizabeth Foster from the documentary "Civil War Songs and Stories", Copyright Nashville Public Television, 2011
19.^ Jump up to: a b c d Part 3, chapter 17
20.^ Jump up to: a b Part 3, chapter 22
21.^ Jump up to: a b c Part 3, chapter 26
22.^ Jump up to: a b Part 4, chapter 35
23.^ Jump up to: a b c Part 4, chapter 42
24.^ Jump up to: a b c d Part 4, chapter 47
25.^ Jump up to: a b c d Part 5, chapter 50
26.Jump up ^ Part 5, chapter 53
27.^ Jump up to: a b c d Part 5, chapter 54
28.^ Jump up to: a b Part 5, chapter 56
29.^ Jump up to: a b c Part 5, chapter 57
30.Jump up ^ Part 5, chapter 59
31.^ Jump up to: a b Part 5, chapter 63
32.^ Jump up to: a b Kathryn Lee Seidel (1985), The Southern Belle in the American Novel, University Presses of Florida, p. 53. ISBN 0-8130-0811-5
33.^ Jump up to: a b "A Critic at Large: A Study in Scarlett" Claudia Roth Pierpont, (August 31, 1992) The New Yorker, p. 87. Retrieved May 15, 2011.
34.Jump up ^ Ken Gelder (2004), Popular Fiction: the logics and practices of a literary field, New York: Taylor & Francis e-Library, p. 49. ISBN 0-203-02336-6
35.Jump up ^ Pamela Regis (2011), A Natural History of the Romance Novel, University of Pennsylvania Press, p. 48. ISBN 0-8122-1522-2
36.Jump up ^ Deborah Lutz (2006), The Dangerous Lover: villains, byronism, and the nineteenth-century seduction narrative, The Ohio State University, p. 1 & 7. ISBN 978-0-8142-1034-5
37.Jump up ^ James W. Elliott (1914), My Old Black Mammy, New York City: Published weekly by James W. Elliott, Inc. OCLC 823454
38.Jump up ^ Junius P. Rodriguez (2007), Slavery in the United States: a social, political and historical encyclopedia. Santa Barbara: ABC-CLIO, Vol. 2: p. 372. ISBN 978-1-85109-549-0
39.Jump up ^ Tim A. Ryan (2008), Calls and Responses: the American Novel of Slavery since Gone With the Wind, Louisiana State University Press, p. 69. ISBN 978-0-8071-3322-4.
40.Jump up ^ Ryan, T. A., Calls and Responses: the American Novel of Slavery since Gone With the Wind, p. 22-23.
41.^ Jump up to: a b c d e f g h Part 4, chapter 37
42.^ Jump up to: a b c Part 4, chapter 38
43.Jump up ^ Ryan, T. A., Calls and Responses: the American Novel of Slavery since Gone With the Wind, p. 23.
44.Jump up ^ James Stirling (1857), Letters From the Slave States, London: John W. Parker and Son, West Strand, p. 287. OCLC 3177567
45.Jump up ^ William Wells Brown (1847), Narrative of William W. Brown, Fugitive Slave, Boston: Published at the Anti-Slavery Office, No. 25 Cornhill, p. 15. OCLC 12705739
46.Jump up ^ Kimberly Wallace-Sanders (2008), Mammy: a century of race and Southern memory, University of Michigan Press, p. 130. ISBN 978-0-472-11614-0
47.Jump up ^ "The Old Black Mammy", (January 1918) Confederate Veteran. Retrieved April 24, 2011.
48.Jump up ^ "Love's Old, Sweet Song", J.L. Molloy and G. Clifton Bingham, 1884. Retrieved April 27, 2011.
49.Jump up ^ Micki McElya (2007), Clinging to Mammy: the faithful slave in twentieth-century America, Harvard University Press, p. 3. ISBN 978-0-674-02433-5
50.Jump up ^ Flora, J.M., et al., The Companion to Southern Literature: themes, genres, places, people, movements and motifs, pp. 140–144.
51.Jump up ^ Carolyn Perry and Mary Louise Weaks (2002), The History of Southern Women's Literature, Louisiana State University Press, p. 261. ISBN 0-8071-2753-1
52.^ Jump up to: a b c d e f g h Part 1, chapter 3
53.Jump up ^ Seidel, K.L., The Southern Belle in the American Novel, p. 53-54
54.Jump up ^ Pierpont, C.R.," A Critic at Large: A Study in Scarlett", p. 92.
55.Jump up ^ Seidel, K.L., The Southern Belle in the American Novel, p. 54.
56.Jump up ^ Perry, C., et al., The History of Southern Women's Literature, pp. 259, 261.
57.Jump up ^ Betina Entzminger (2002), The Belle Gone Bad: white Southern women writers and the dark seductress, Louisiana State University Press, p. 106. ISBN 0-8071-2785-X
58.Jump up ^ Giselle Roberts (2003), The Confederate Belle, University of Missouri Press, p.87-88. ISBN 0-8262-1464-9
59.Jump up ^ Laura F. Edwards (2000), Scarlett Doesn't Live Here Anymore: Southern women and the Civil War era, University of Illinois Press, p. 3. ISBN 0-252-02568-7
60.Jump up ^ Jennifer W. Dickey (2014), A Tough Little Patch of History: Gone with the Wind and the politics of memory, University of Arkansas Press, p. 66. ISBN 978-1-55728-657-4
61.Jump up ^ Ada W. Bacot and Jean V. Berlin (1994), A Confederate Nurse: the diary of Ada W. Bacot, 1860–1863, University of South Carolina Press, pp. ix–x, 1, 4. ISBN 1-57003-386-2
62.Jump up ^ Kate Cumming and Richard Barksdale Harwell (1959), Kate: the journal of a Confederate nurse, Louisiana State University Press, p. xiii. ISBN 978-0-8071-2267-9
63.Jump up ^ Cumming, K., et al., Kate: the journal of a Confederate nurse, p. 15.
64.^ Jump up to: a b c d e f g h Part 2, chapter 14
65.Jump up ^ Part 2, chapter 15
66.^ Jump up to: a b c Part 2, chapter 16
67.Jump up ^ Henry Marvin Wharton (1904), War Songs and Poems of the Southern Confederacy, 1861-1865, Philadelphia: The John C. Winston Co., p. 188. OCLC 9348166
68.^ Jump up to: a b Daniel E. Sutherland (1988), The Confederate Carpetbaggers, Louisiana State University Press, p. 4. ISBN 0-8071-1393-X
69.^ Jump up to: a b Elizabeth Young, (1999) Disarming the Nation: women's writing and the American Civil War, University of Chicago Press, p. 254. ISBN 0-226-96087-0
70.^ Jump up to: a b c d e f g h Part 4, chapter 41
71.^ Jump up to: a b Part 2, chapter 11
72.^ Jump up to: a b Young, E., Disarming the Nation: women's writing and the American Civil War, p. 252
73.Jump up ^ William Shakespeare, A Midsummer Night's Dream, Act 5, Scene 1: The poet’s eye, in fine frenzy rolling, Doth glance from heaven to Earth, from Earth to heaven.
74.Jump up ^ Anne Goodwyn Jones (1981), Tomorrow is Another Day: the woman writer in the South 1859–1936, Baton Rouge: University of Louisiana Press, p. 354-355. ISBN 0-8071-0776-X
75.^ Jump up to: a b c d e f g h i j Part 1, chapter 2
76.^ Jump up to: a b Young, E., Disarming the Nation: women's writing and the American Civil War, p. 253.
77.Jump up ^ Jones, A. G., Tomorrow is Another Day: the woman writer in the South 1859–1936, p. 355.
78.Jump up ^ Darden Asbury Pyron (1991), Southern Daughter: the life of Margaret Mitchell, New York: Oxford University Press, p. 320. ISBN 978-0-19-505276-3
79.Jump up ^ Craig Thompson Friend, (2009) Southern Masculinity: persepectives on manhood in the South since Reconstruction, University of Georgia Press, p. xviii. ISBN 978-0-8203-3674-9
80.Jump up ^ Part 4, chapter 33
81.Jump up ^ Lutz, D., The Dangerous Lover: villains, byronism, and the nineteenth-century seduction narrative, p. 84.
82.Jump up ^ John S. Farmer (1889), Farmer's Dictionary of Americanisms, Thomas Poulter & Sons, p. 473. OCLC 702331118
83.Jump up ^ Leslie Dunkling (1990), A Dictionary of Epithets and Terms of Address, London; New York: Routledge, p. 216. ISBN 0-415-00761-5
84.Jump up ^ Part 4, chapter 31
85.Jump up ^ Part 4, chapters 37 & 46
86.^ Jump up to: a b c Part 2, chapter 13
87.^ Jump up to: a b c Numan V. Bartley (1988), The Evolution of Southern Culture, University of Georgia Press, p. 99. ISBN 0-8203-0993-1
88.Jump up ^ Margaret Mitchell and Patrick Allen (2000), Margaret Mitchell: Reporter, Athens: Hill Street Press, p. 152-154. ISBN 978-1-57003-937-9
89.Jump up ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 259.
90.^ Jump up to: a b c d Part 5, chapter 62
91.Jump up ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 260 & 262.
92.^ Jump up to: a b c Entzminger, B., The Belle Gone Bad: white Southern women writers and the dark seductress, p. 109.
93.Jump up ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 238.
94.^ Jump up to: a b Bartley, N. V., The Evolution of Southern Culture, p. 100.
95.Jump up ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 237.
96.Jump up ^ Steven G. Kellman and Irving Malin (1999), Leslie Fiedler and the American Culture, Associated University Presses, Inc., p. 134. ISBN 0-87413-689-X
97.Jump up ^ Word for Word.A Scholarly Debate; Rhett and Scarlett: Rough Sex Or Rape? Feminists Give a Damn Tom Kuntz (February 19, 1995) The New York Times. Retrieved June 17, 2012.
98.Jump up ^ Lutz, D., The Dangerous Lover: villains, byronism, and the nineteenth-century seduction narrative, p. 7-8.
99.^ Jump up to: a b Celia R. Daileader (2005), Racism, Misogyny, and the Othello Myth: inter-racial couples from Shakespeare to Spike Lee, Cambridge University Presses, p. 168-169. ISBN 978-0-521-84878-7
100.^ Jump up to: a b c d Part 3, chapter 19
101.^ Jump up to: a b Part 5, chapter 61
102.Jump up ^ "The Strange Story Behind Gone With the Wind", Actor Cordell, Jr. (February 1961) Coronet, p. 106. Retrieved April 24, 2011.
103.^ Jump up to: a b c Part 4, chapter 39
104.Jump up ^ Part 3, chapter 25
105.^ Jump up to: a b c Part 3, chapter 30
106.^ Jump up to: a b Part 4, chapter 36
107.^ Jump up to: a b Part 4, chapter 46
108.^ Jump up to: a b c d e f Part 1, chapter 5
109.^ Jump up to: a b c d Part 1, chapter 4
110.Jump up ^ Part 4, chapter 44
111.^ Jump up to: a b c Part 3, chapter 29
112.Jump up ^ Part 2, chapter 10
113.Jump up ^ Part 4, chapter 32
114.^ Jump up to: a b c d e f g Part 2, chapter 8
115.Jump up ^ Part 3, chapter 23
116.^ Jump up to: a b Part 3, chapter 21
117.Jump up ^ Part 3, chapter 18
118.^ Jump up to: a b "Color Symbolism and Mythology in Margaret Mitchell's Novel Gone with the Wind", O. Levitski and O. Dumer (September 2006) Magazine Americana. Retrieved December 8, 2013.
119.Jump up ^ David O'Connell (1996), The Irish Roots of Margaret Mitchell's Gone With the Wind, Decatur: Claves & Petry Ltd, p. 58 & 63. ISBN 978-0965309301
120.Jump up ^ Bryan Albin Giemza (2013), Rethinking the Irish in the American South: beyond rounders and reelers, University Press of Mississippi, p. 85. ISBN 978-1-61703-798-6
121.Jump up ^ Pyron, D. A., Southern Daughter: the life of Margaret Mitchell, p. 366.
122.Jump up ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 268 & 272.
123.Jump up ^ Catherine Clinton (1994), Half Sisters of History: Southern women and the American past, Duke University Press, p. 176. ISBN 978-0822314967
124.Jump up ^ Helen Taylor (1989), Scarlett's Women: Gone with the Wind and its female fans, Rutgers University Press, p. 79. ISBN 0-8135-1496-7
125.Jump up ^ Pierpont, C.R., A Critic at Large: A Study in Scarlett, p. 88.
126.Jump up ^ "Books of the Times: Gone With the Wind by Margaret Mitchell", Ralph Thompson, (June 30, 1936) New York Times. Retrieved May 13, 2011.
127.Jump up ^ Brown, E., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, Taylor Trade Publishing, p. 44 & 167.
128.^ Jump up to: a b James Loewen "Debunking History" transcript from May 12, 2000. Retrieved April 2, 2011.
129.Jump up ^ Jabari Asim (2007), The N Word: who can say it, who shouldn't, and why, New York: Houghton Mifflin Company, p. 150. ISBN 978-0-618-19717-0
130.Jump up ^ Pat Conroy, Preface to Gone With the Wind, Pocket Books edition
131.Jump up ^ Albert E. Castel (2010), Winning and Losing in the Civil War: essays and stories, University of South Carolina Press, p. 87. ISBN 978-1-57003-917-1
132.Jump up ^ Patricia Yaeger (2000), Dirt and Desire: reconstructing southern women's writing, 1930–1990, University of Chicago Press, p. 102. ISBN 0-226-94490-5
133.Jump up ^ O'Connell, D., The Irish Roots of Margaret Mitchell's Gone With the Wind, p. 14-15 & 71.
134.Jump up ^ Part 5, chapter 49
135.Jump up ^ Giemza, B. A., Rethinking the Irish in the American South: beyond rounders and reelers, p. 80-81 & 83.
136.Jump up ^ Marianne Walker (1993), Margaret Mitchell and John Marsh: the love story behind Gone With the Wind, Atlanta: Peachtree Publishers, p. vii (preface to 2011 edition). ISBN 978-1-56145-617-8
137.Jump up ^ Dawn B. Sova (2006), Banned Books: Literature Suppressed on Social Grounds, New York: Infobase Publishing, p. 166. ISBN 0-8160-6271-4
138.Jump up ^ 5 Honors Awarded on the Year's Books: ..., The New York Times, Feb 26, 1937, page 23. ProQuest Historical Newspapers The New York Times (1851–2007)
139.Jump up ^ The Bible is America's Favorite Book Followed by Gone With the Wind, (April 8, 2008) Business Wire. Retrieved May 10, 2011.
140.Jump up ^ The Bible Remains America's Favorite Book Retrieved April 29, 2014.
141.^ Jump up to: a b Brown, Ellen F., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, p. 320.
142.Jump up ^ Full List-ALL TIME 100 Novels, Lev Grossman and Richard Lacayo, (October 16, 2005) TIME. Retrieved May 10, 2011.
143.Jump up ^ TIME'S List of the 100 Best Novels, James Kelly, (October 16, 2005) TIME. Retrieved May 10, 2011
144.Jump up ^ "BBC - The Big Read". BBC. April 2003, Retrieved October 27, 2012
145.Jump up ^ Gone with the Wind (1939)at IMDb. Retrieved February 11, 2013.
146.Jump up ^ Brown, E. F., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, p. 292-293.
147.Jump up ^ Gone with the Wind (Moon 1977) Retrieved February 3, 2014.
148.Jump up ^ Gone with the Wind (Moon 2014) Retrieved February 3, 2014.
149.Jump up ^ fr:Autant en emporte le vent (comédie musicale)
150.Jump up ^ Gone With The Wind, New London Theatre, London, Michael Billingon, (April 22, 2008)The Guardian. Retrieved February 11, 2013.
151.Jump up ^ Gone With the Wind Dvorak, A. / Pártay L. Retrieved November 6, 2012
152.Jump up ^ "Gone With the Wind" is frankly worth giving a damn about. Retrieved March 9, 2013.
153.Jump up ^ Walker, M.,, Margaret Mitchell and John Marsh: the love story behind Gone With the Wind, p. 454.
154.Jump up ^ I Love Lucy-Lucy Writes a Novel. Retrieved February 11, 2013
155.Jump up ^ Marylou Morano Kjelle (2008), S. E. Hinton: Author of The Outsiders, Lake Book Mfg, p. 28. ISBN 978-0-7660-2720-6
156.Jump up ^ The Carol Burnett Show: Season 10, Episode 8. Retrieved February 11, 2013.
157.Jump up ^ "Carol Burnett—We Just Can’t Resist Her!". May 14, 2009. Retrieved August 19, 2011.
158.Jump up ^ "Groan With the Wind", Jack Davis and Stan Hart (January 1991), Mad #300.
159.Jump up ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 281
160.Jump up ^ MADtv (season 12)
161.Jump up ^ Gone With the Wind (Alternate Endings). Retrieved September 19, 2012.
162.^ Jump up to: a b Gone With the Wind Stamps
163.Jump up ^ Margaret Mitchell and Pat Conroy (1936), Gone With the Wind, 75th Anniversary Edition (2011 paperback), New York: Scribner. ISBN 978-1-4516-3562-1
164.Jump up ^ Frankly, My Dear, the ‘Windies’ Do Live for This Kim Severson, (April 13, 2011) The New York Times. Retrieved May 2, 2013.
165.Jump up ^ Joel Williamson (1993), William Faulkner and Southern History, Oxford University Press, p. 245. ISBN 0-19-507404-1
166.Jump up ^ Flora, J.M., et al., The Companion to Southern Literature: themes, genres, places, people, movements and motifs, p. 143.
167.Jump up ^ Dickey, J. W., A Tough Little Patch of History: Gone with the Wind and the politics of memory, p. 40.
168.Jump up ^ Books That Shaped America Retrieved July 5, 2012.
169.Jump up ^ Perry, C., et al., The History of Southern Women's Literature, p. 266-267.
170.Jump up ^ Reading Gone With the Wind in Pyongyang, Tim Sullivan, (October 25, 2012) TIME magazine. Retrieved November 4, 2012.
171.Jump up ^ Gone With the Wind' still blowing them away 75 years on, Chris Melzer, (July 4, 2011) The China Post. Retrieved August 19, 2012.
172.Jump up ^ Brown, E. F., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, p. 278.
173.Jump up ^ "Margaret Mitchell's Nephew Leaves Estate to Atlanta Archdiocese", Shelia M. Poole, (August 16, 2012) The Atlanta Journal-Constitution. Retrieved August 17, 2012.
174.Jump up ^ Brown, E. F., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, p. 271-272.
175.Jump up ^ A Piece of ‘Gone With the Wind’ Isn’t Gone After All Charles McGrath, (March 29, 2011) The New York Times. Retrieved October 29, 2012.
176.Jump up ^ Brown, E. F., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, p. 61, 75, 81-82 & 91.
177.Jump up ^ Copyright page, 1946 copy
178.^ Jump up to: a b on 1937 copyright page
179.Jump up ^ Alexandra Ripley (1994), Scarlett, Pan Books. ISBN 978-0-330-30752-9
180.Jump up ^ IMDb Scarlett (TV mini-series 1994)
181.Jump up ^ Donald McCaig (2007), Rhett Butler's People, Macmillan. ISBN 978-0-312-94578-7/
182.Jump up ^ Mammy Revealed, and Not Just Her Red Petticoat ‘Gone With the Wind’ Prequel Coming in October Julie Bosman (March 26, 2014) The New York Times. Retrieved March 26, 2014.
183.Jump up ^ Alice Randall (2001), The Wind Done Gone, Houghton Mifflin Harcourt. ISBN 978-0-618-10450-5.
184.Jump up ^ Katherine Pinotti (2008), The Winds of Tara, Fontaine Press. ISBN 978-0-9803623-5-0
185.Jump up ^ "Frankly My Dear, Russians Do Give a Damn", Alessandra Stanley, (August 29, 1994) The New York Times. Retrieved June 10, 2011.
186.Jump up ^ |Sequels of famous novels
Further reading[edit]
Adams, Amanda. "'Painfully Southern': Gone with the Wind, the Agrarians, and the Battle for the New South," Southern Literary Journal (2007) 40:58–75.
Bonner, Peter. "Lost In Yesterday: Commemorating The 70th Anniversary of Margaret Mitchell's 'Gone With The Wind' ". (Marietta, Georgia: First Works Publishing Co., Inc., 2006). ISBN 978-0-9716158-9-2.
Brown, Ellen F. and John Wiley, Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood. Lanham: Taylor Trade, 2011. ISBN 978-1-58979-567-9.
Dickey, Jennifer W. A Tough Little Patch of History: Gone with the Wind and the Politics of Memory (University of Arkansas Press, 2014) 220 pp. looks at museums and historic sites
Farr, Finis. Margaret Mitchell of Atlanta: The Author of Gone with the Wind (New York: Morrow, 1965)
Harwell, Richard, ed. Gone with the Wind as Book and Film (U. of South Carolina Press, 1983)
Harwell, Richard, ed. Margaret Mitchell’s Gone with the Wind Letters, 1936–1949 (Macmillan, 1976)
Haskell, Molly. Frankly My Dear: Gone with the Wind Revisited (Yale U. Press, 2010)
Pyron, Darden Asbury, ed. Recasting: Gone with the Wind in American Culture (Florida International Univ. Press, 1983)
Pyron, Darden Asbury. Southern Daughter: The Life of Margaret Mitchell and the Making of Gone with the Wind (Athens, Ga.: Hill Street Press, 1991).
Rubin, Anne Sarah. "Revisiting Classic Civil War Books: 'Why Gone with the Wind Still Matters; or, Why I Still Love Gone with the Wind,'" Civil War History (March 2013) 59#1 pp 93–98 online
External links[edit]
 Wikiquote has quotations related to: Gone with the Wind
The Scarlett Letter, a quarterly publication devoted to the GWTW phenomenon


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Categories: 1936 novels
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Gone with the Wind
Southern United States in fiction
Irish-American history
American novels adapted into films
Novels about American slavery
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Clayton County, Georgia
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 http://en.wikipedia.org/wiki/Gone_with_the_Wind















Gone with the Wind
From Wikipedia, the free encyclopedia
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This article is about the novel. For the film, see Gone with the Wind (film). For other uses, see Gone with the Wind (disambiguation).
Gone with the Wind
Gone with the Wind cover.jpg
First edition cover

Author
Margaret Mitchell
Country
United States
Language
English
Genre
Historical Fiction
Publisher
Macmillan Publishers

Publication date
 June 10, 1936[1]
Media type
Print (hardback & paperback)
Pages
1037 (first edition)
 1024 (Warner Books paperback)
ISBN
ISBN 978-0-446-36538-3 (Warner)
OCLC
28491920
Followed by
Scarlett
Rhett Butler's People
Gone with the Wind is a novel written by Margaret Mitchell, first published in 1936. The story is set in Clayton County, Georgia, and Atlanta during the American Civil War and Reconstruction era. It depicts the experiences of Scarlett O'Hara, the spoiled daughter of a well-to-do plantation owner, who must use every means at her disposal to come out of the poverty she finds herself in after Sherman's March to the Sea. A historical novel, the story is a Bildungsroman or coming-of-age story, with the title taken from a poem written by Ernest Dowson.
Gone with the Wind was popular with American readers from the onset and was the top American fiction bestseller in the year it was published and in 1937. As of 2014, a Harris poll found it to be the second favorite book of American readers, just behind the Bible. More than 30 million copies have been printed worldwide.
Written from the perspective of the slaveholder, Gone with the Wind is Southern plantation fiction. Its portrayal of slavery and African Americans is controversial, as well as its use of a racial epithet and ethnic slurs. However, the novel has become a reference point for subsequent writers about the South, both black and white. Scholars at American universities refer to it in their writings, interpret and study it. The novel has been absorbed into American popular culture.
Margaret Mitchell was imaginative in the use of color symbolism, especially the colors red and green, which surround Scarlett O'Hara. Mitchell identified the primary theme as survival. She left the ending speculative for the reader, however. She was often asked what became of her lovers, Rhett and Scarlett. She did not know, and said, "For all I know, Rhett may have found someone else who was less difficult."[2] Two sequels authorized by Mitchell's estate were published more than a half century later. A parody was also produced.
Mitchell received the Pulitzer Prize for Fiction for the book in 1937. It was adapted into a 1939 American film. The book is often read or misread through the film. Gone with the Wind is the only novel by Mitchell published during her lifetime.[3]


Contents  [hide]
1 Biographical background and publication
2 Title
3 Plot summary 3.1 Part I
3.2 Part II
3.3 Part III
3.4 Part IV
3.5 Part V
4 Structure 4.1 Coming-of-Age story
4.2 Genre
5 Plot discussion 5.1 Slavery 5.1.1 Caste system
5.1.2 Faithful and devoted slave
5.2 Southern belle 5.2.1 Some historical background
5.3 Battles 5.3.1 Early and mid war years
5.3.2 Atlanta Campaign
5.3.3 March to the Sea
5.3.4 Mr. Lincoln's demise
5.4 Beau ideal
5.5 Scallawag
5.6 Dark sexuality
6 Characters 6.1 Main characters
6.2 Minor characters 6.2.1 Scarlett's immediate family
6.2.2 Tara
6.2.3 Clayton County
6.2.4 Atlanta
6.2.5 Robillard family

7 Themes 7.1 Survival
8 Color symbolism
9 Reception 9.1 Reviews
9.2 Racial, ethnicity and social issues
9.3 Awards and recognition
10 Adaptations
11 In popular culture 11.1 Books, television and more
11.2 Collectibles
11.3 The Windies
12 Legacy
13 Original manuscript
14 Publication and reprintings (1936-USA)
15 Sequels and prequels
16 See also
17 References
18 Further reading
19 External links

Biographical background and publication[edit]
Born in 1900 in Atlanta, Georgia, Margaret Mitchell was a writer and a Southerner throughout her life. She grew up hearing stories about the American Civil War and the Reconstruction from her tyrannical Irish American grandmother who endured its suffering. Her forceful and intellectual mother was a suffragist who fought for the rights of women to vote. As a young woman, Mitchell found love with an army lieutenant who was killed in the Great War, and she would carry his memory for the remainder of her life. After studying at Smith College for a year, during which time her mother died from the Spanish flu, she returned to Atlanta. An unsuccessful marriage to an abusive bootlegger husband followed. She then got a job writing feature articles for the Atlanta Journal at a time when Atlanta debutantes did not work. She married again, this time to a man who shared her interest in writing and literature.
Margaret Mitchell began writing Gone with the Wind in 1926 to pass the time while recovering from an auto-crash injury that refused to heal.[2] In April 1935, Harold Latham of MacMillan, an editor who was looking for new fiction, read what she had written and saw that it could be a best-seller. After Latham had agreed to publish the book, Mitchell worked for another six months checking the historical references and rewriting the opening chapter several times.[4] Mitchell and her husband John Marsh, a copy editor by trade, edited the final version of the novel. Mitchell wrote the book's final moments first and then wrote the events that led up to it.[5] Gone With the Wind was released to the public in June 1936.
Title[edit]
The author tentatively titled the novel Tomorrow is Another Day, from its last line.[6] Other proposed titles included Bugles Sang True, Not in Our Stars, and Tote the Weary Load.[4] The title Mitchell finally chose is from the first line of the third stanza of the poem Non Sum Qualis Eram Bonae sub Regno Cynarae by Ernest Dowson:


 I have forgot much, Cynara! gone with the wind,
 Flung roses, roses riotously with the throng,
 Dancing, to put thy pale, lost lilies out of mind...[7]
Scarlett O'Hara uses the title phrase when she wonders to herself if her home on a plantation called "Tara" is still standing or if it is "gone with the wind which had swept through Georgia."[8] In a general sense, the title is a metaphor for the departure of a way of life that existed in the South prior to the Civil War. When taken in the context of Dowson's poem about "Cynara", the phrase "gone with the wind" alludes to erotic loss.[9] The poem expresses the regrets of someone who has lost his passionate feelings for his "old passion", Cynara.[10] Dowson's Cynara, a name that comes from the Greek word for artichoke, represents a lost love.[11]
The title was printed throughout the 1,037 pages of the book as shown here: Gone with the Wind, using lower case letters for the words with and the. An upper case W for the word with appeared in the title printed on the dust jacket where the words GONE, WITH and WIND were in capital letters in brown ink against a yellow background (GONE WITH the WIND), giving the title a billboard-like presentation. The title was printed in all capitals, partially italicized, on two lines in blue ink: GONE (first line), WITH THE WIND (second line), on the hardcover, which was "Confederate gray".[12]
Plot summary[edit]



Negro Life at the South, oil on canvas, 1859, by Eastman Johnson
Gone with the Wind takes place in the southern United States in the state of Georgia during the American Civil War (1861–1865) and the Reconstruction Era (1865–1877) that followed the war. The novel unfolds against the backdrop of rebellion wherein seven southern states, Georgia among them, have declared their secession from the United States (the "Union") and formed the Confederate States of America (the "Confederacy"), after Abraham Lincoln was elected president with no ballots from ten Southern states where slavery was legal. A dispute over states' rights has arisen[13] involving enslaved African people who were the source of manual labor on cotton plantations throughout the South.
Part I[edit]
It is April 1861 at the "Tara" plantation, owned by Gerald O'Hara, a lucky Irish immigrant, and his wife, Ellen Robillard O’Hara, who is from a coastal aristocratic family of French descent. Their sixteen-year-old daughter, Scarlett, is not beautiful, but men seldom realized it once they were caught up in her charm.[14] It was the day before the men were called to war, Fort Sumter having been fired on two days earlier.
There are brief but vivid descriptions of the South as it began and grew, with backgrounds of the main characters: the stylish and highbrow French, the gentlemanly English, the forced-to-flee and looked-down-upon Irish. Scarlett learns that one of her many beaux, Ashley Wilkes, will soon be engaged to his cousin, Melanie Hamilton. She is heart-stricken. The next day at the Wilkeses' barbecue at "Twelve Oaks," Scarlett tells Ashley she loves him, and he admits he cares for her.[13] However, he knows he would not be happily married to her because of their personality differences. She loses her temper at him, and he silently takes it.
Rhett Butler, who has a reputation as a rogue, had been alone in the library when Ashley and Scarlett entered and felt it wiser to stay unseen during the argument. Rhett applauds Scarlett for the unladylike spirit she displayed with Ashley. Infuriated and humiliated, she tells Rhett, "You aren't fit to wipe Ashley's boots!"[13]
After rejoining the other party guests, she learns that war has been declared and the men are going to enlist. Seeking revenge for being jilted by Ashley, Scarlett accepts a marriage proposal from Melanie's brother, Charles Hamilton. They marry two weeks later. Charles dies from measles two months after the war begins. A young widow, she gives birth to her first child, Wade Hampton Hamilton, named after his father's general.[15] She is bound by tradition to wear black and avoid conversation with young men. Scarlett is saddened by these restrictions.
Part II[edit]
Aunt Pittypat, who is living with Melanie in Atlanta, invites Scarlett to stay with them. In Atlanta, Scarlett's spirits revive, and she is busy with hospital work and sewing circles for the Confederate army. Scarlett encounters Rhett Butler again at a dance for the Confederacy, and he is dressed like a dandy.[16] Although Rhett believes the war is a lost cause, he is blockade running for the profit. The men must bid for a dance with a lady, and Rhett bids "one hundred fifty dollars-in gold"[16] for a dance with Scarlett. They waltz to the tune of "When This Cruel War is Over", and Scarlett sings the words:

Dearest one! do you remember,
 When we first did meet?
 When you told me how you loved me,
 Kneeling at my feet?
 Oh! how proud you stood before me
 In your suit of grey,
 When you vow’d to me and country,
 Ne’er to go astray.
Weeping, sad and lonely,
Sighs and tears how vain,
When this cruel war is over,
Praying then to meet again![16][17][18]
Everyone at the dance is shocked that Rhett would bid for Scarlett, the widow still dressed in black. Melanie comes to Scarlett's defense because she is supporting the cause for which her husband, Ashley, is fighting.
At Christmas (1863), Ashley is granted a furlough from the army. Melanie becomes pregnant with their first child.
Part III[edit]
The war is going badly for the Confederacy. Atlanta is besieged from three sides (September 1864).[19] The city becomes desperate and hundreds of wounded Confederate soldiers pour in. Melanie goes into labor with only the inexperienced Scarlett to assist, as all the doctors are attending the soldiers. Prissy, a young Negro servant girl, cries out in despair and fear, "De Yankees is comin!"[20] In the chaos, Scarlett, left to fend for herself, cries for the comfort and safety of her mother and Tara. The tattered Confederate States Army sets flame to Atlanta and abandons it to the Union Army.
Melanie gives birth to a boy, "Beau", and now they must hurry for refuge. Scarlett tells Prissy to go find Rhett, but she is afraid to "go runnin' roun' in de dahk". Scarlett says, "Haven't you any gumption?"[20] Prissy then finds Rhett, and Scarlett begs him to take herself, Wade, Melanie, Beau, and Prissy to Tara. Rhett laughs at the idea but steals an emaciated horse and a small wagon, and they follow the retreating army out of Atlanta.
Part way to Tara, Rhett has a change of heart and abandons Scarlett to enlist in the army. She makes her way to Tara where she is welcomed on the steps by her father, Gerald. Things have drastically changed: Scarlett's mother is dead, her father has lost his mind with grief, her sisters are sick with typhoid fever, the field slaves left after Emancipation, the Yankees have burned all the cotton, and there is no food in the house. Scarlett avows that she and her family will survive and never be hungry again.
The long tiring struggle for post-war survival begins that has Scarlett working in the fields. There are hungry people to feed and little food. There is the ever-present threat of the Yankees who steal and burn, and at one point, Scarlett pulls Charles's pistol out from her thigh and kills a Yankee marauder with a single shot leaving "a bloody pit where the nose had been."[21]
A long succession of Confederate soldiers returning home stop at Tara to find food and rest. Two men stay on, an invalid Cracker, Will Benteen, and Ashley Wilkes, whose spirit is broken.
Part IV[edit]
Life at Tara slowly begins to recover when new taxes are put on Tara. Scarlett knows only one man with enough money to help her, Rhett Butler. She looks for him in Atlanta only to learn he is in jail. Leaving the jailhouse, she runs into Frank Kennedy, who is betrothed to Scarlett's sister, Suellen, and runs a store in Atlanta. Realizing Frank also has money, Scarlett hatches a plot and tells Frank that Suellen will not marry him. Frank succumbs to Scarlett's feminine charms and he marries her two weeks later knowing he has done "something romantic and exciting for the first time in his life."[22] Always wanting her to be happy and radiant, Frank gives her the money to pay the taxes.
While Frank has a cold and is pampered by Aunt Pittypat, Scarlett goes over the accounts at Frank's store and finds many of his friends owe him money. Scarlett is now terrified about the taxes and decides money, a lot of it, is needed. She takes control of his store, and her business practices leave many Atlantans resentful of her. With a loan from Rhett she buys a sawmill and runs it herself, all very unladylike conduct. To Frank's relief, Scarlett learns she is pregnant, which curtails her activities for a while. She convinces Ashley to come to Atlanta and manage the mill, all the while still in love with him. At Melanie's urging, Ashley takes the job. Melanie becomes the center of Atlanta society, and Scarlett gives birth to Ella Lorena. "Ella for her grandmother Ellen, and Lorena because it was the most fashionable name of the day for girls."[23]
Georgia is under martial law, and life has taken on a new and more frightening tone. For protection, Scarlett keeps Frank's pistol tucked in the upholstery of the buggy. Her trips alone to and from the mill take her past a shanty town where criminal elements live. One evening coming home, she is accosted by two men who try to rob her, but she escapes with the help of Big Sam, the former negro foreman from Tara. Attempting to avenge his wife, Frank and the Ku Klux Klan raid the shanty town whereupon Frank is shot dead. Scarlett is a widow again.
Rhett puts on a charade to keep the raiders from being arrested. He walks into the Wilkeses' home with Hugh Elsing and Ashley, singing and pretending to be drunk. Yankee officers outside question Rhett, and he says he and the other men had been at Belle Watling's brothel that evening, a story Belle later confirms to the officers. The men are indebted to Rhett, and his Scallawag reputation among them improves a notch, but the men's wives, except Melanie, are livid at owing their husbands' lives to Belle Watling.
Frank Kennedy lies in a coffin in the quiet stillness of the parlor in Aunt Pittypat's home. Scarlett is remorseful. She is swigging brandy from Aunt Pitty's swoon bottle when Rhett comes to call. She tells him tearfully, "I'm afraid I'll die and go to hell." He says, "Maybe there isn't a hell."[24] Before she can cry any further, he asks her to marry him saying, "I always intended having you, one way or another."[24] She says she doesn't love him and doesn't want to be married again. However, he kisses her passionately, and in the heat of the moment she agrees to marry him. One year later, Scarlett and Rhett announce their engagement, which becomes the talk of the town.
Part V[edit]
Mr. and Mrs. Butler honeymoon in New Orleans, spending lavishly. Upon returning to Atlanta, they stay in the bridal suite at the National Hotel while their new home on Peachtree Street is being built. Scarlett chooses a modern Swiss chalet style home like the one she saw in Harper's Weekly, with red wallpaper, thick red carpet, and black walnut furniture. Rhett describes it as an "architectural horror".[25] Shortly after they move into their new home, the sardonic jabs between them turn into full-blown quarrels. Scarlett wonders why Rhett married her. Then "with real hate in her eyes",[25] she tells Rhett she will have a baby, which she does not want.



The Bonnie Blue Flag, is an 1861 marching song that refers to the first unofficial flag of the Confederacy.
Wade is seven years old in 1869 when his half-sister, Eugenie Victoria, named after two queens, is born. She has blue eyes like Gerald O'Hara, and Melanie nicknames her, "Bonnie Blue," in reference to the Bonnie Blue Flag of the Confederacy.
When Scarlett is feeling well again, she makes a trip to the mill and talks to Ashley, who is alone in the office. In their conversation, she comes away believing Ashley still loves her and is jealous of her intimate relations with Rhett, which excites her. She returns home and tells Rhett she does not want more children. From then on, they sleep separately, and when Bonnie is two years old, she sleeps in a little bed beside Rhett (with the light on all night because she is afraid of the dark). Rhett turns his attention towards Bonnie, dotes on her, spoils her, and worries about her reputation when she is older.
Melanie is giving a surprise birthday party for Ashley. Scarlett goes to the mill to keep Ashley there until party time, a rare opportunity for her to see him alone. When she sees him, she feels "sixteen again, a little breathless and excited."[26] Ashley tells her how pretty she looks, and they reminisce about the days when they were young and talk about their lives now. Suddenly Scarlett's eyes fill with tears, and Ashley holds her head against his chest. Ashley sees his sister, India Wilkes, standing in the doorway. Before the party has even begun, a rumor of an affair between Ashley and Scarlett spreads, and Rhett and Melanie hear it. Melanie refuses to accept any criticism of her sister in-law, and India Wilkes is banished from the Wilkeses' home for it, causing a rift in the family.
Rhett, more drunk than Scarlett has ever seen him, returns home the evening of the party long after Scarlett. His eyes are bloodshot, and his mood is dark and violent. He enjoins Scarlett to drink with him. Not wanting him to know she is fearful of him, she throws back a drink and gets up from her chair to go back to her bedroom. He stops her and pins her shoulders to the wall. She tells him he is jealous of Ashley, and Rhett accuses her of "crying for the moon"[27] over Ashley. He tells her they could have been happy together saying, "for I loved you and I know you."[27] He then takes her in his arms and carries her up the stairs to her bedroom where passion envelops them.
Next morning Rhett leaves town for three months with Bonnie and Prissy. Scarlett finds herself missing him, but she is still unsure if Rhett loves her, having said it while drunk. She learns she is pregnant with her fourth child.
When Rhett returns, Scarlett waits for him at the top of the stairs. She wonders if Rhett will kiss her, but to her irritation, he does not. He says she looks pale. She says it's because she is pregnant. He sarcastically asks if the father is Ashley. She calls Rhett a cad and tells him no woman would want his baby. He says, "Cheer up, maybe you'll have a miscarriage."[28] She lunges at him, but he dodges, and she tumbles backwards down the stairs. She is seriously ill for the first time in her life, having lost her child and broken her ribs. Rhett is remorseful, believing he has killed her. Sobbing and drunk, he buries his head in Melanie's lap and confesses he had been a jealous cad.
Scarlett, who is thin and pale, goes to Tara taking Wade and Ella with her, to regain her strength and vitality from "the green cotton fields of home."[29] When she returns a healthy woman to Atlanta, she sells the mills to Ashley. She finds Rhett's attitude has noticeably changed. He is sober, kinder, polite, and seemingly disinterested. Though she misses the old Rhett at times, Scarlett is content to leave well enough alone.
Bonnie is four years old in 1873. Spirited and willful, she has her father wrapped around her finger and giving into her every demand. Even Scarlett is jealous of the attention she gets. Rhett rides his horse around town with Bonnie in front of him, but Mammy insists it is not fitting for a girl to ride a horse with her dress flying up. Rhett heeds her words and buys Bonnie a Shetland pony, whom she names "Mr. Butler," and teaches her to ride sidesaddle. Then Rhett pays a boy named Wash twenty-five cents to teach Mr. Butler to jump over wood bars. When Mr. Butler is able to get his fat legs over a one foot high bar, Rhett puts Bonnie on the pony, and soon Mr. Butler is leaping bars and Aunt Melly's rose bushes.
Wearing her blue velvet riding habit with a red feather in her black hat, Bonnie pleads with her father to raise the bar to one and a half feet. He gives in, warning her not to come crying if she falls. Bonnie yells to her mother, "Watch me take this one!"[30] The pony gallops towards the wood bar, but trips over it. Bonnie breaks her neck in the fall, killing her.
In the dark days and months following Bonnie's death, Rhett is often drunk and disheveled, while Scarlett, though deeply grieved also, seems to hold up under the strain. With the untimely death of Melanie Wilkes a short time later, Rhett decides he only wants the calm dignity of the genial South he once knew in his youth and leaves Atlanta to find it. Meanwhile, Scarlett dreams of love that has eluded her for so long. However, she still has Tara and knows she can win Rhett back, because "tomorrow is another day."[31]
Structure[edit]
Coming-of-Age story[edit]
Margaret Mitchell arranged Gone with the Wind chronologically, basing it on the life and experiences of the main character, Scarlett O'Hara, as she grew from adolescence into adulthood. During the time span of the novel, from 1861 to 1873, Scarlett ages from sixteen to twenty-eight years. The literary technique applied in telling the story is Bildungsroman,[32] which is a type of novel concerned with the moral and psychological growth of the protagonist from youth to adulthood (coming-of-age story). The growth and education of Scarlett O'Hara is influenced by the events of her time.[32] Mitchell used a smooth linear narrative structure. The novel is known for its exceptional "readability".[33] The plot is rich with vivid characters.
Genre[edit]
Gone with the Wind is often placed in the literary sub-genre of the historical romance novel.[34] However, it has been argued the novel does not contain all of the elements of the romance genre,[35] making it simply a historical novel. The novel has also been described as an early classic of the erotic historical genre because it is thought to contain some degree of pornography.[36]
Plot discussion[edit]
Slavery[edit]



'Way back in the dark days of the Early Sixties, regrettable tho it was—men fought, bled, and died for the freedom of the negro—her freedom!—and she stood by and did her duty to the last ditch—
It was and is her life to serve, and she has done it well.
While shot and shell thundered to release the shackles of slavery from her body and her soul—she loved, fought for, and protected—Us who held her in bondage, her "Marster" and her "Missus!"
Excerpt from My Old Black Mammy by James W. Elliott,1914.[37]
Slavery in Gone with the Wind is a backdrop to a story that is essentially about other things.[38] Southern plantation fiction (also known as Anti-Tom literature) from the early 19th century culminating in Gone With the Wind is written from the perspective and values of the slaveholder and tends to present slaves as docile and happy.[39]
Caste system[edit]
The characters in the novel are organized into two basic groups along class lines: the white planter class, such as Scarlett and Ashley, and the black house servant class. The slaves depicted in Gone with the Wind are primarily loyal house servants, such as Mammy, Pork, Prissy, and Uncle Peter.[40] House servants are the highest "caste" in Mitchell's caste system of the slaves.[41] They stay on with their masters after the Emancipation Proclamation of 1863 and subsequent Thirteenth Amendment of 1865 sets them free. Of the servants that stayed on at Tara, Scarlett thinks to herself, "There were qualities of loyalty and tirelessness and love in them that no strain could break, no money could buy."[42]
The field slaves make up the lower class in Mitchell's caste system.[41][43] The field slaves from the Tara plantation and the foreman, Big Sam, are taken away by Confederate soldiers to dig ditches[19] and apparently never return to the plantation. There were yet other field slaves, Mitchell wrote, who were "loyal" and "refused to avail themselves of the new freedom",[41] but there are no field slave characters in the novel that stay on the plantation after they have been emancipated.
James Stirling, a British writer who visited the Southern United States in 1857, described the distinction between slaves who were house servants and slaves who were field hands in his book, Letters from the Slave States:

In judging of the welfare of the slaves, it is necessary to distinguish the different conditions of slavery. The most important distinction, both as regards numbers and its influence on the wellbeing of the slave, is that between house-servants and farm or field-hands. The house-servant is comparatively well off.[44]
A slave narrative by William Wells Brown published in 1847 spoke of the disparity in conditions between the house servant and the field hand:

During the time that Mr. Cook was overseer, I was a house servant—a situation preferable to a field hand, as I was better fed, better clothed, and not obliged to rise at the ringing bell, but about an half hour after. I have often laid and heard the crack of the whip, and the screams of the slave.[45]
Faithful and devoted slave[edit]
Although the novel is over one thousand pages, Mammy never considers what her life might be like away from Tara.[46] She recognizes her freedom to come and go as she pleases saying, "Ah is free, Miss Scarlett. You kain sen' me nowhar Ah doan wanter go," but Mammy remains duty-bound to "Miss Ellen's chile".[24] (Mammy apparently had no real name; at least it is not mentioned in the novel.)
Eighteen years before the publication of Gone with the Wind, an article titled, "The Old Black Mammy," written in the Confederate Veteran in 1918, discussed the romanticized view of the mammy character that had been passed on in literature of the South:

...for her faithfulness and devotion, she has been immortalized in the literature of the South; so the memory of her will never pass, but live on in the tales that are told of those "dear dead days beyond recall".[47][48]
Micki McElya, in her book, Clinging to Mammy, suggests the myth of the faithful slave, in the figure of mammy, lingers because white Americans wish to live in a world where African Americans are not angry over the injustice of slavery.[49]
The best-selling anti-slavery novel from the 19th century is Uncle Tom's Cabin, by Harriet Beecher Stowe, published in 1852. Uncle Tom's Cabin is mentioned briefly in Gone with the Wind as being accepted by the Yankees as, "revelation second only to the Bible".[42] The enduring interest of both Uncle Tom's Cabin and Gone with the Wind has resulted in lingering stereotypes of 19th-century African American slaves.[50] However, since its publication, Gone with the Wind has become a reference point for subsequent writers about the South, both black and white alike.[51]
Southern belle[edit]
“ Young misses whut frowns an' pushes out dey chins an' says 'Ah will' an' 'Ah woan' mos' gener'ly doan ketch husbands.[52] ”
—Mammy

The southern belle is an archetype for a young woman of the antebellum American South upper class. The southern belle's attractiveness is not physical beauty, but rather lies in her charm. She is subject to the correct code of female behavior.[53] The novel's heroine, Scarlett O'Hara, charming though not beautiful, is a southern belle.
For young Scarlett, the ideal southern belle is represented by her mother, Ellen O'Hara. In "A Study in Scarlett", published in The New Yorker, Claudia Roth Pierpont wrote:

The Southern belle was bred to conform to a subspecies of the nineteenth-century "lady"... For Scarlett, the ideal is embodied in her adored mother, the saintly Ellen, whose back is never seen to rest against the back of any chair on which she sits, whose broken spirit everywhere is mistaken for righteous calm...[54]
However, Scarlett is not always willing to conform. Kathryn Lee Seidel, in her book, The Southern Belle in the American Novel, wrote:

...part of her does try to rebel against the restraints of a code of behavior that relentlessly attempts to mold her into a form to which she is not naturally suited.[55]
Scarlett, the figure of a pampered southern belle, lives through an extreme reversal of fortune and wealth, and survives to rebuild Tara and her self-esteem.[56] Scarlett's bad belle traits, her deceitfulness, shrewdness, manipulativeness, and superficiality, in contrast to Melanie's good belle traits, trust, self-sacrifice, and loyalty, enable Scarlett to survive in the post-war South, and pursue her main interest, making money.[57]
Some historical background[edit]
Marriage was the goal of all southern belles, and all social and educational pursuits were directed towards it. Regardless of war and the loss of eligible men, young ladies were still subjected to the pressure to marry.[58] By law and Southern social convention, household heads were adult, white propertied males, and all white women and all African Americans were thought to require protection and guidance because they lacked the capacity for reason and self-control.[59]
The Atlanta Historical Society has held a number of Gone with the Wind exhibits, among them a 1994 exhibit titled, "Disputed Territories: Gone with the Wind and Southern Myths". One question addressed by the exhibit, "Was Scarlett a Lady?", found that historically women of the period were not involved in feminist activities as Scarlett was during Reconstruction when she ran a sawmill. White women performed traditional jobs such as teaching and sewing and generally disliked work outside the home.[60]
During the Civil War, Southern women played a major role as volunteer nurses working in makeshift hospitals. Many were middle- and upper class women who had never worked for wages or seen the inside of a hospital. One such nurse was Ada W. Bacot, a young widow who had lost two children. Bacot came from a wealthy South Carolina plantation family that owned 87 slaves.[61]
In the fall of 1862, Confederate laws were changed to permit the employment of women in hospitals as members of the Confederate Medical Department.[62] Twenty-seven year-old nurse Kate Cumming from Mobile, Alabama, described the primitive hospital conditions in her journal:

They are in the hall, on the gallery, and crowded into very small rooms. The foul air from this mass of human beings at first made me giddy and sick, but I soon got over it. We have to walk, and when we give the men any thing kneel, in blood and water; but we think nothing of it at all.[63]
Battles[edit]



 Battle of Kennesaw Mountain, June 27, 1864.
The Civil War came to an end on April 26, 1865 when Confederate General Johnston surrendered his armies in the Carolinas Campaign to Union General Sherman. Several battles are mentioned or depicted in Gone with the Wind.
Early and mid war years[edit]
Seven Days Battles, June 25 – July 1, 1862, Richmond, Virginia, Confederate victory.[16]
Battle of Fredericksburg, December 11 – 15, 1862, Fredericksburg, Virginia, Confederate victory.[64]
Streight's Raid, April 19 – May 3, 1863, in northern Alabama. Union Colonel Streight and his men were captured by Confederate General Nathan Bedford Forrest.[64]
Battle of Chancellorsville, April 30 – May 6, 1863, in Spotsylvania County, Virginia, near the village of Chancellorsville, Confederate victory.[64]
Ashley Wilkes is stationed on the Rapidan River, Virginia, in the winter of 1863,[65] later captured and sent to a Union prison camp, Rock Island.[66]Siege of Vicksburg, May 18 – July 4, 1863, Vicksburg, Mississippi, Union victory.[64]
Battle of Gettysburg, July 1–3, 1863, fought in and around the town of Gettysburg, Pennsylvania, Union victory. "They expected death. They did not expect defeat."[64]
Battle of Chickamauga, September 19–20, 1863, northwestern Georgia. The first fighting in Georgia and the most significant Union defeat.[66]
Chattanooga Campaign, November–December 1863, Tennessee, Union victory. The city became the supply and logistics base for Sherman's 1864 Atlanta Campaign.[66]
Atlanta Campaign[edit]



 Sherman's Atlanta Campaign
The Atlanta Campaign (May–September 1864) took place in northwest Georgia and the area around Atlanta.
Confederate General Johnston fights and retreats from Dalton (May 7–13)[19] to Resaca (May 13–15) to Kennesaw Mountain (June 27). Union General Sherman suffers heavy losses to the entrenched Confederate army. Unable to pass through Kennesaw, Sherman swings his men around to the Chattahoochee River where the Confederate army is waiting on the opposite side of the river. Once again, General Sherman flanks the Confederate army, forcing Johnston to retreat to Peachtree Creek (July 20), five miles northeast of Atlanta.
Battle of Atlanta, July 22, 1864, just southeast of Atlanta. The city would not fall until September 2, 1864. Heavy losses for Confederate General Hood.
Battle of Ezra Church, July 28, 1864, Sherman's failed attack west of Atlanta where the railroad entered the city.
Battle of Utoy Creek, August 5–7, 1864, Sherman's failed attempt to break the railroad line into Atlanta from the east, heavy Union losses.
Battle of Jonesborough, August 31 – September 1, 1864, Sherman successfully cut the railroad lines from the south into Atlanta. The city of Atlanta was abandoned by General Hood and then occupied by Union troops for the rest of the war.
March to the Sea[edit]
The Savannah Campaign was conducted in Georgia during November and December 1864.
Mr. Lincoln's demise[edit]
Although Abraham Lincoln is mentioned in the novel fourteen times, no reference is made to his assassination on April 14, 1865.
Beau ideal[edit]



Somebody's darling! so young and so brave!
 Wearing still on his pale, sweet face—
Soon to be hid by the dust of the grave—
The lingering light of his boyhood's grace!
Somebody's Darling by Marie La Coste, of Georgia.[19][67]
Ashley Wilkes is the beau ideal of Southern manhood. A planter by inheritance, Ashley knew the Confederate cause had died at the conclusion of the American Civil War.[68] Ashley's name signifies paleness. His "pallid skin literalizes the idea of Confederate death".[69]
He contemplates leaving Georgia for New York City, and had he gone north, he would have been a typical Confederate carpetbagger.[68] Ashley, embittered by war, tells Scarlett he has been "in a state of suspended animation"[70] since the surrender. He feels he is not "shouldering a man's burden" at Tara and views himself as "much less than a man—much less, indeed, than a woman".[70]
A "young girl's dream of the Perfect Knight",[71] Ashley is like a young girl himself.[72] With his "poet's eye",[73] Ashley has a "feminine sensitivity".[74] Scarlett is angered by the "slur of effeminacy flung at Ashley" when her father tells her the Wilkes family was "born queer".[75] (Mitchell's use of the word queer is for its sexual connotation because queer, in the 1930s, was associated with homosexuality.)[76] Ashley's effeminacy is associated with his appearance, his lack of force and sexual impotency.[77] He rides, plays poker and drinks like "proper men", but his heart is not in it, Gerald claims.[75][78] The embodiment of castration, Ashley wears the head of Medusa on his cravat pin.[75][76]
Not only is Scarlett's love interest, Ashley Wilkes, lacking manliness, her husbands, the "calf-like"[13] Charles Hamilton, and the "old-maid in britches",[13] Frank Kennedy, are unmanly as well. Mitchell is critiquing masculinity in southern society since Reconstruction.[79] Even Rhett Butler, the well groomed dandy,[80] is effeminate or "gay-coded".[81] Charles, Frank and Ashley represent the impotence of the post-war white South.[69] Its power and influence has been diminished.
Scallawag[edit]
The word scallawag is defined as a loafer, a vagabond, or a rogue.[82] Scallawag had a special meaning after the Civil War as an epithet for a white Southerner who willingly accepted the reforms by the Republicans.[83] Mitchell defines scallawags as "Southerners who had turned Republican very profitably."[84] Rhett Butler is accused of being a "damned Scallawag."[85] In addition to scallawags, there are also other types of scoundrels in the novel: Yankees, carpetbaggers, Republicans, prostitutes and overseers. In the early years of the Civil War, Rhett is called a "scoundrel" for his "selfish gains" profiteering as a blockade-runner.[86]
As a Scallawag, Rhett is despised. He is the "dark, mysterious, and slightly malevolent hero loose in the world".[87] Literary scholars have identified characteristics of Margaret Mitchell's first husband, Berrien "Red" Upshaw, in the character of Rhett.[87] Another sees the image of Italian actor Rudolph Valentino, whom Margaret Mitchell interviewed as a young reporter for The Atlanta Journal.[88][89] Fictional hero Rhett Butler has a "swarthy face, flashing teeth and dark alert eyes".[90] He is a "scamp, blackguard, without scruple or honor."[90]
Dark sexuality[edit]



Rudolph Valentino as Sheik Ahmed and Agnes Ayres as Lady Diana in the 1921 silent film, The Sheik. Mitchell used Valentino's image, which women found sexually appealing, to develop her character of the "ideal man", Rhett Butler.[91]
The most passionate and virile character in the novel is Rhett with whom Margaret Mitchell associates "dark sexuality" and the "black devil".[92] Further, Mitchell's romantic hero is colored—black and brown. Rhett's symbolic dark-colored image is placed within the context of two other images: the mythic black rapist and the dark-skinned Arab Sheik played by screen idol Rudolph Valentino in the film, The Sheik. By strategically placing Rhett's image in this manner, Mitchell simultaneously plays upon racial anxieties and sexual fantasies.[93] Rhett's demons are prostitutes and liquor as demonstrated by his intimacy with Belle Watling in whose brothel he often makes his own home,[87] and his bouts of drunkenness. The "black beast rapist" is associated with liquor.[94] Rhett is a "terrifying faceless black bulk" when he appears before Scarlett in a drunken jealous rage on the night of Ashley's party. He shows Scarlett his "large brown hands" and says, "I could tear you to pieces with them".[27][94]
With Rhett's "swarthy face"[90] juxtaposed against Scarlett's "magnolia-white skin",[14] the two white protagonists are a metaphor for an interracial couple, and their romance represents racial conflict.[95]
Rhett and Scarlett's bedroom scene (Chapter 54) is often read as a rape that was meant to suggest Reconstruction fear of black-on-white rape in the South.[92] Others have suggested the book was built around rape fantasies.[96][97] In one interpretation of the scene, the "dandified dangerous lover" carries Scarlett up the stairs into her first encounter with the erotic.[98] In another interpretation, a marital rape occurs.[99]
Characters[edit]
Main characters[edit]
Katie Scarlett (O'Hara) Hamilton Kennedy Butler: is the O'Haras' oldest daughter. Scarlett's forthright Irish blood is always at variance with the French teachings of style from her mother. Scarlett marries Charles Hamilton, Frank Kennedy, and Rhett Butler, all the time wishing she is married to Ashley Wilkes instead. She has three children, one from each husband: Wade Hampton Hamilton (son to Charles Hamilton), Ella Lorena Kennedy (daughter to Frank Kennedy) and Eugenie Victoria "Bonnie Blue" Butler (daughter to Rhett Butler). She miscarries a fourth child, the only one she wanted, during a quarrel with Rhett when she accidentally falls down the stairs.[28] Scarlett is secretly scornful of Melanie Wilkes,[8] wife to Ashley, who shows nothing but love and devotion towards Scarlett, and considers her a sister throughout her life because Scarlett married Melanie's brother Charles.[15] Scarlett is unaware of the extent of Rhett's love for her or that she might love him.[90]
Captain Rhett K. Butler: is Scarlett's admirer and then her third husband. Rhett is often publicly shunned for his scandalous behavior[13] and sometimes accepted for his charm. Rhett declares he is not a marrying man and propositions Scarlett to be his mistress,[100] but marries her after the death of Frank Kennedy, explaining that he won't take a chance on losing her to someone else, since it is unlikely she will ever need money again after Frank's death.[24] At the end of the novel, Rhett confesses to Scarlett, "I loved you but I couldn't let you know it. You're so brutal to those who love you, Scarlett."[31]
Major George Ashley Wilkes: The gallant Ashley married his cousin, Melanie, because, "Like must marry like or there'll be no happiness."[13] A man of honor, Ashley became a soldier in grey in the Confederate States Army though he says he would have freed his slaves after his father's death, if the war hadn't done it first.[29] Although many of his friends and relations were killed in the Civil War, Ashley survived to see its brutal aftermath. Ashley was "the Perfect Knight",[71] in the mind of Scarlett, even throughout her three marriages. "She loved him and wanted him and did not understand him."[75]
Melanie (Hamilton) Wilkes: is Ashley's wife and cousin. Melanie is a genuinely humble, serene and gracious Southern woman.[70] As the story unfolds, Melanie becomes progressively physically weaker, first by childbirth, then "the hard work she had done at Tara,"[70] and she ultimately dies after a miscarriage.[101] As Rhett Butler said, "She never had any strength. She's never had anything but heart."[101]
Minor characters[edit]
“ I made Tara up, just as I made up every character in the book. But nobody will believe me.[102] ”
—Margaret Mitchell

Scarlett's immediate family[edit]
Ellen (Robillard) O'Hara: is Scarlett's gracious mother of French ancestry. Ellen married Gerald O'Hara, who was 28 years her senior, after her true love, Philippe Robillard, was killed in a bar fight. She is Scarlett's ideal of a "great lady".[52] Ellen ran all aspects of the household and nursed negro slaves as well as poor white trash.[52] She dies from typhoid in August 1864 after nursing Emmie Slattery.[8]
Gerald O'Hara: is Scarlett's florid Irish father.[14] An excellent horseman,[75] Gerald is sometimes seen leaping fences on his horse while intoxicated, which eventually leads to his death.[103] Gerald's mind becomes addled after the death of his wife, Ellen.[104]
Susan Elinor ("Suellen") O'Hara: is Scarlett's middle sister. She became sickened by typhoid during the siege of Atlanta.[100] After the war, Scarlett steals and marries her beau, Frank Kennedy.[22] Later, Suellen marries Will Benteen and has at least one child, Susie, with him.[70]
Caroline Irene ("Carreen") O'Hara: is Scarlett's youngest sister and also became sickened by typhoid during the siege of Atlanta.[100] She is infatuated with and later engaged to the rowdy red-headed Brent Tarleton, who is killed in the war.[105] Broken-hearted by Brent's death, Carreen never truly gets over it and years later joins a convent.[103]
O'Hara Boys: are the three boys of Ellen and Gerald O'Hara who died in infancy and are buried 100 yards from the house at Tara under twisted cedars. The headstone of each boy is inscribed "Gerald O'Hara, Jr."[52]
Charles Hamilton: is Melanie Wilkes' brother and Scarlett's first husband. Charles is a shy and loving boy.[13] He is father to Wade Hampton, but Charles died of pneumonia before ever reaching a battlefield or seeing his son.[15]
Wade Hampton Hamilton: is the son of Scarlett and Charles, born in early 1862. He was named for his father's commanding officer, Wade Hampton III.[15]
Frank Kennedy: is Suellen O'Hara's former fiancé and Scarlett's second husband. Frank is an unattractive older man. He originally asks for Suellen's hand in marriage, but Scarlett steals him for herself in order to have enough money to pay the taxes on Tara.[106] Frank is unable to comprehend Scarlett's fears and her desperate struggle for survival after the war. He is unwilling to be as ruthless in business as Scarlett would like him to be.[106] Unknown to Scarlett, Frank is secretly involved in the Ku Klux Klan. He is "shot through the head",[107] according to Rhett Butler, while attempting to defend Scarlett's honor after she is attacked.
Ella Lorena Kennedy: is the homely, simple daughter of Scarlett and Frank.[23]
Eugenie Victoria "Bonnie Blue" Butler: is Scarlett and Rhett's beloved, pretty, strong-willed daughter. She is as Irish in looks and temper as Gerald O'Hara, with the same blue eyes.[25]
Tara[edit]
Mammy: is Scarlett's nurse from birth. She is a slave who originally belonged to Scarlett's grandmother and raised her mother, Ellen O'Hara.[75] Mammy is "head woman of the plantation".[108]
Pork: is Gerald O'Hara's valet and the first slave he owned. Pork was won in a game of poker (as was the plantation Tara, in a separate poker game).[52] When Gerald died, Scarlett gave his pocket watch to Pork. She wanted to have the watch engraved with the words, "To Pork from the O'Haras—Well done good and faithful servant,"[70] but Pork declined the offer.
Dilcey: is Pork's wife and a slave woman of mixed Indian and African descent.[109] Scarlett pushes her father into buying Dilcey and her daughter Prissy from John Wilkes, the latter as a favor to Dilcey that she never forgets.[75]
Prissy: is a child slave-girl, Dilcey's daughter.[109] Prissy is Wade's nurse and goes with Scarlett to Atlanta when she lives with Aunt Pittypat.[15]
Jonas Wilkerson: is the Yankee overseer of Tara before the Civil War.[109]
Big Sam: is a strong, husky, hardworking field slave and the foreman at Tara. In post-war lawlessness, Big Sam comes to Scarlett's rescue from would-be merciless thieves.[110]
Will Benteen: is a "South Georgia Cracker,"[105] Confederate soldier and patient listener to the troubles of all. Will lost part of his leg in the war and walks with the aid of a wooden stump. He is taken in by the O'Haras on his journey home from the war and after his recovery stays on to manage the farm at Tara.[105] Fond of Carreen O'Hara, he cannot pursue that relationship as she decides to enter a convent.[103] Not wanting to leave Tara, the land he has come to love, he later marries Suellen and has at least one child, Susie, with her.[70]
Clayton County[edit]
India Wilkes: is the sister of Honey and Ashley Wilkes. She is described as plain. India was courted by Stuart Tarleton before he and his brother Brent fell in love with Scarlett.[14]
Honey Wilkes: is the sister of India and Ashley Wilkes. Honey is described as having the "odd lashless look of a rabbit."[13] Honey is so called because she indiscriminately addresses everyone, from her father to the field hands, by that endearment.[108]
John Wilkes: is owner of "Twelve Oaks"[75] and patriarch of the Wilkes family. John Wilkes is educated and gracious.[13] He is killed during the siege of Atlanta.[100]
Tarleton Boys: Boyd, Tom, and the twins, Brent and Stuart: The red-headed Tarleton boys were in frequent scrapes, loved practical jokes and gossip, and "were worse than the plagues of Egypt,"[14] according to their mother. Mrs. Tarleton laid her riding crop on their backs if the occasion seem warranted, though Boyd, the oldest and the runt, never got hit much. The inseparable twins, Brent and Stuart, at 19 years old were six feet two inches tall.[14] All four boys were killed in the war, the twins just moments apart at the Battle of Gettysburg.[111] Boyd was buried in Virginia, but only God knew where.[64]
Tarleton Girls: Hetty, Camilla, 'Randa and Betsy: The stunning Tarleton girls have varying shades of red hair.[108]
Beatrice Tarleton: is the mistress of the "Fairhill" plantation.[108] She was a busy woman, having on her hands not only a large cotton plantation, a hundred negroes and eight children, but the largest horse-breeding farm in Georgia. She was hot-tempered. No one was permitted to whip a horse or a slave, but she felt that a lick every now and then did her boys no harm.[14]
Calvert Family: Raiford, Cade and Cathleen: are the O'Haras' Clayton County, neighbors from another plantation, "Pine Bloom".[111] Cathleen Calvert was young Scarlett's friend.[108] Their widowed father Hugh married a Yankee governess and she was called "the second Mrs. Calvert".[21] Next to Scarlett, Cathleen "had had more beaux than any girl in the County,"[111] but eventually married their former Yankee overseer, Mr. Hilton.
Fontaine Family: Joe, Tony and Alex are known for their hot tempers. Joe is killed at Gettysburg,[64] while Tony eventually murders Jonas Wilkerson in a barroom and flees to Texas, leaving Alex to tend to their plantation lands.[41] Grandma Fontaine, also known as "Old Miss," is the wife of old Doc Fontaine, the boys' grandfather. "Young Miss" and young Dr. Fontaine, the boys' parents, and Sally (Munroe) Fontaine, wife to Joe,[112] make up the remaining family of the "Mimosa" plantation.[21]
Emmie Slattery: is poor white trash. The daughter of Tom Slattery, her family lived on three meager acres along the swamp bottoms between the O'Hara and Wilkes plantations.[52] Emmie gave birth to an illegitimate child fathered by Jonas Wilkerson, a Yankee and the overseer at Tara.[109] The child died. Emmie later married Jonas, and after the war, flush with carpetbagger cash, they try to buy Tara, but Scarlett is insulted and refuses the offer.[113]
Atlanta[edit]
Aunt Pittypat Hamilton: Her real name is Sarah Jane Hamilton, but she acquired the nickname "Pittypat" in childhood because of the way she walked on her tiny feet. Aunt Pittypat is a spinster who lives in the red-brick house at the quiet end of Peachtree Street in Atlanta. The house is half-owned by Scarlett (after the death of Charles Hamilton). Pittypat's financial affairs are managed by her brother, Henry, whom she doesn't especially care for. Aunt Pittypat raised Melanie and Charles Hamilton after the death of their father, with considerable help from her slave, Uncle Peter.[114]
Uncle Henry Hamilton: is Aunt Pittypat's brother and the uncle of Charles and Melanie. He is a lawyer.[114]
Uncle Peter: is an older man and slave. Uncle Peter is Aunt Pittypat's coach driver. He always keeps her smelling salts handy. Uncle Peter looked after Melanie and Charles Hamilton when they were young.[114]
Beau Wilkes: is Melanie and Ashley's son who is born in Atlanta when the siege begins and hastily transported to Tara after birth.[115]
Archie: is an ex-convict and former Confederate soldier who was imprisoned for the murder of his adulterous wife before the war. Archie is taken in by Melanie and then later becomes Scarlett's coach driver.[23]
Meade Family: Atlanta society considers Dr. Meade to be "the root of all strength and all wisdom."[114] He looks after injured soldiers during the siege with assistance from Melanie and Scarlett.[116] Mrs. Meade is on the bandage-rolling committee.[114] Their two sons are killed in the war; the older Darcy at Gettysburg,[64] and the younger Phil as a member of the Confederate Home Guard during the Battle of Atlanta.[116]
Merriwether Family: Mrs. Dolly Merriwether is one of Atlanta's dowagers along with Mrs. Elsing and Mrs. Whiting.[114] Post-war she sells homemade pies to survive, eventually opening her own bakery.[70] Her father-in-law Grandpa Merriwether fights in the Home Guard[117] and survives the war. Her daughter Maybelle marries René Picard, a Louisiana Zouave.[16]
Belle Watling: is a prostitute[86] and brothel madam[41] who is portrayed as a loyal Confederate.[86] Melanie declares she will acknowledge Belle when she passes her in the street, but Belle tells her not to.[107]
Robillard family[edit]
Pierre Robillard: is the father of Ellen O'Hara. He was staunchly Presbyterian even though his family was Roman Catholic. The thought of his daughter becoming a nun was even worse than that of her marrying Gerald O'Hara.[52]
Solange Robillard: is the mother of Ellen O'Hara and Scarlett's grandmother. She was a dainty Frenchwoman who was snooty and cold.[75]
Eulalie and Pauline Robillard: are the married sisters of Ellen O'Hara who live in Charleston.[15]
Philippe Robillard: is the cousin of Ellen O'Hara and her first love. Philippe died in a bar fight in New Orleans around 1844.[75]
Themes[edit]
Survival[edit]

If Gone with the Wind has a theme it is that of survival. What makes some people come through catastrophes and others, apparently just as able, strong, and brave, go under? It happens in every upheaval. Some people survive; others don't. What qualities are in those who fight their way through triumphantly that are lacking in those that go under? I only know that survivors used to call that quality 'gumption.' So I wrote about people who had gumption and people who didn't.[1]
— Margaret Mitchell,1936
Color symbolism[edit]
Mitchell's use of color in the novel is symbolic and open to interpretation. Red, green, and a variety of hues of each of these colors, are the predominant palette of colors encompassing the character of Scarlett.[118] She is also inextricably linked to white by the color of her skin. Symbolically, red and green have been broadly defined to mean "vitality" (red) and "rebirth" (green),[118] but these are not the only meanings. Mitchell interwove the two colors into her description of the Tara plantation: "red fields with springing green cotton".[15] The red fields are "blood-colored after rains".[14] The whitewashed brick plantation house is virtually nondescript by comparison to the plantation fields and sits like an island in a sea of red.[14] In springtime, the lawn around the plantation house turns emerald green.[52]
For the Irish and others, green in the novel represents Mitchell's commemoration of her "Green Irish heritage", and is evidenced in the novel by Gerald O'Hara pridefully singing, albeit off-key, "The Wearin 'o the Green".[108][119] Scarlett's green-coded Irishness is the strength that ensures she will thrive post-war.[120] Rhett likens Scarlett's strength to the mythological figure Antaeus who stays strong only when he is in contact with his Mother Earth.[29] Scarlett's mythical mother is Tara.[121]
Scarlett is not all green as her name implies the "erotically-charged color", red. The only openly scarlet woman in the novel is the red-headed Belle Watling,[122] whose hair is "too red to be true".[114] Mammy is reluctant to reveal her red petticoat to Rhett,[25] nevertheless she has sexual knowledge akin to Belle Watling.[123] Scarlett, whom Mitchell pits against the grim realities of war, "prostitutes" herself to pay the taxes on Tara. By her name, Scarlett evokes emotions and images of the color scarlet: "blood, passion, anger, sexuality, madness".[124]
Reception[edit]
Reviews[edit]
The sales of Margaret Mitchell's novel in the summer of 1936, at the virtually unprecedented price of three dollars, reached about one million by the end of December.[33] The book was a bestseller by the time reviews began to appear in national magazines.[5] Herschel Brickell, a critic for the New York Evening Post, lauded Mitchell for the way she "tosses out the window all the thousands of technical tricks our novelists have been playing with for the past twenty years."[125]
Ralph Thompson, a book reviewer for The New York Times, was critical of the length of the novel, and wrote in June 1936:

I happen to feel that the book would have been infinitely better had it been edited down to say, 500 pages, but there speaks the harassed daily reviewer as well as the would-be judicious critic. Very nearly every reader will agree, no doubt, that a more disciplined and less prodigal piece of work would have more nearly done justice to the subject-matter.[126]



 The novel was released in the era of the Great Depression and Mitchell worried the high $3.00 price would ruin its chance for success. By the time Mary Louise received this copy from Mother and Dad in December 1937, the novel was the top American fiction bestseller for the second year in a row.[127]
Racial, ethnicity and social issues[edit]
One criticism leveled at Gone with the Wind is for its portrayal of African Americans in the 19th century South.[128] Former field hands during the early days of Reconstruction are described behaving "as creatures of small intelligence might naturally be expected to do. Like monkeys or small children turned loose among treasured objects whose value is beyond their comprehension, they ran wild—either from perverse pleasure in destruction or simply because of their ignorance."[41]
Commenting on this passage of the novel, Jabari Asim, author of The N Word: Who Can Say It, Who Shouldn't, and Why, says it is, "one of the more charitable passages in Gone With the Wind, Margaret Mitchell hesitated to blame black "insolence"[41] during Reconstruction solely on "mean niggers,"[41] of which, she said, there were few even in slavery days."[129]
It has also been argued that Mitchell downplayed the violent role of the Ku Klux Klan. Bestselling author Pat Conroy, in his preface to a later edition of the novel, describes Mitchell's portrayal of the Ku Klux Klan as having "the same romanticized role it had in The Birth of a Nation and appears to be a benign combination of the Elks Club and a men's equestrian society."[130]
Regarding the historical inaccuracies of the novel, historian Richard N. Current points out:

No doubt it is indeed unfortunate that Gone with the Wind perpetuates many myths about Reconstruction, particularly with respect to blacks. Margaret Mitchell did not originate them and a young novelist can scarcely be faulted for not knowing what the majority of mature, professional historians did not know until many years later.[131]
In Gone with the Wind Mitchell is blind to racial oppression and "the inseparability of race and gender" that defines the southern belle character of Scarlett, according to literary scholar Patricia Yaeger.[132] Yet there are complexities in the way that Mitchell dealt with racial issues. Scarlett was asked by a Yankee woman for advice on who to appoint as a nurse for her children; Scarlett suggested a "darky", much to the disgust of the Yankee woman who was seeking an Irish maid, a "Bridget".[42] African Americans and Irish Americans are treated "in precisely the same way" in Gone with the Wind, writes David O'Connell in his 1996 book, The Irish Roots of Margaret Mitchell's Gone With the Wind. Ethnic slurs on the Irish and Irish stereotypes pervade the novel, O'Connell claims, and Scarlett is not an exception to the insults.[133] Irish scholar Geraldine Higgins notes that Jonas Wilkerson labels Scarlett: "you highflying, bogtrotting Irish".[134] Higgins further states the Irish American O'Haras were slaveholders whereas African Americans were held in bondage, therefore the two ethnic groups are not equivalent in the ethnic hierarchy of the novel.[135]
Another criticism of the novel is that it promotes plantation values. Mitchell biographer Marianne Walker, author of Margaret Mitchell & John Marsh: The Love Story Behind Gone with the Wind, is of the opinion that those who believe Gone with the Wind promotes plantation values have not read the book. Walker states it is the popular 1939 film that "promotes a false notion of the Old South". She goes on to add that Mitchell had no involvement in the production of the film.[136]
Speaking on the subject of whether Gone with the Wind should be taught in schools, James Loewen, author of Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong, says the novel should be taught in schools. Students should be told that Gone with the Wind presents the "wrong" view of slavery, Loewen states.[128] In 1984, an alderman in Waukegan, Illinois challenged the appearance of the book on the reading list of the Waukegan School District on the grounds of "racism" and "unacceptable language". The main complaint was that the racial slur nigger appears repeatedly in the novel. In the same complaint were several other books: The Nigger of the 'Narcissus', Uncle Tom's Cabin, and The Adventures of Huckleberry Finn.[137]
Awards and recognition[edit]
In 1937, Margaret Mitchell received the Pulitzer Prize for Fiction for Gone with the Wind and the second annual National Book Award from the American Booksellers Association.[138] It is the second favorite book by American readers, just behind the Bible, according to a 2008 Harris Poll.[139] The poll found the novel has its strongest following among women, those aged 44 or more, both Southerners and Midwesterners, both whites and Hispanics, and those who have not attended college. Mitchell's novel was also the second favorite book in the U.S. in a 2014 Harris poll with the Bible again number one.[140] The novel is on the list of best-selling books. As of 2010, more than 30 million copies have been printed in the United States and abroad.[141] TIME magazine critics, Lev Grossman and Richard Lacayo, included the novel on their list of the 100 best English-Language novels from 1923 to the present (2005).[142][143] In 2003 the book was listed at number 21 on the BBC's The Big Read poll of the UK's "best-loved novel."[144]
Adaptations[edit]
Gone with the Wind has been adapted several times for stage and screen:
The novel is the basis of the Academy Award-winning 1939 film produced by David Oliver Selznick and starring Clark Gable and Vivien Leigh.[145]
The book was adapted into a musical, Scarlett, which opened in Tokyo in 1970 (in 1966 it was produced as a nine-hour play without music), and in London in 1972, where it was reduced to 4 hours. The London production opened in 1973 in Los Angeles, and again in Dallas in 1976.[146]
The Japanese Takarazuka Revue produced a musical adaptation of the novel, Kaze to Tomo ni Sarinu, which was performed by the all female Moon Troupe in 1977.[147] The most recent performance was in January 2014 by the Moon Troupe with Todoroki Yuu as Rhett Butler and Ryu Masaki as Scarlett O'Hara.[148]
There is a 2003 French musical adaptation by Gérard Presgurvic, Autant en Emporte le Vent.[149]
The book was adapted into a British musical, Gone with the Wind, and opened in 2008 in the U.K. at the New London Theatre.[150]
A full length three act classical ballet version with a score arranged from the works of Antonín Dvořák and choreographed by Lilla Pártay premiered in 2007 and was performed by the Hungarian National Ballet. It was revived in their 2013 season.[151]
A new stage adaptation by Niki Landau premiered at the Manitoba Theatre Center in Winnipeg, Canada in January 2013.[152]
In popular culture[edit]



 1940 Women's Press Club skit in which Mammy Congress puts Scarlett O'Budgett into her corset before going to a 'lection party.
Gone with the Wind has appeared in many places and forms in popular culture:
Books, television and more[edit]
A 1945 cartoon by World War II cartoonist, Bill Mauldin, shows an American soldier lying on the ground with Margaret Mitchell's bullet-riddled book. The caption reads: "Dear, Dear Miss Mitchell, You will probably think this is an awful funny letter to get from a soldier, but I was carrying your big book, "Gone with the Wind," under my shirt and a..."[153]
In the season 3 episode of I Love Lucy "Lucy Writes a Novel," which aired on April 5, 1954, "Lucy" (Lucille Ball) reads about a housewife who makes a fortune writing a novel in her spare time. Lucy then writes her own novel, which she titles "Real Gone with the Wind".[154]
Gone with the Wind is the book that S. E. Hinton's runaway teenage characters, "Ponyboy" and "Johnny," read while hiding from the law in the young adult novel The Outsiders (1967).[155]
A film parody titled "Went with the Wind!" aired in a 1976 episode of The Carol Burnett Show.[156] Burnett, as "Starlett", descends a long staircase wearing a green curtain complete with hanging rod. The outfit, designed by Bob Mackie, is now on display at the Smithsonian Institution.[157]
MAD magazine created a parody of the novel, "Groan With the Wind" (1991),[158] in which Ashley was renamed "Ashtray" and Rhett became "Rhetch." It ends with Rhetch and Ashtray running off together.[72]
A pictorial parody in which the slaves are white and the protagonists are black appeared in a 1995 issue of Vanity Fair titled, "Scarlett 'n the Hood."[159]
In a MADtv comedy sketch (2007),[160] "Slave Girl #8" introduces three alternative endings to the film. In one ending, Scarlett pursues Rhett wearing a jet pack.[161]



 2009 The "Curtain Dress" from The Carol Burnett Show on display at the Smithsonian Institution.
Collectibles[edit]
A wide array of collectibles related to both the novel and film are available for purchase, especially on auction websites. Items include vintage lamps, figurines, matchbooks, cookbooks, collector plates and various editions of the novel.
On June 30, 1986, the 50th anniversary of the day Gone with the Wind went on sale, the U.S. Post Office issued a 1-cent stamp showing an image of Margaret Mitchell. The stamp was designed by Ronald Adair and was part of the U.S. Postal Service's Great Americans series.[162]
On September 10, 1998, the U.S. Post Office issued a 32-cents stamp as part of its Celebrate the Century series recalling various important events in the 20th century. The stamp, designed by Howard Paine, displays the book with its original dust jacket, a white Magnolia blossom, and a hilt placed against a background of green velvet.[162]
To commemorate the 75th anniversary (2011) of the publication of Gone with the Wind in 1936, Scribner published a paperback edition featuring the book's original jacket art.[163]
The Windies[edit]
The Windies are ardent Gone with the Wind fans who follow all the latest news and events surrounding the book and film. They gather periodically in costumes from the film or dressed as Margaret Mitchell. Atlanta, Georgia is their mecca.[164]
Legacy[edit]
One enduring legacy of Gone with the Wind is that people worldwide incorrectly think it was the "true story" of the Old South and how it was changed by the American Civil War and Reconstruction. The film adaptation of the novel "amplified this effect."[165] The plantation legend was "burned" into the mind of the public through Mitchell's vivid prose.[166] Moreover, her fictional account of the war and its aftermath has influenced how the world has viewed the city of Atlanta for successive generations.[167]
Some readers of the novel have seen the film first and read the text of the novel through the film. One difference between the film and the novel is the staircase scene in which Rhett carries Scarlett up the stairs. In the film, Scarlett weakly struggles and does not scream as Rhett starts up the stairs. In the novel, "he hurt her and she cried out, muffled, frightened."[27][99]
Earlier in the novel, in an intended rape at Shantytown (Chapter 44), Scarlett is attacked by a black man who rips open her basque while a white man grabs hold of the horse's bridle. She is rescued by another black man, Big Sam.[92] In the film, she is attacked by a white man while a black man grabs hold of the horse's bridle.
The Library of Congress began a multiyear "Celebration of the Book" in July 2012 with an exhibition on "Books That Shaped America", and an initial list of 88 books by American authors that have influenced American lives. Gone with the Wind was included in the Library's list. Librarian of Congress, James H. Billington said:

This list is a starting point. It is not a register of the 'best' American books – although many of them fit that description. Rather, the list is intended to spark a national conversation on books written by Americans that have influenced our lives, whether they appear on this initial list or not.[168]
Among books on the list considered to be the Great American Novel were Moby-Dick, The Adventures of Huckleberry Finn, The Great Gatsby, The Grapes of Wrath, The Catcher in the Rye, Invisible Man and To Kill a Mockingbird.
Throughout the world, the novel is received for its crosscultural, universal themes: war, love, death, racial conflict, class, gender and generation, which speak especially to women.[169] In the police state of North Korea, readers relate to the novel's theme of survival, finding it to be "the most compelling message of the novel".[170]
More than 24 editions of Gone with the Wind have been issued in China in the past few years.[141] Lost in translation, a Taiwanese newspaper claimed that Mitchell's first choice of a title for the book was "Tote Your Heavy Bag".[171]
Margaret Mitchell's personal collection of nearly 70 foreign language translations of her novel was given to the Atlanta Public Library after her death.[172]
On August 16, 2012, the Archdiocese of Atlanta announced that it had been bequeathed a 50% stake in the trademarks and literary rights to Gone With the Wind from the estate of Margaret Mitchell's deceased nephew, Joseph Mitchell. One of Mitchell's biographers, Darden Asbury Pyron, stated that Margaret Mitchell had "an intense relationship" with her mother, who was a Roman Catholic.
Margaret Mitchell herself had separated from the Catholic Church.[173]
Original manuscript[edit]



 The Crescent Apartments in Atlanta, Georgia, where Margaret Mitchell wrote her Pulitzer Prize-winning novel, is now the Margaret Mitchell House & Museum.
Although some of Mitchell's papers and documents related to the writing of Gone with the Wind were burned after her death, many documents, including assorted draft chapters, were preserved.[174] The last four chapters of the novel are held by the Pequot Library of Southport, Connecticut.[175]
Publication and reprintings (1936-USA)[edit]
The first printing of 10,000 copies contained an inaccurate release date: "Published May, 1936". The May 1936 release was subsequently canceled and the first printing was released in June. The second printing of 25,000 copies contained the correct release date: "Published June, 1936" so that the first and the second printing could be distinguished for book collectors. The third printing of 15,000 copies was made in June 1936. Additionally, 50,000 indistinguishable copies were printed for the Book-of-the-Month Club July selection. Gone with the Wind was officially released to the American public on June 30, 1936.[176] A summary table of printings for 1936 is shown below:

Year
Month
Number of Times Printed[177]
1936 June published and reprinted twice
1936 July 3
1936 August 6
1936 September 4
1936 October 6 (7)[178]
1936 November 3 (4)[178]
1936 December 2
Sequels and prequels[edit]
Although Mitchell refused to write a sequel to Gone with the Wind, Mitchell's estate authorized Alexandra Ripley to write a sequel, which was titled Scarlett.[179] The book was subsequently adapted into a television mini-series in 1994.[180] A second sequel was authorized by Mitchell's estate titled Rhett Butler's People, by Donald McCaig.[181] The novel parallels Gone With the Wind from Rhett Butler's perspective. In 2010, Mitchell's estate authorized McCaig to write a prequel, which follows the life of the house servant Mammy, whom McCaig names "Ruth". The novel, "Ruth's Journey", was released in October 2014.[182]
The copyright holders of Gone with the Wind attempted to suppress publication of The Wind Done Gone by Alice Randall,[183] which retold the story from the perspective of the slaves. A federal appeals court denied the plaintiffs an injunction (Suntrust v. Houghton Mifflin) against publication on the basis that the book was parody and therefore protected by the First Amendment. The parties subsequently settled out of court and the book went on to become a New York Times Best Seller.
A book sequel unauthorized by the copyright holders, The Winds of Tara by Katherine Pinotti,[184] was blocked from publication in the United States. The novel was republished in Australia, avoiding U.S. copyright restrictions.
Numerous unauthorized sequels to Gone with the Wind have been published in Russia, mostly under the pseudonym Yuliya Hilpatrik, a cover for a consortium of writers. The New York Times states that most of these have a "Slavic" flavor.[185]
Several sequels were written in Hungarian under the pseudonym Audrey D. Milland or Audrey Dee Milland, by at least four different authors (who are named in the colophon as translators to make the book seem a translation from the English original, a procedure common in the 1990s but prohibited by law since then). The first one picks up where Ripley's Scarlett ended, the next one is about Scarlett's daughter Cat. Other books include a prequel trilogy about Scarlett's grandmother Solange and a three-part miniseries of a supposed illegitimate daughter of Carreen.[186]
See also[edit]


AtlantaPhoenix.jpgAtlanta portal
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 Nuvola apps bookcase.svgBooks portal
 

Lost Laysen, a 1916 novella written by Mitchell
Southern literature
Southern Renaissance
Le Monde's 100 Books of the Century
References[edit]
1.^ Jump up to: a b About the Author
2.^ Jump up to: a b "People on the Home Front: Margaret Mitchell", Sgt. H. N. Oliphant (October 19, 1945) Yank, p. 9. Retrieved May 12, 2011.
3.Jump up ^ Obituary: Miss Mitchell, 49, Dead of Injuries (August 17, 1949) New York Times. Retrieved May 14, 2011.
4.^ Jump up to: a b "The Making of Gone With the Wind", Gavin Lambert (February 1973) Atlantic Monthly. Retrieved May 14, 2011.
5.^ Jump up to: a b Joseph M. Flora, Lucinda H. MacKethan, Todd Taylor (2002), The Companion to Southern Literature: themes, genres, places, people, movements and motifs, Louisiana State University Press, p. 308. ISBN 0-8071-2692-6
6.Jump up ^ Jenny Bond and Chris Sheedy (2008), Who the Hell is Pansy O'Hara?: The Fascinating Stories Behind 50 of the World's Best-Loved Books, Penguin Books, p. 96. ISBN 978-0-14-311364-5
7.Jump up ^ Ernest Dowson (1867–1900), Non Sum Qualis Eram Bonae sub Regno Cynarae. Retrieved March 31, 2012
8.^ Jump up to: a b c Part 3, Chapter 24
9.Jump up ^ John Hollander, (1981) The Figure of Echo: a mode of allusion in Milton and after, University of California Press, p. 107. ISBN 978-0-520-05323-6
10.Jump up ^ William Flesch, (2010) The Facts on File Companion to British Poetry, 19th century, Infobase Publishing, p. 89. ISBN 978-0-8160-5896-9
11.Jump up ^ Poem of the week: Non sum qualis eram bonae sub regno Cynarae by Ernest Dowson Carol Rumen (March 14, 2011) The Guardian. Retrieved January 2, 2014.
12.Jump up ^ Ellen F. Brown and John Wiley (2011), Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, Taylor Trade Publishing, p. 59 & 60. ISBN 978-1-58979-567-9
13.^ Jump up to: a b c d e f g h i j Part 1, chapter 6
14.^ Jump up to: a b c d e f g h i Part 1, chapter 1
15.^ Jump up to: a b c d e f g Part 1, chapter 7
16.^ Jump up to: a b c d e Part 2, chapter 9
17.Jump up ^ "When this Cruel War is Over (Weeping, Sad and Lonely)", Charles C. Sawyer and Henry Tucker, published by J. C. Schreiner & Son, Savannah, Georgia, 1862. Stephen Collins Foster: Popular American Music Collection.
18.Jump up ^ Weeping Sad and Lonely sung by Elizabeth Foster from the documentary "Civil War Songs and Stories", Copyright Nashville Public Television, 2011
19.^ Jump up to: a b c d Part 3, chapter 17
20.^ Jump up to: a b Part 3, chapter 22
21.^ Jump up to: a b c Part 3, chapter 26
22.^ Jump up to: a b Part 4, chapter 35
23.^ Jump up to: a b c Part 4, chapter 42
24.^ Jump up to: a b c d Part 4, chapter 47
25.^ Jump up to: a b c d Part 5, chapter 50
26.Jump up ^ Part 5, chapter 53
27.^ Jump up to: a b c d Part 5, chapter 54
28.^ Jump up to: a b Part 5, chapter 56
29.^ Jump up to: a b c Part 5, chapter 57
30.Jump up ^ Part 5, chapter 59
31.^ Jump up to: a b Part 5, chapter 63
32.^ Jump up to: a b Kathryn Lee Seidel (1985), The Southern Belle in the American Novel, University Presses of Florida, p. 53. ISBN 0-8130-0811-5
33.^ Jump up to: a b "A Critic at Large: A Study in Scarlett" Claudia Roth Pierpont, (August 31, 1992) The New Yorker, p. 87. Retrieved May 15, 2011.
34.Jump up ^ Ken Gelder (2004), Popular Fiction: the logics and practices of a literary field, New York: Taylor & Francis e-Library, p. 49. ISBN 0-203-02336-6
35.Jump up ^ Pamela Regis (2011), A Natural History of the Romance Novel, University of Pennsylvania Press, p. 48. ISBN 0-8122-1522-2
36.Jump up ^ Deborah Lutz (2006), The Dangerous Lover: villains, byronism, and the nineteenth-century seduction narrative, The Ohio State University, p. 1 & 7. ISBN 978-0-8142-1034-5
37.Jump up ^ James W. Elliott (1914), My Old Black Mammy, New York City: Published weekly by James W. Elliott, Inc. OCLC 823454
38.Jump up ^ Junius P. Rodriguez (2007), Slavery in the United States: a social, political and historical encyclopedia. Santa Barbara: ABC-CLIO, Vol. 2: p. 372. ISBN 978-1-85109-549-0
39.Jump up ^ Tim A. Ryan (2008), Calls and Responses: the American Novel of Slavery since Gone With the Wind, Louisiana State University Press, p. 69. ISBN 978-0-8071-3322-4.
40.Jump up ^ Ryan, T. A., Calls and Responses: the American Novel of Slavery since Gone With the Wind, p. 22-23.
41.^ Jump up to: a b c d e f g h Part 4, chapter 37
42.^ Jump up to: a b c Part 4, chapter 38
43.Jump up ^ Ryan, T. A., Calls and Responses: the American Novel of Slavery since Gone With the Wind, p. 23.
44.Jump up ^ James Stirling (1857), Letters From the Slave States, London: John W. Parker and Son, West Strand, p. 287. OCLC 3177567
45.Jump up ^ William Wells Brown (1847), Narrative of William W. Brown, Fugitive Slave, Boston: Published at the Anti-Slavery Office, No. 25 Cornhill, p. 15. OCLC 12705739
46.Jump up ^ Kimberly Wallace-Sanders (2008), Mammy: a century of race and Southern memory, University of Michigan Press, p. 130. ISBN 978-0-472-11614-0
47.Jump up ^ "The Old Black Mammy", (January 1918) Confederate Veteran. Retrieved April 24, 2011.
48.Jump up ^ "Love's Old, Sweet Song", J.L. Molloy and G. Clifton Bingham, 1884. Retrieved April 27, 2011.
49.Jump up ^ Micki McElya (2007), Clinging to Mammy: the faithful slave in twentieth-century America, Harvard University Press, p. 3. ISBN 978-0-674-02433-5
50.Jump up ^ Flora, J.M., et al., The Companion to Southern Literature: themes, genres, places, people, movements and motifs, pp. 140–144.
51.Jump up ^ Carolyn Perry and Mary Louise Weaks (2002), The History of Southern Women's Literature, Louisiana State University Press, p. 261. ISBN 0-8071-2753-1
52.^ Jump up to: a b c d e f g h Part 1, chapter 3
53.Jump up ^ Seidel, K.L., The Southern Belle in the American Novel, p. 53-54
54.Jump up ^ Pierpont, C.R.," A Critic at Large: A Study in Scarlett", p. 92.
55.Jump up ^ Seidel, K.L., The Southern Belle in the American Novel, p. 54.
56.Jump up ^ Perry, C., et al., The History of Southern Women's Literature, pp. 259, 261.
57.Jump up ^ Betina Entzminger (2002), The Belle Gone Bad: white Southern women writers and the dark seductress, Louisiana State University Press, p. 106. ISBN 0-8071-2785-X
58.Jump up ^ Giselle Roberts (2003), The Confederate Belle, University of Missouri Press, p.87-88. ISBN 0-8262-1464-9
59.Jump up ^ Laura F. Edwards (2000), Scarlett Doesn't Live Here Anymore: Southern women and the Civil War era, University of Illinois Press, p. 3. ISBN 0-252-02568-7
60.Jump up ^ Jennifer W. Dickey (2014), A Tough Little Patch of History: Gone with the Wind and the politics of memory, University of Arkansas Press, p. 66. ISBN 978-1-55728-657-4
61.Jump up ^ Ada W. Bacot and Jean V. Berlin (1994), A Confederate Nurse: the diary of Ada W. Bacot, 1860–1863, University of South Carolina Press, pp. ix–x, 1, 4. ISBN 1-57003-386-2
62.Jump up ^ Kate Cumming and Richard Barksdale Harwell (1959), Kate: the journal of a Confederate nurse, Louisiana State University Press, p. xiii. ISBN 978-0-8071-2267-9
63.Jump up ^ Cumming, K., et al., Kate: the journal of a Confederate nurse, p. 15.
64.^ Jump up to: a b c d e f g h Part 2, chapter 14
65.Jump up ^ Part 2, chapter 15
66.^ Jump up to: a b c Part 2, chapter 16
67.Jump up ^ Henry Marvin Wharton (1904), War Songs and Poems of the Southern Confederacy, 1861-1865, Philadelphia: The John C. Winston Co., p. 188. OCLC 9348166
68.^ Jump up to: a b Daniel E. Sutherland (1988), The Confederate Carpetbaggers, Louisiana State University Press, p. 4. ISBN 0-8071-1393-X
69.^ Jump up to: a b Elizabeth Young, (1999) Disarming the Nation: women's writing and the American Civil War, University of Chicago Press, p. 254. ISBN 0-226-96087-0
70.^ Jump up to: a b c d e f g h Part 4, chapter 41
71.^ Jump up to: a b Part 2, chapter 11
72.^ Jump up to: a b Young, E., Disarming the Nation: women's writing and the American Civil War, p. 252
73.Jump up ^ William Shakespeare, A Midsummer Night's Dream, Act 5, Scene 1: The poet’s eye, in fine frenzy rolling, Doth glance from heaven to Earth, from Earth to heaven.
74.Jump up ^ Anne Goodwyn Jones (1981), Tomorrow is Another Day: the woman writer in the South 1859–1936, Baton Rouge: University of Louisiana Press, p. 354-355. ISBN 0-8071-0776-X
75.^ Jump up to: a b c d e f g h i j Part 1, chapter 2
76.^ Jump up to: a b Young, E., Disarming the Nation: women's writing and the American Civil War, p. 253.
77.Jump up ^ Jones, A. G., Tomorrow is Another Day: the woman writer in the South 1859–1936, p. 355.
78.Jump up ^ Darden Asbury Pyron (1991), Southern Daughter: the life of Margaret Mitchell, New York: Oxford University Press, p. 320. ISBN 978-0-19-505276-3
79.Jump up ^ Craig Thompson Friend, (2009) Southern Masculinity: persepectives on manhood in the South since Reconstruction, University of Georgia Press, p. xviii. ISBN 978-0-8203-3674-9
80.Jump up ^ Part 4, chapter 33
81.Jump up ^ Lutz, D., The Dangerous Lover: villains, byronism, and the nineteenth-century seduction narrative, p. 84.
82.Jump up ^ John S. Farmer (1889), Farmer's Dictionary of Americanisms, Thomas Poulter & Sons, p. 473. OCLC 702331118
83.Jump up ^ Leslie Dunkling (1990), A Dictionary of Epithets and Terms of Address, London; New York: Routledge, p. 216. ISBN 0-415-00761-5
84.Jump up ^ Part 4, chapter 31
85.Jump up ^ Part 4, chapters 37 & 46
86.^ Jump up to: a b c Part 2, chapter 13
87.^ Jump up to: a b c Numan V. Bartley (1988), The Evolution of Southern Culture, University of Georgia Press, p. 99. ISBN 0-8203-0993-1
88.Jump up ^ Margaret Mitchell and Patrick Allen (2000), Margaret Mitchell: Reporter, Athens: Hill Street Press, p. 152-154. ISBN 978-1-57003-937-9
89.Jump up ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 259.
90.^ Jump up to: a b c d Part 5, chapter 62
91.Jump up ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 260 & 262.
92.^ Jump up to: a b c Entzminger, B., The Belle Gone Bad: white Southern women writers and the dark seductress, p. 109.
93.Jump up ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 238.
94.^ Jump up to: a b Bartley, N. V., The Evolution of Southern Culture, p. 100.
95.Jump up ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 237.
96.Jump up ^ Steven G. Kellman and Irving Malin (1999), Leslie Fiedler and the American Culture, Associated University Presses, Inc., p. 134. ISBN 0-87413-689-X
97.Jump up ^ Word for Word.A Scholarly Debate; Rhett and Scarlett: Rough Sex Or Rape? Feminists Give a Damn Tom Kuntz (February 19, 1995) The New York Times. Retrieved June 17, 2012.
98.Jump up ^ Lutz, D., The Dangerous Lover: villains, byronism, and the nineteenth-century seduction narrative, p. 7-8.
99.^ Jump up to: a b Celia R. Daileader (2005), Racism, Misogyny, and the Othello Myth: inter-racial couples from Shakespeare to Spike Lee, Cambridge University Presses, p. 168-169. ISBN 978-0-521-84878-7
100.^ Jump up to: a b c d Part 3, chapter 19
101.^ Jump up to: a b Part 5, chapter 61
102.Jump up ^ "The Strange Story Behind Gone With the Wind", Actor Cordell, Jr. (February 1961) Coronet, p. 106. Retrieved April 24, 2011.
103.^ Jump up to: a b c Part 4, chapter 39
104.Jump up ^ Part 3, chapter 25
105.^ Jump up to: a b c Part 3, chapter 30
106.^ Jump up to: a b Part 4, chapter 36
107.^ Jump up to: a b Part 4, chapter 46
108.^ Jump up to: a b c d e f Part 1, chapter 5
109.^ Jump up to: a b c d Part 1, chapter 4
110.Jump up ^ Part 4, chapter 44
111.^ Jump up to: a b c Part 3, chapter 29
112.Jump up ^ Part 2, chapter 10
113.Jump up ^ Part 4, chapter 32
114.^ Jump up to: a b c d e f g Part 2, chapter 8
115.Jump up ^ Part 3, chapter 23
116.^ Jump up to: a b Part 3, chapter 21
117.Jump up ^ Part 3, chapter 18
118.^ Jump up to: a b "Color Symbolism and Mythology in Margaret Mitchell's Novel Gone with the Wind", O. Levitski and O. Dumer (September 2006) Magazine Americana. Retrieved December 8, 2013.
119.Jump up ^ David O'Connell (1996), The Irish Roots of Margaret Mitchell's Gone With the Wind, Decatur: Claves & Petry Ltd, p. 58 & 63. ISBN 978-0965309301
120.Jump up ^ Bryan Albin Giemza (2013), Rethinking the Irish in the American South: beyond rounders and reelers, University Press of Mississippi, p. 85. ISBN 978-1-61703-798-6
121.Jump up ^ Pyron, D. A., Southern Daughter: the life of Margaret Mitchell, p. 366.
122.Jump up ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 268 & 272.
123.Jump up ^ Catherine Clinton (1994), Half Sisters of History: Southern women and the American past, Duke University Press, p. 176. ISBN 978-0822314967
124.Jump up ^ Helen Taylor (1989), Scarlett's Women: Gone with the Wind and its female fans, Rutgers University Press, p. 79. ISBN 0-8135-1496-7
125.Jump up ^ Pierpont, C.R., A Critic at Large: A Study in Scarlett, p. 88.
126.Jump up ^ "Books of the Times: Gone With the Wind by Margaret Mitchell", Ralph Thompson, (June 30, 1936) New York Times. Retrieved May 13, 2011.
127.Jump up ^ Brown, E., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, Taylor Trade Publishing, p. 44 & 167.
128.^ Jump up to: a b James Loewen "Debunking History" transcript from May 12, 2000. Retrieved April 2, 2011.
129.Jump up ^ Jabari Asim (2007), The N Word: who can say it, who shouldn't, and why, New York: Houghton Mifflin Company, p. 150. ISBN 978-0-618-19717-0
130.Jump up ^ Pat Conroy, Preface to Gone With the Wind, Pocket Books edition
131.Jump up ^ Albert E. Castel (2010), Winning and Losing in the Civil War: essays and stories, University of South Carolina Press, p. 87. ISBN 978-1-57003-917-1
132.Jump up ^ Patricia Yaeger (2000), Dirt and Desire: reconstructing southern women's writing, 1930–1990, University of Chicago Press, p. 102. ISBN 0-226-94490-5
133.Jump up ^ O'Connell, D., The Irish Roots of Margaret Mitchell's Gone With the Wind, p. 14-15 & 71.
134.Jump up ^ Part 5, chapter 49
135.Jump up ^ Giemza, B. A., Rethinking the Irish in the American South: beyond rounders and reelers, p. 80-81 & 83.
136.Jump up ^ Marianne Walker (1993), Margaret Mitchell and John Marsh: the love story behind Gone With the Wind, Atlanta: Peachtree Publishers, p. vii (preface to 2011 edition). ISBN 978-1-56145-617-8
137.Jump up ^ Dawn B. Sova (2006), Banned Books: Literature Suppressed on Social Grounds, New York: Infobase Publishing, p. 166. ISBN 0-8160-6271-4
138.Jump up ^ 5 Honors Awarded on the Year's Books: ..., The New York Times, Feb 26, 1937, page 23. ProQuest Historical Newspapers The New York Times (1851–2007)
139.Jump up ^ The Bible is America's Favorite Book Followed by Gone With the Wind, (April 8, 2008) Business Wire. Retrieved May 10, 2011.
140.Jump up ^ The Bible Remains America's Favorite Book Retrieved April 29, 2014.
141.^ Jump up to: a b Brown, Ellen F., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, p. 320.
142.Jump up ^ Full List-ALL TIME 100 Novels, Lev Grossman and Richard Lacayo, (October 16, 2005) TIME. Retrieved May 10, 2011.
143.Jump up ^ TIME'S List of the 100 Best Novels, James Kelly, (October 16, 2005) TIME. Retrieved May 10, 2011
144.Jump up ^ "BBC - The Big Read". BBC. April 2003, Retrieved October 27, 2012
145.Jump up ^ Gone with the Wind (1939)at IMDb. Retrieved February 11, 2013.
146.Jump up ^ Brown, E. F., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, p. 292-293.
147.Jump up ^ Gone with the Wind (Moon 1977) Retrieved February 3, 2014.
148.Jump up ^ Gone with the Wind (Moon 2014) Retrieved February 3, 2014.
149.Jump up ^ fr:Autant en emporte le vent (comédie musicale)
150.Jump up ^ Gone With The Wind, New London Theatre, London, Michael Billingon, (April 22, 2008)The Guardian. Retrieved February 11, 2013.
151.Jump up ^ Gone With the Wind Dvorak, A. / Pártay L. Retrieved November 6, 2012
152.Jump up ^ "Gone With the Wind" is frankly worth giving a damn about. Retrieved March 9, 2013.
153.Jump up ^ Walker, M.,, Margaret Mitchell and John Marsh: the love story behind Gone With the Wind, p. 454.
154.Jump up ^ I Love Lucy-Lucy Writes a Novel. Retrieved February 11, 2013
155.Jump up ^ Marylou Morano Kjelle (2008), S. E. Hinton: Author of The Outsiders, Lake Book Mfg, p. 28. ISBN 978-0-7660-2720-6
156.Jump up ^ The Carol Burnett Show: Season 10, Episode 8. Retrieved February 11, 2013.
157.Jump up ^ "Carol Burnett—We Just Can’t Resist Her!". May 14, 2009. Retrieved August 19, 2011.
158.Jump up ^ "Groan With the Wind", Jack Davis and Stan Hart (January 1991), Mad #300.
159.Jump up ^ Young, E., Disarming the Nation: women's writing and the American Civil War, p. 281
160.Jump up ^ MADtv (season 12)
161.Jump up ^ Gone With the Wind (Alternate Endings). Retrieved September 19, 2012.
162.^ Jump up to: a b Gone With the Wind Stamps
163.Jump up ^ Margaret Mitchell and Pat Conroy (1936), Gone With the Wind, 75th Anniversary Edition (2011 paperback), New York: Scribner. ISBN 978-1-4516-3562-1
164.Jump up ^ Frankly, My Dear, the ‘Windies’ Do Live for This Kim Severson, (April 13, 2011) The New York Times. Retrieved May 2, 2013.
165.Jump up ^ Joel Williamson (1993), William Faulkner and Southern History, Oxford University Press, p. 245. ISBN 0-19-507404-1
166.Jump up ^ Flora, J.M., et al., The Companion to Southern Literature: themes, genres, places, people, movements and motifs, p. 143.
167.Jump up ^ Dickey, J. W., A Tough Little Patch of History: Gone with the Wind and the politics of memory, p. 40.
168.Jump up ^ Books That Shaped America Retrieved July 5, 2012.
169.Jump up ^ Perry, C., et al., The History of Southern Women's Literature, p. 266-267.
170.Jump up ^ Reading Gone With the Wind in Pyongyang, Tim Sullivan, (October 25, 2012) TIME magazine. Retrieved November 4, 2012.
171.Jump up ^ Gone With the Wind' still blowing them away 75 years on, Chris Melzer, (July 4, 2011) The China Post. Retrieved August 19, 2012.
172.Jump up ^ Brown, E. F., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, p. 278.
173.Jump up ^ "Margaret Mitchell's Nephew Leaves Estate to Atlanta Archdiocese", Shelia M. Poole, (August 16, 2012) The Atlanta Journal-Constitution. Retrieved August 17, 2012.
174.Jump up ^ Brown, E. F., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, p. 271-272.
175.Jump up ^ A Piece of ‘Gone With the Wind’ Isn’t Gone After All Charles McGrath, (March 29, 2011) The New York Times. Retrieved October 29, 2012.
176.Jump up ^ Brown, E. F., et al., Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood, p. 61, 75, 81-82 & 91.
177.Jump up ^ Copyright page, 1946 copy
178.^ Jump up to: a b on 1937 copyright page
179.Jump up ^ Alexandra Ripley (1994), Scarlett, Pan Books. ISBN 978-0-330-30752-9
180.Jump up ^ IMDb Scarlett (TV mini-series 1994)
181.Jump up ^ Donald McCaig (2007), Rhett Butler's People, Macmillan. ISBN 978-0-312-94578-7/
182.Jump up ^ Mammy Revealed, and Not Just Her Red Petticoat ‘Gone With the Wind’ Prequel Coming in October Julie Bosman (March 26, 2014) The New York Times. Retrieved March 26, 2014.
183.Jump up ^ Alice Randall (2001), The Wind Done Gone, Houghton Mifflin Harcourt. ISBN 978-0-618-10450-5.
184.Jump up ^ Katherine Pinotti (2008), The Winds of Tara, Fontaine Press. ISBN 978-0-9803623-5-0
185.Jump up ^ "Frankly My Dear, Russians Do Give a Damn", Alessandra Stanley, (August 29, 1994) The New York Times. Retrieved June 10, 2011.
186.Jump up ^ |Sequels of famous novels
Further reading[edit]
Adams, Amanda. "'Painfully Southern': Gone with the Wind, the Agrarians, and the Battle for the New South," Southern Literary Journal (2007) 40:58–75.
Bonner, Peter. "Lost In Yesterday: Commemorating The 70th Anniversary of Margaret Mitchell's 'Gone With The Wind' ". (Marietta, Georgia: First Works Publishing Co., Inc., 2006). ISBN 978-0-9716158-9-2.
Brown, Ellen F. and John Wiley, Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood. Lanham: Taylor Trade, 2011. ISBN 978-1-58979-567-9.
Dickey, Jennifer W. A Tough Little Patch of History: Gone with the Wind and the Politics of Memory (University of Arkansas Press, 2014) 220 pp. looks at museums and historic sites
Farr, Finis. Margaret Mitchell of Atlanta: The Author of Gone with the Wind (New York: Morrow, 1965)
Harwell, Richard, ed. Gone with the Wind as Book and Film (U. of South Carolina Press, 1983)
Harwell, Richard, ed. Margaret Mitchell’s Gone with the Wind Letters, 1936–1949 (Macmillan, 1976)
Haskell, Molly. Frankly My Dear: Gone with the Wind Revisited (Yale U. Press, 2010)
Pyron, Darden Asbury, ed. Recasting: Gone with the Wind in American Culture (Florida International Univ. Press, 1983)
Pyron, Darden Asbury. Southern Daughter: The Life of Margaret Mitchell and the Making of Gone with the Wind (Athens, Ga.: Hill Street Press, 1991).
Rubin, Anne Sarah. "Revisiting Classic Civil War Books: 'Why Gone with the Wind Still Matters; or, Why I Still Love Gone with the Wind,'" Civil War History (March 2013) 59#1 pp 93–98 online
External links[edit]
 Wikiquote has quotations related to: Gone with the Wind
The Scarlett Letter, a quarterly publication devoted to the GWTW phenomenon


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 http://en.wikipedia.org/wiki/Gone_with_the_Wind














Gone with the Wind (film)
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Gone with the Wind
A film poster showing a man and a woman in a passionate embrace.
Theatrical pre-release poster

Directed by
Victor Fleming
Produced by
David O. Selznick
Screenplay by
Sidney Howard
Based on
Gone with the Wind
 by Margaret Mitchell
Starring
Clark Gable
Vivien Leigh
Leslie Howard
Olivia de Havilland

Music by
Max Steiner
Cinematography
Ernest Haller
Edited by
Hal C. Kern
James E. Newcom

Production
 company
Selznick International Pictures
Metro-Goldwyn-Mayer

Distributed by
Loew's, Inc.
Release dates
December 15, 1939 (Atlanta premiere)

Running time
221 minutes
234–238 minutes (with overture, intermission, entr'acte, and exit music)

Country
United States
Language
English
Budget
$3.85 million
Box office
$390 million
Gone with the Wind is a 1939 American epic historical romance film adapted from Margaret Mitchell's Pulitzer-winning 1936 novel. It was produced by David O. Selznick of Selznick International Pictures and directed by Victor Fleming. Set in the 19th-century American South, the film tells the story of Scarlett O'Hara, the strong-willed daughter of a Georgia plantation owner, from her romantic pursuit of Ashley Wilkes, who is married to his cousin, Melanie Hamilton, to her marriage to Rhett Butler. Set against the backdrop of the American Civil War and Reconstruction era, the story is told from the perspective of white Southerners. The leading roles are portrayed by Vivien Leigh (Scarlett), Clark Gable (Rhett), Leslie Howard (Ashley), and Olivia de Havilland (Melanie).
The production of the film was troubled from the start. Filming was delayed for two years due to David O. Selznick's determination to secure Clark Gable for the role of Rhett Butler, and the "search for Scarlett" led to 1,400 women being interviewed for the part. The original screenplay was written by Sidney Howard, but underwent many revisions by several writers in an attempt to get it down to a suitable length. The original director, George Cukor, was fired shortly after filming had begun and was replaced by Victor Fleming, who in turn was briefly replaced by Sam Wood while Fleming took some time off due to exhaustion.
The film received positive reviews upon its release in December 1939, although some reviewers found it dramatically lacking and bloated. The casting was widely praised and many reviewers found Vivien Leigh especially suited to her role as Scarlett. At the 12th Academy Awards held in 1940, it received ten Academy Awards (eight competitive, two honorary) from thirteen nominations, including wins for Best Picture, Best Director (Victor Fleming), Best Adapted Screenplay (posthumously awarded to Sidney Howard), Best Actress (Vivien Leigh) and Best Supporting Actress (Hattie McDaniel, becoming the first African-American to win an Academy Award). It set records for the total number of wins and nominations at the time. The film was immensely popular, becoming the highest-earning film made up to that point, and retained the record for over a quarter of a century. Adjusted for inflation, it is still the most successful film in box-office history.
The film has been criticized as historical revisionism glorifying slavery, but nevertheless it has been credited for triggering changes to the way African Americans are depicted on film. It was re-released periodically throughout the 20th century and became ingrained in popular culture. It has placed in the top ten of the American Film Institute's list of top 100 American films since the list's inception in 1998, and in 1989, Gone with the Wind was selected to be preserved by the National Film Registry.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Casting
3.2 Screenplay
3.3 Filming
3.4 Music
4 Release 4.1 Preview, premiere and initial release
4.2 Later releases
4.3 Television and home video
5 Reception 5.1 Critical response
5.2 Accolades
5.3 African-American reaction
5.4 Box office
6 Analysis 6.1 Critical re-evaluation
6.2 Racial criticism
6.3 Depiction of marital rape
7 Legacy 7.1 In popular culture
7.2 Sequel
7.3 Recognition
8 See also
9 Notes
10 References
11 Further reading
12 External links

Plot[edit]
Part 1
On the eve of the American Civil War in 1861, Scarlett O'Hara lives at Tara, her family's cotton plantation in Georgia, with her parents and two sisters. Scarlett learns that Ashley Wilkes—whom she secretly loves—is to be married to his cousin, Melanie Hamilton, and the engagement is to be announced the next day at a barbecue at Ashley's home, the nearby plantation Twelve Oaks.
At the Twelve Oaks party, Scarlett notices that she is being admired by Rhett Butler, who has been disowned by his family. Rhett finds himself in further disfavor among the male guests when, during a discussion of the probability of war, he states that the South has no chance against the superior numbers and industrial might of the North. Scarlett secretly confesses to Ashley that she loves him, but he rebuffs her by responding that he and the sweet Melanie are more compatible. Afterwards, Rhett reveals to Scarlett he has overheard their conversation, but promises to keep her secret. The barbecue is disrupted by the declaration of war and the men rush to enlist. As Scarlett watches Ashley kiss Melanie goodbye from the upstairs window, Melanie's shy younger brother Charles asks for her hand in marriage before he goes. Though she does not love him, Scarlett consents, and they are married before he leaves to fight.
Scarlett is quickly widowed when Charles dies from a bout of pneumonia and measles while serving in the Confederate Army. Scarlett's mother sends her to the Hamilton home in Atlanta to cheer her up, although the O'Haras' outspoken housemaid Mammy tells Scarlett she knows she is going there only to wait for Ashley's return. Scarlett, who should not attend a party while in deep mourning, attends a charity bazaar in Atlanta with Melanie. There, Scarlett is the object of shocked comments on the part of the elderly women who represent proper Atlanta society. Rhett, now a blockade runner for the Confederacy, makes a surprise appearance. To raise money for the Confederate war effort, gentlemen are invited to offer bids for ladies to dance with them. Rhett makes an inordinately large bid for Scarlett and, to the disapproval of the guests, Scarlett agrees to dance with him. As they dance, Rhett tells her he intends to win her, which she says will never happen.
The tide of war turns against the Confederacy after the Battle of Gettysburg in which many of the men of Scarlett's town are killed. Scarlett makes another unsuccessful appeal to Ashley while he is visiting on Christmas furlough, although they do share a private and passionate kiss in the parlor on Christmas Day, just before he returns to war.
Eight months later, as the city is besieged by the Union Army in the Atlanta Campaign, Melanie goes into premature and difficult labor. Keeping her promise to Ashley to take care of Melanie, Scarlett and her young house servant Prissy must deliver the child without medical assistance. Scarlett calls upon Rhett to bring her home to Tara immediately with Melanie, Prissy, and the baby. He appears with a horse and wagon and takes them out of the city through the burning depot and warehouse district. Instead of accompanying her all the way to Tara, he sends her on her way with a nearly dead horse, helplessly frail Melanie, her baby, and tearful Prissy, and with a passionate kiss as he goes off to fight. On her journey home, Scarlett finds Twelve Oaks burned, ruined and deserted. She is relieved to find Tara still standing but deserted by all except her parents, her sisters, and two servants: Mammy and Pork. Scarlett learns that her mother has just died of typhoid fever and her father's mind has begun to fail under the strain. With Tara pillaged by Union troops and the fields untended, Scarlett vows she will do anything for the survival of her family and herself.
Part 2
Scarlett sets her family and servants to picking the cotton fields, facing many hardships along the way, including the killing of a Union deserter who attempts to rape her during a burglary. With the defeat of the Confederacy and war's end, Ashley 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. Meanwhile, Scarlett's father dies after he is thrown from his horse in an attempt to chase away a scalawag from his property.
Scarlett realizes she cannot pay the rising taxes on Tara implemented by Reconstructionists, so pays a visit to Rhett in Atlanta. However, upon her visit, Rhett, now in jail, tells her his foreign bank accounts have been blocked, and that her attempt to get his money has been in vain. As Scarlett departs, she encounters her sister's fiancé, the middle-aged Frank Kennedy, who now owns a successful general store and lumber mill. Scarlett lies to Frank by saying Suellen got tired of waiting and married another beau, and after becoming Mrs. Frank Kennedy, Scarlett takes over his business and becomes wealthy. When Ashley is offered a job with a bank in the north, Scarlett uses emotional blackmail to persuade him to take over managing the mill.
Frank, Ashley, Rhett and several other accomplices make a night raid on a shanty town after Scarlett narrowly escapes an attempted gang rape while driving through it alone, resulting in Frank's death. With Frank's funeral barely over, Rhett visits Scarlett and proposes marriage, and she accepts. They 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.
When visiting the mill one day, Scarlett and Ashley are spied in an embrace by two gossips, including Ashley's sister, India (who dislikes Scarlett). They eagerly spread the rumor, and Scarlett's reputation is again sullied. Later that evening, Rhett, having heard the rumors, forces Scarlett to attend a birthday party for Ashley. Incapable of believing anything bad of her beloved sister-in-law, Melanie stands by Scarlett's side so that all know that she believes the gossip to be false. After returning home from the party, Scarlett finds Rhett downstairs drunk, and they argue about Ashley. Seething with jealousy, Rhett grabs Scarlett's head and threatens to smash in her skull. When she taunts him that he has no honor Rhett retaliates by forcing himself onto her, kissing Scarlett against her will, and states his intent to have sex with her that night. Frightened, she attempts to physically resist him, but Rhett overpowers her 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.
After Rhett returns from an extended trip to London, Scarlett's attempts at reconciliation are rebuffed. She informs him that she is pregnant, but an argument ensues which results in Scarlett falling down a flight of stairs and suffering a miscarriage. As Scarlett is recovering, tragedy strikes when Bonnie dies while attempting to jump a fence with her pony. Melanie visits their home to comfort them, but then collapses during a second pregnancy she was warned could kill her.
On her deathbed, Melanie asks Scarlett to look after Ashley for her and to be kind to Rhett. As Scarlett consoles Ashley, Rhett quickly leaves and returns home. Realizing that Ashley only ever truly loved Melanie, Scarlett dashes after Rhett to find him preparing to leave for good. She pleads with him, telling him she realizes now that she had loved him all along, and that she never really loved Ashley. However, he refuses, saying that with Bonnie's death went any chance of reconciliation. As Rhett is about to walk out the door, Scarlett begs him to stay but to no avail, and he walks away into the early morning fog leaving Scarlett weeping on the staircase and vowing to one day win back his love.
Cast[edit]
Despite receiving top-billing in the opening credits, Clark Gable—along with Leigh, Howard and de Havilland who receive second, third and fourth billing respectively—have a relatively low placing in the cast list, due to its unusual structure. Rather than ordered by conventional billing, the cast is broken down into three sections: the Tara plantation, Twelve Oaks, and Atlanta. The cast's names are ordered according to the social rank of the characters; therefore Thomas Mitchell, who plays Gerald O'Hara, leads the cast list as the head of the O'Hara family, while Barbara O'Neil as his wife receives the second credit and Vivien Leigh as the eldest daughter the third credit, despite having the most screen time. Similarly, Howard C. Hickman as John Wilkes is credited over Leslie Howard who plays his son, and Clark Gable, who plays only a visitor at Twelve Oaks, receives a relatively low credit in the cast list, despite being presented as the "star" of the film in all the promotional literature.[1] Following the death of Mary Anderson—who played Maybelle Merriwether—in April 2014, there are just two surviving credited cast members from the film: Olivia de Havilland who played Melanie Wilkes and Mickey Kuhn, who played her son Beau Wilkes.[2]





Clark Gable



Vivien Leigh



Leslie Howard



Olivia de Havilland
Tara plantationThomas Mitchell as Gerald O'Hara
Barbara O'Neil as Ellen O'Hara (his wife)
Vivien Leigh as Scarlett O'Hara (daughter)
Evelyn Keyes as Suellen O'Hara (daughter)
Ann Rutherford as Carreen O'Hara (daughter)
George Reeves as Brent Tarleton (actually as Stuart)[nb 1]
Fred Crane as Stuart Tarleton (actually as Brent)[nb 1]
Hattie McDaniel as Mammy (house servant)
Oscar Polk as Pork (house servant)
Butterfly McQueen as Prissy (house servant)
Victor Jory as Jonas Wilkerson (field overseer)
Everett Brown as Big Sam (field foreman)
At Twelve OaksHoward C. Hickman as John Wilkes
Alicia Rhett as India Wilkes (his daughter)
Leslie Howard as Ashley Wilkes (his son)
Olivia de Havilland as Melanie Hamilton (Ashley's cousin)
Rand Brooks as Charles Hamilton (Melanie's brother)
Carroll Nye as Frank Kennedy (the guest)
Clark Gable as Rhett Butler
In AtlantaLaura Hope Crews as Aunt Pittypat Hamilton
Eddie Anderson as Uncle Peter (her coachman)
Harry Davenport as Doctor Meade
Leona Roberts as Mrs. Meade
Jane Darwell as Mrs. Merriwether
Ona Munson as Belle Watling
Minor supporting rolesPaul Hurst as the Yankee deserter
Cammie King Conlon as Bonnie Blue Butler
J.M. Kerrigan as Johnny Gallagher
Jackie Moran as Phil Meade
Lillian Kemble-Cooper as Bonnie's nurse in London
Marcella Martin as Cathleen Calvert
Mickey Kuhn as Beau Wilkes
Irving Bacon as the Corporal
William Bakewell as the mounted officer
Isabel Jewell as Emmie Slattery
Eric Linden as the amputation case
Ward Bond as Tom, the Yankee captain
Cliff Edwards as the reminiscent soldier
Yakima Canutt as the renegade
Louis Jean Heydt as the hungry soldier holding Beau Wilkes
Olin Howland as the carpetbagger businessman
Robert Elliott as the Yankee major
Mary Anderson as Maybelle Merriwether
Production[edit]
Before publication of the novel, several Hollywood executives and studios declined to create a film based on it, including Louis B. Mayer and Irving Thalberg at Metro-Goldwyn-Mayer (MGM), Pandro Berman at RKO Pictures, and David O. Selznick of Selznick International Pictures. Jack Warner liked the story, but Warner Bros.'s biggest star Bette Davis was uninterested, and Darryl Zanuck of 20th Century-Fox did not offer enough money. Selznick changed his mind after his story editor Kay Brown and business partner John Hay Whitney urged him to buy the film rights. In July 1936—a month after it was published—Selznick bought the rights for $50,000.[3][4][5]
Casting[edit]



 Publicity photo of Clark Gable and Vivien Leigh as Rhett and Scarlett
The casting of the two lead roles became a complex, two-year endeavor. For the role of Rhett Butler, Selznick wanted Clark Gable from the start, but Gable was under contract to MGM, who never loaned him to other studios.[3] Gary Cooper was considered, but Samuel Goldwyn—to whom Cooper was under contract—refused to loan him out.[6] Warner offered a package of Bette Davis, Errol Flynn, and Olivia de Havilland for lead roles in return for the distribution rights.[7] By this time, Selznick was determined to get Gable and eventually struck a deal with MGM. Selznick's father-in-law, MGM chief Louis B. Mayer, offered in August 1938 to provide Gable and $1,250,000 for half of the film's budget but for a high price: Selznick would have to pay Gable's weekly salary, and half the profits would go to MGM while Loew's, Inc—MGM's parent company—would release the film.[3][6]
The arrangement to release through MGM meant delaying the start of production until the end of 1938, when Selznick's distribution deal with United Artists concluded.[6] Selznick used the delay to continue to revise the script and, more importantly, build publicity for the film by searching for the role of Scarlett. Selznick began a nationwide casting call that interviewed 1,400 unknowns. The effort cost $100,000 and was useless for the film, but created "priceless" publicity.[3] Early frontrunners included Miriam Hopkins and Tallulah Bankhead, who were regarded as possibilities by Selznick prior to the purchase of the film rights; Joan Crawford, who was signed to MGM, was also considered as a potential pairing with Gable. After a deal was struck with MGM, Selznick held discussions with Norma Shearer—who was MGM's top female star at the time—but she withdrew herself from consideration. 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.[6][7][8]
Many famous—or soon-to-be-famous—actresses were considered, but only thirty-one women were actually screen-tested for Scarlett including Ardis Ankerson, Jean Arthur, Tallulah Bankhead, Diana Barrymore, Joan Bennett, Nancy Coleman, Frances Dee, Ellen Drew (as Terry Ray), Paulette Goddard, Susan Hayward (under her real name of Edythe Marrenner), Vivien Leigh, Anita Louise, Haila Stoddard, Margaret Tallichet, Lana Turner and Linda Watkins.[9] Although Margaret Mitchell refused to publicly name her choice, the actress who came closest to winning her approval was Miriam Hopkins, who Mitchell felt was just the right type of actress to play Scarlett as written in the book. However, Hopkins was in her mid-thirties at the time and was considered too old for the part.[6][7][8] Four actresses, including Jean Arthur and Joan Bennett, were still under consideration by December 1938; however, only two finalists, Paulette Goddard and Vivien Leigh, were tested in Technicolor, both on December 20.[10] Goddard almost won the role, but controversy over her marriage with Charlie Chaplin caused Selznick to change his mind.[3]
Selznick had been quietly considering Vivien Leigh, a young English actress who was still little known in America, for the role of Scarlett since February 1938 when Selznick saw her in Fire Over England and A Yank at Oxford. 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 1938 the Selznicks were negotiating with Alexander Korda, to whom Leigh was under contract, for her services later that year.[11] Selznick's brother arranged for them to meet for the first time on the night of December 10, 1938, when the burning of Atlanta was filmed. 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, 1939.[12] Just before the shooting of the film, Selznick informed newspaper columnist Ed Sullivan: "Scarlett O'Hara's parents were French and Irish. Identically, Miss Leigh's parents are French and Irish."[13]
Screenplay[edit]
Of 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 ... and Howard's first submission was far too long, and would have required at least six hours of film; ... [producer] Selznick wanted Howard to remain on the set to make revisions ... but Howard refused to leave New England [and] as a result, revisions were handled by a host of local writers".[14] Selznick dismissed director George Cukor three weeks into filming and sought out Victor Fleming, who was directing The Wizard of Oz at the time. Fleming was dissatisfied with the script, so Selznick brought in famed writer 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.[15]



 David O. Selznick in 1940
"By the time of the film's release in 1939, there was some question as to who should receive screen credit," writes Yeck. "But despite the number of writers and changes, the final script was remarkably close to Howard's version. 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 1939 Sidney Howard died at age 48 in a farm-tractor accident, and before the movie's premiere."[14] Selznick, in a memo written in October 1939, discussed the film's writing credits: "[Y]ou can say frankly that of the comparatively small amount of material in the picture which is not from the book, most is my own personally, and the only original lines of dialog which are not my own are a few from Sidney Howard and a few from Ben Hecht and a couple more from John Van Druten. 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."[16]
According to Hecht biographer, William MacAdams, "At dawn on Sunday, February 20, 1939, David Selznick ... and director Victor Fleming shook Hecht awake to inform him he was on loan from MGM and must come with them immediately and go to work on Gone with the Wind, which Selznick had begun shooting five weeks before. It was costing Selznick $50,000 each day the film was on hold waiting for a final screenplay rewrite and time was of the essence. 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 would act out 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 ... thus on the seventh day I had completed, unscathed, the first nine reels of the Civil War epic."
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. P. Garrett and Barbara Keon to screenplay construction, and Hecht, to dialogue ..."[17]
Filming[edit]
Principal photography began January 26, 1939, and ended on July 1, with post-production work continuing until November 11, 1939. 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.[7][nb 2] Selznick and Cukor had already disagreed over the pace of filming and the script,[7][18] but other explanations put Cukor's departure down to Gable's discomfort at working with him. Emanuel Levy, Cukor's biographer, claimed that Clark 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.[20] Vivien Leigh and Olivia de Havilland learned of Cukor's firing on the day the Atlanta bazaar scene was filmed, and the pair went to Selznick's office in full costume and implored him to change his mind. Victor Fleming, who was directing The Wizard of Oz, was called in from MGM to complete the picture, although Cukor continued privately to coach Leigh and De Havilland.[15] Another MGM director, Sam Wood, worked for two weeks in May when Fleming temporarily left the production due to exhaustion. 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.[7]


File:Burning of Atlanta.ogg
Play media


 The "burning" of Atlanta from the film trailer
Cinematographer Lee Garmes began the production, but on March 11, 1939—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.[21] Most of the filming was done on "the back forty" of Selznick International with all the location scenes being photographed in California, mostly in Los Angeles County or neighboring Ventura County.[22] Tara, the fictional Southern plantation house, existed only as a plywood and papier-mâché facade built on the "back forty" California studio lot.[23] For the burning of Atlanta, other false facades were built in front of the "back forty"'s many abandoned sets, and Selznick himself operated the controls for the explosives that burned them down.[3] Sources at the time put the estimated production costs at $3.85 million, making it the second most expensive film made up to that point, with only Ben-Hur (1925) having cost more.[24][nb 3]
Although legend persists that the Hays Office fined Selznick $5,000 for using the word "damn" in Butler's exit line, in fact the Motion Picture Association board passed an amendment to the Production Code on November 1, 1939, that forbade use of the words "hell" or "damn" except when their use "shall be essential and required for portrayal, in proper historical context, of any scene or dialogue based upon historical fact or folklore ... or a quotation from a literary work, provided that no such use shall be permitted which is intrinsically objectionable or offends good taste." With that amendment, the Production Code Administration had no further objection to Rhett's closing line.[26]
Music[edit]










 "Tara's Theme" from the film trailer
To compose the score, Selznick chose Max Steiner, with whom he had worked at RKO Pictures in the early 1930s. Warner Bros.—who had contracted Steiner in 1936—agreed to lend him to Selznick. 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. Five orchestrators were hired, including Hugo Friedhofer, Maurice de Packh, Bernard Kaun, Adolph Deutsch and Reginald Bassett. 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. Steiner drew considerably on folk and patriotic music, which included Stephen Foster tunes such as "Louisiana Belle," "Dolly Day," "Ringo De Banjo," "Beautiful Dreamer," "Old Folks at Home," and "Katie Belle," which formed the basis of Scarlett's theme; other tunes that feature prominently are: "Marching through Georgia" by Henry Clay Work, "Dixie," "Garryowen" and "The Bonnie Blue Flag." The theme that is most associated with the film today is the melody that accompanies Tara, the O'Hara plantation; in the early 1940s, "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.[27]
Release[edit]
Preview, premiere and initial release[edit]
On September 9, 1939, Selznick, his wife, Irene, investor John "Jock" Whitney and film editor Hal Kern drove out to Riverside, California to preview it at the Fox Theatre. 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, but would later be cut down to under four hours for its proper release. A double bill of Hawaiian Nights and Beau Geste was playing, and 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.[7][28] In his biography of Selznick, David Thomson wrote that the audience's response before the film had even started "was the greatest moment of [Selznick's] life, the greatest victory and redemption of all his failings",[29] with Selznick describing the preview cards as "probably the most amazing any picture has ever had."[30] When Selznick was asked by the press in early September how he felt about the film, he said: "At noon I think it's divine, at midnight I think it's lousy. Sometimes I think it's the greatest picture ever made. But if it's only a great picture, I'll still be satisfied."[24]
One million people came to Atlanta for the film's premiere at the Loew's Grand Theatre on December 15, 1939. 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 residents and visitors to Atlanta lined the streets for up to seven miles to watch a procession of limousines bring the stars from the airport. Only Leslie Howard and Victor Fleming chose not to attend: Howard had returned to England due to the outbreak of World War II, and Fleming had fallen out with Selznick and declined to attend any of the premieres.[24][30] Hattie McDaniel was also absent, as she and the other black actors from the film were prevented from attending the premiere due to Georgia's Jim Crow laws, which would have kept them from sitting with the white members of the cast. Upon learning that McDaniel had been barred from the premiere, Clark Gable threatened to boycott the event, but McDaniel convinced him to attend.[31] President Jimmy Carter would later recall it as "the biggest event to happen in the South in my lifetime."[32] Premieres in New York and Los Angeles followed, the latter attended by some of the actresses that had been considered for the part of Scarlett, among them Paulette Goddard, Norma Shearer and Joan Crawford.[30]
From December 1939 to July 1940, the film played only advance-ticket road show engagements at a limited number of theaters at prices upwards of $1—more than double the price of a regular first-run feature—with MGM collecting an unprecedented 70 percent of the box office receipts (as opposed to the typical 30–35 percent of the period). 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 1941 at "popular" prices.[33] Along with its distribution and advertising costs, total expenditure on the film was as high as $7 million.[30][34]
Later releases[edit]



 1967 re-release poster
In 1942, Selznick liquidated his company for tax reasons, and sold his share in Gone with the Wind to his business partner, John Whitney, for $500,000. In turn, Whitney sold it on to MGM for $2.8 million, so that the studio more or less owned the film outright.[34] MGM first re-released the film in 1947, and again in 1954;[7] the 1954 reissue was the first time the film was shown in widescreen, compromising the original Academy ratio and cropping the top and bottom to an aspect ratio of 1.75:1. 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.[35] A 1961 release commemorated the centennial anniversary of the start of the Civil War, and 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;[36] Clark Gable had died the previous year.[37] For its 1967 re-release, it was blown up to 70mm,[7] and issued with updated poster artwork featuring Gable—with his white shirt ripped open—holding Leigh against a backdrop of orange flames.[36] There were further re-releases in 1971, 1974 and 1989; for the fiftieth anniversary reissue in 1989, it was given a complete audio and video restoration. It was released theatrically one more time in the United States, in 1998.[38][39] In 2013, a 4K digital restoration was released in the United Kingdom to coincide with Vivien Leigh's centenary.[40] In 2014, special screenings were scheduled over a two-day period at theaters across the United States to coincide with the film's 75th anniversary.[41]
Television and home video[edit]
The film received its world television premiere on the HBO cable network on June 11, 1976, and played on the channel for a total of fourteen times throughout the rest of the month. It made its network television debut in November later that year: NBC paid $5 million for a one-off airing, and it was broadcast in two parts on successive evenings. It became at that time the highest-rated television program ever presented on a single network, watched by 47.5 percent of the households sampled in America, and 65 percent of television viewers. In 1978, CBS signed a deal worth $35 million to broadcast the film twenty times over as many years.[15][39] Turner Entertainment acquired the MGM film library in 1986, but the deal did not include the television rights to Gone with the Wind, which were still held by CBS. A deal was struck in which the rights were returned to Turner Entertainment and CBS's broadcast rights to The Wizard of Oz were extended.[15] It was used to launch two cable channels owned by Turner Broadcasting System: Turner Network Television (1988) and Turner Classic Movies (1994).[42][43] It debuted on videocassette in March 1985, where it placed second in the sales charts,[15] and has since been released on DVD and Blu-ray Disc formats.[36]
Reception[edit]
Critical response[edit]
Gone with the Wind was well received upon its release, with most consumer magazines and newspapers giving it generally excellent reviews.[7] However, while its production values, technical achievements and scale of ambition were universally recognized, some of the more notable reviewers of the time found the film to be dramatically lacking. 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 nevertheless found it to be an "interesting story beautifully told".[44] Franz Hoellering of The Nation was of the same opinion: "The result is a film which is a major event in the history of the industry but only a minor achievement in motion-picture art. There are moments when the two categories meet on good terms, but the long stretches between are filled with mere spectacular efficiency."[45]
“ The result is a film which is a major event in the history of the industry but only a minor achievement in motion-picture art. ”
—Franz Hoellering, reviewer for The Nation

While the film was praised for its fidelity to the novel,[44] this aspect was also singled out as the main factor in contributing to the bloated running time, which many critics felt was to the detriment of the overall dramatic impact.[46] John C. Flinn wrote for Variety that Selznick had "left too much in", and that as entertainment, the film would have benefitted if repetitious scenes and dialog from the latter part of the story had been trimmed.[46] The Manchester Guardian felt that the film's one serious drawback was that the story lacked the epic quality to justify the outlay of time, and found the second half which focuses on Scarlett's "irrelevant marriages" and "domestic squabbles" mostly superfluous, and the sole reason for their inclusion had been "simply because Margaret Mitchell wrote it that way". 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."[47] Likewise, Hoellering also found the second half of the film to be weaker than the first half: identifying the Civil War to be the driving force of the first part while the characters dominate in the second part, he concluded this is where the main fault of the picture lay, commenting that "the characters alone do not suffice". Despite many excellent scenes, he considered the drama to be unconvincing and that the "psychological development" had been neglected.[45]
Much of the praise was reserved for the impeccable 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".[44] Similarly, Hoellering found her "perfect" in "appearance and movements"; he felt her acting best when she was allowed to "accentuate the split personality she portrays", and thought she was particularly effective in such moments of characterization like the morning after the marital rape scene.[45] Flinn also found Leigh suited to the role physically, and felt she was best in the scenes where she displays courage and determination, such as the escape from Atlanta, and when Scarlett kills a Yankee deserter.[46] Of Clark Gable's performance as Rhett Butler, Flinn felt the characterization was "as close to Miss Mitchell's conception—and the audience's—as might be imagined",[46] a view which Nugent concurred with,[44] although Hoellering felt that Gable didn't quite convince in the closing scenes, as Rhett walks out on Scarlett in disgust.[45] Of the other principal cast members, both Hoellering and Flinn found Leslie Howard to be "convincing" as the weak-willed Ashley, with Flinn identifying Olivia de Havilland as a "standout" as Melanie;[45][46] Nugent was also especially taken with de Havilland's performance, describing it as a "gracious, dignified, tender gem of characterization".[44] Hattie McDaniel's performance as Mammy was singled out for praise by many critics: Nugent believed she gave the best performance in the film after Vivien Leigh,[44] with Flinn placing it third after Leigh's and Gable's performances.[46]
Accolades[edit]
At the 12th Academy Awards held in 1940, 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. It won for Best Picture, Best Actress, Best Supporting Actress, Best Director, Best Screenplay, Best Cinematography, Best Interior Decoration and Best Editing, and received two further honorary awards for its use of equipment and color (it also became the first color film to win Best Picture).[48][49] Its record of eight competitive wins stood until Gigi (1958) won nine, and its overall record of ten was broken by Ben-Hur (1959) which won eleven.[50] Gone with the Wind also held the record for most nominations until All About Eve (1950) secured fourteen.[8] It was the longest American sound film made up to that point, and may still hold the record of the longest Best Picture winner depending on how it is interpreted.[51] The running time for Gone with the Wind is just under 221 minutes, while Lawrence of Arabia (1962) runs for just over 222 minutes; however, including the overture, intermission, entr'acte, and exit music, Gone with the Wind lasts for 234 minutes (although some sources put its full length at 238 minutes) while Lawrence of Arabia comes in slightly shorter at 232 minutes with its additional components.[52][53]
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.[54] Meanwhile, screenwriter Sidney Howard became the first posthumous Oscar winner, Selznick personally received the Irving G. Thalberg Memorial Award for his career achievements, and Vivien Leigh won the New York Film Critics Award for Best Actress.[8][48]
Academy Awards and nominations

Award
Recipient(s)
Result

Best Picture
Selznick International Pictures Won
Best Director
Victor Fleming Won
Best Actor
Clark Gable
 Winner was Robert Donat for Goodbye, Mr. Chips Nominated
Best Actress
Vivien Leigh Won
Best Adapted Screenplay Sidney Howard Won
Best Supporting Actress
Hattie McDaniel Won
Best Supporting Actress
Olivia de Havilland Nominated
Best Cinematography, Color
Ernest Haller and Ray Rennahan Won
Best Film Editing
Hal C. Kern and James E. Newcom Won
Best Art Direction
Lyle Wheeler Won
Best Visual Effects
Jack Cosgrove, Fred Albin and Arthur Johns
 Winners were Fred Sersen and E. H. Hansen for The Rains Came Nominated
Best Music, Original Score
Max Steiner
 Winner was Herbert Stothart for The Wizard of Oz Nominated
Best Sound Recording
Thomas T. Moulton (Samuel Goldwyn Studio Sound Department)
 Winner was Bernard B. Brown (Universal Studio Sound Department) for When Tomorrow Comes Nominated
Special Award
William Cameron Menzies
 For outstanding achievement in the use of color for the enhancement of dramatic mood in the production of Gone with the Wind. Honorary
Technical Achievement Award
Don Musgrave and Selznick International Pictures
 For pioneering in the use of coordinated equipment in the production Gone with the Wind. Honorary
African-American reaction[edit]



 Hattie McDaniel, the first African-American Oscar winner
Black commentators criticised the film for its depiction of black people and its glorification of slavery. Carlton Moss, a black dramatist, complained in an open letter that whereas The Birth of a Nation was a "frontal attack on American history and the Negro people", Gone with the Wind was a "rear attack on the same". He went on to dismiss it as a "nostalgic plea for sympathy for a still living cause of Southern reaction". Moss further criticized 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".[55] Following Hattie McDaniel's Oscar win, Walter Francis White, leader of the National Association for the Advancement of Colored People, accused her of being an Uncle Tom. 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.[54]
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.[54] Even so, some sections of the black community recognized McDaniel's achievements to be representative of progression: some African-Americans crossed picket lines and praised McDaniel's warm and witty characterization, while others hoped that the industry's recognition of her work would lead to increased visibility on screen for other black actors. 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.[54][55] Malcolm X would later recall that "when Butterfly McQueen went into her act, I felt like crawling under the rug".[56]
Box office[edit]
Upon its release, Gone with the Wind broke attendance records everywhere. At the Capitol Theatre in New York alone, it was averaging eleven thousand admissions per day in late December,[33] 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.[57][58] It repeated its success overseas, and was a sensational hit during the Blitz in London, opening in April 1940 and playing for four years.[59] Its worldwide distribution returned a gross rental (the studio's share of the box office gross) of $32 million during its initial release, making it the most profitable film ever made up to that point.[8]
Even though it earned its investors roughly twice as much as the previous record-holder, The Birth of a Nation,[60][61] 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, which represented 70 percent and 50 percent of the box-office gross respectively, before entering general release (which at the time typically saw the distributor's share set at 30–35 percent of the gross).[33] In the case of The Birth of a Nation, its distributor, Epoch, sold off many of its distribution territories on a "states rights" basis—which typically amounted to 10 percent of the box-office gross—and Epoch's accounts are only indicative of its own profits from the film, and not the local distributors. 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 1930.[62][63]
When it was re-released in 1947, it earned an impressive $5 million rental in the United States and Canada, and was one of the top ten releases of the year.[34][60] Successful re-releases in 1954 and 1961 enabled it to retain its position as the industry's top earner, despite strong challenges from more recent films such as Ben-Hur,[64] but it was finally overtaken by The Sound of Music in 1966.[65] The 1967 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. It generated a box-office gross of $68 million, making it MGM's most lucrative picture after Doctor Zhivago from the latter half of the decade.[66] MGM earned a rental of $41 million from the release,[67] with the U.S. and Canadian share amounting to over $30 million, placing it second only to The Graduate for that year.[60][67] Including its $6.7 million rental from the 1961 reissue,[68] it was the fourth highest-earner of the decade in the North American market, with only The Sound of Music, The Graduate and Doctor Zhivago making more for their distributors.[60] A further re-release in 1971 allowed it to briefly recapture the record from The Sound of Music, bringing its total worldwide gross rental to about $116 million by the end of 1971—more than trebling its earnings from its initial release—before losing the record again the following year to The Godfather.[39][69]
Across all releases, it is estimated that Gone with the Wind has sold over 200 million tickets in the United States and Canada,[57] and 35 million tickets in the United Kingdom,[70] generating more theater admissions in those territories than any other film.[71][72] In total, Gone with the Wind has grossed over $390 million globally at the box office;[73] Turner Entertainment estimates the gross to be equivalent to approximately $3.3 billion when adjusted for inflation to current prices,[8] a figure that Guinness World Records also arrived at in 2011, making it the most successful film in cinema history.[74]
Analysis[edit]
Critical re-evaluation[edit]



 First Archivist of the United States R. D. W. Connor receiving the film Gone with the Wind from Senator Walter F. George of Georgia (on the left) and Loew's Eastern Division Manager Carter Barron, 1941
In revisiting the film in the 1970s, Arthur Schlesinger noted 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.[75] Richard Schickel posits that one measure of a film's quality is to ask what you can remember of it, and the film falls down in this regard: unforgettable imagery and dialogue is simply not present.[76] Stanley Kauffmann, likewise, also found the film to be a largely forgettable experience, claiming he could only remember two scenes vividly.[77] Both Schickel and Schlesinger put this down to it being "badly written", in turn describing the dialogue as "flowery" and possessing a "picture postcard" sensibility.[75][76] Schickel also believes the film fails as popular art, in that it has limited rewatch value—a sentiment that Kauffmann also concurs with, stating that having watched it twice he hopes "never to see it again: twice is twice as much as any lifetime needs".[76][77] Both Schickel and Andrew Sarris identify the film's main failing is in possessing a producer's sensibility rather than an artistic one: having gone through so many directors and writers the film does not carry a sense of being "created" or "directed", but rather having emerged "steaming from the crowded kitchen", where the main creative force was a producer's obsession in making the film as literally faithful to the novel as possible.[76][78]
Sarris concedes that despite its artistic failings, the film does hold a mandate around the world as the "single most beloved entertainment ever produced".[78] Judith Crist observes that kitsch aside, the film is "undoubtedly still the best and most durable piece of popular entertainment to have come off the Hollywood assembly lines", the product of a showman with "taste and intelligence".[79] Schlesinger notes that the first half of the film does have a "sweep and vigor" that aspires to its epic theme, but—finding agreement with the film's contemporary criticisms—the personal lives take over in the second half, and it ends up losing its theme in unconvincing sentimentality.[75] Kauffmann also finds interesting parallels with The Godfather, which had just replaced Gone with the Wind as the highest-grosser at the time: both were produced from "ultra-American" best-selling novels, both live within codes of honor that are romanticized, and both in essence offer cultural fabrication or revisionism.[77]
Racial criticism[edit]
Gone with the Wind has been criticized as having perpetuated Civil War myths and black stereotypes.[80] David Reynolds writes that "The white women are elegant, their menfolk noble or at least dashing. And, in the background, the black slaves are mostly dutiful and content, clearly incapable of an independent existence." Reynolds likened Gone with the Wind to The Birth of a Nation and other re-imaginings of the South during the era of segregation, in which white Southerners are portrayed as defending traditional values and the issue of slavery is largely ignored.[56] The film has been described as a "regression" that promotes the myth of the black rapist and the honourable and defensive role of the Ku Klux Klan during Reconstruction,[81] and as a "social propaganda" film offering a "white supremacist" view of the past.[80] From 1972 to 1996, the Atlanta Historical Society held a number of Gone with the Wind exhibits, among them a 1994 exhibit titled, "Disputed Territories: Gone with the Wind and Southern Myths". One of the questions explored by the exhibit was "How True to Life Were the Slaves in GWTW?" This section showed slave experiences were diverse and concluded that the "happy darky" was a myth, as was the belief that all slaves experienced violence and brutality.[82]
Despite factual inaccuracies in its depiction of the Reconstruction period, it nevertheless reflects contemporary interpretations common throughout the early twentieth century. One pervasive viewpoint argued by academics 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 for their votes. The clear inference is 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 in regards 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 referring to it only as a "political meeting".[83]
Thomas Cripps has argued that the film in some respects undercuts racial stereotypes;[84] in particular, the film created greater engagement between Hollywood and black audiences,[84] with dozens of movies making small gestures in recognition of the emerging trend.[55] Only a few weeks after its initial run, a story editor at Warner wrote a memo to Walter Wanger about Mississippi Belle, a script that contained the worst excesses of plantation films, suggesting that Gone with the Wind had made the film "unproducible". 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.[55]
Depiction of marital rape[edit]
One of the most notorious and widely condemned scenes in Gone with the Wind is what the law today defines as "marital rape".[85][86] The scene begins with Scarlett and Rhett at the bottom of the staircase, where he begins to kiss her, refusing to be told 'no' by the struggling and frightened Scarlett;[87][88] Rhett overcomes her resistance and carries her up the stairs to the bedroom,[87][88] where the audience is left in no doubt that she will "get what's coming to her".[89] The next scene, the following morning, shows Scarlett glowing with barely suppressed sexual satisfaction;[87][88][89] Rhett apologizes for his behavior, blaming it on his drinking.[87] The scene has been accused of combining romance and rape by making them indistinguishable from each other,[87] and of reinforcing a notion about forced sex: that women secretly enjoy it, and it is an acceptable way for a man to treat his wife.[89]
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 when they fantasize about being raped. Their fantasies revolve around love and romance rather than forced sex; they assume that Scarlett was not an unwilling sexual partner and wanted Rhett to take the initiative and insist on having sexual intercourse.[90]
Legacy[edit]
In popular culture[edit]
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 1939 film spoofing the "search for Scarlett"—to current television shows, such as The Simpsons.[91][80][92] The Scarlett O'Hara War (a 1980 television dramatization of the casting of Scarlett),[93] Moonlight and Magnolias (a 2007 play by Ron Hutchinson that dramatizes Ben Hecht's five-day re-write of the script),[94] and "Went with the Wind!" (a sketch on The Carol Burnett Show that parodied the film in the aftermath of its television debut in 1976) are among the more noteworthy examples of its enduring presence in popular culture.[15] It was also the subject of a 1988 documentary, The Making of a Legend: Gone with the Wind, detailing the film's difficult production history.[95] In 1990, the United States Postal Service issued a stamp depicting Clark Gable and Vivien Leigh embracing in a scene from the film.[96]

AFI 100 Years... series

AFI's 100 Years...100 Movies – #4
AFI's 100 Years...100 Passions – #2
AFI's 100 Years...100 Heroes and Villains Rhett Butler, Hero – Nominated
Scarlett O'Hara, Hero – Nominated
AFI's 100 Years...100 Movie Quotes: "Frankly, my dear, I don't give a damn." – #1
"After all, tomorrow is another day!" – #31
"As God is my witness, I'll never be hungry again." – #59
"Fiddle-dee-dee." – Nominated
AFI's 100 Years of Film Scores – #2
AFI's 100 Years...100 Cheers – #43
AFI's 100 Years...100 Movies (10th Anniversary Edition) – #6
AFI's 10 Top 10 – #4 Epic film
American Film Institute[97]
Sequel[edit]
Following publication of her novel, Margaret Mitchell was inundated with requests for a sequel but claimed to not have a notion of what happened to Scarlett and Rhett, and that she had "left them to their ultimate fate". Mitchell continued to resist pressure from Selznick and MGM to write a sequel until her death in 1949. In 1975, her brother, Stephens Mitchell (who assumed control of her estate), authorized a sequel to be jointly produced by MGM and Universal Studios on a budget of $12 million. 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 775-page manuscript entitled Tara, The Continuation of Gone with the Wind, set between 1872 and 1882 focusing on Scarlett's divorce from Rhett; MGM was not satisfied with the story and the deal collapsed.[15]
The idea was revived in the 1990s, when a sequel was finally produced in 1994, in the form of a television miniseries. Scarlett was based upon 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 again becoming pregnant by Rhett.[98]
Recognition[edit]
In 2008 Gone with the Wind was voted the most popular film by Americans in a nationwide poll undertaken by Harris Interactive. The market research firm surveyed 2,279 U.S. adults, with the results weighted by age, sex, race/ethnicity, education, region and household income so their proportions matched those of the population.[99] The film has also featured in several high-profile industry polls: in 1977 it was voted the most popular film by the American Film Institute (AFI), in a poll of the organization's membership;[7] the AFI also ranked the film fourth on its "100 Greatest Movies" list in 1998,[100] with it slipping down to sixth place in the tenth anniversary edition in 2007;[101] in 2012, Sight & Sound ranked it 235th in their prestigious decennial critics poll, and 322nd in their directors poll;[102] in 2014, it placed fifteenth in a poll undertaken by The Hollywood Reporter, which ballotted every studio, agency, publicity firm and production house in the Hollywood region.[103] Gone with the Wind was selected for preservation in the U.S. National Film Registry in 1989.[8]
See also[edit]
List of films featuring slavery
Notes[edit]
1.^ Jump up to: a b The credits at the start of the film contain an error: George Reeves is listed as Brent Tarleton, but plays Stuart, while Fred Crane is listed as Stuart Tarleton, but plays Brent.[1]
2.Jump up ^ From a private letter from journalist and on-set technical advisor Susan Myrick to Margaret Mitchell in February 1939: 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... the thing did not click as it should. 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... And bull-headed David said "OK get out!"[18]Selznick had already been unhappy with Cukor ("a very expensive luxury") for not being more receptive to directing other Selznick assignments, even though Cukor had remained on salary since early 1937. In a confidential memo written in September 1938, Selznick flirted with the idea of replacing him with Victor Fleming.[16] Louis B. Mayer had been trying to have Cukor replaced with an MGM director since negotiations between the two studios began in May 1938. In December 1938, Selznick wrote to his wife about a phone call he had with Mayer: "During the same conversation, your father made another stab at getting George off of Gone With the Wind."[19]
3.Jump up ^ Time also reports that Hell's Angels (1930)—directed by Howard Hughes—cost more, but this was later revealed to be a fallacy; the accounts for Hell's Angels show it cost $2.8 million, but Hughes publicized it as costing $4 million, selling it to the media as the most expensive film ever made up to that point.[25]
References[edit]
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47.Jump up ^ "From the archive, 28 May 1940: Gone with the wind at the Gaiety". The Manchester Guardian (May 28, 2010). May 28, 1940. Retrieved February 1, 2013.
48.^ Jump up to: a b "Results page – 1939 (12th)". Academy Awards database. Academy of Motion Picture Arts and Sciences. Retrieved February 3, 2013.
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51.Jump up ^ "Beyond the Page: Famous Quotes". Academy of Motion Picture Arts and Sciences. Retrieved March 8, 2013.
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53.Jump up ^ Kim, Wook (February 22, 2013). "17 Unusual Oscar Records – Longest Film (Running Time) to Win an Award: 431 Minutes". Time. Retrieved March 7, 2013.
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55.^ Jump up to: a b c d Lupack, Barbara Tepa (2002). Literary Adaptations in Black American Cinema: From Oscar Micheaux to Toni Morrison. University of Rochester Press. pp. 209–211. ISBN 978-1-58046-103-0.
56.^ Jump up to: a b Reynolds, David (2009). America, Empire of Liberty: A New History. Penguin UK. pp. 241–242. ISBN 978-0-14-190856-4.
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62.Jump up ^ Stokes, Melvyn (2008). D.W. Griffith's the Birth of a Nation: A History of the Most Controversial Motion Picture of All Time. Oxford University Press. pp. 119 & 287. ISBN 978-0-19-533678-8.
63.Jump up ^ Grieveson, Lee (2004). Policing Cinema: Movies and Censorship in Early-Twentieth-Century America. University of California Press. p. 308. ISBN 978-0-520-23966-1.
64.Jump up ^ Thomas, Bob (August 1, 1963). "Movie Finances Are No Longer Hidden From Scrutiny". The Robesonian. Associated Press. p. 10.
65.Jump up ^ Berkowitz, Edward D. (2010). Mass Appeal: The Formative Age of the Movies, Radio, and TV. Cambridge Essential Histories. Cambridge University Press. p. 160. ISBN 978-0-521-88908-7.
66.Jump up ^ Hall, Sheldon; Neale, Stephen (2010). Epics, spectacles, and blockbusters: a Hollywood history. Wayne State University Press. pp. 181–182. ISBN 978-0-8143-3008-1.
67.^ Jump up to: a b Thomas, Bob (May 6, 1971). "Reissues playing big role in movie marketing today". The Register-Guard. Associated Press. p. 9E.
68.Jump up ^ Kay, Eddie Dorman (1990). Box office champs: the most popular movies of the last 50 years. Random House Value Publishing. p. 92. ISBN 978-0-517-69212-7.
69.Jump up ^ The Atlantic Monthly 231. 1973. p. 2. "As of the end of 1971, GWTW stood as the all-time money-drawing movie, with a take of $116 million, and, with this year's reissues, it should continue to run ahead of the second place contender and all-time kaffee-mit-schlag spectacle."
70.Jump up ^ "Gone with the Wind tops film list". BBC News. November 28, 2004. Retrieved June 9, 2011.
71.Jump up ^ "Domestic Grosses – Adjusted for Ticket Price Inflation". Box Office Mojo. Retrieved February 8, 2013.
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Further reading[edit]
Bridges, Herb (1999). Gone with the Wind: The Three-Day Premiere in Atlanta. Mercer University Press. ISBN 978-0-86554-672-1.
Cameron, Judy; Christman, Paul J (1989). The Art of Gone with the Wind: The Making of a Legend. Prentice Hall. ISBN 978-0-13-046740-9.
Harmetz, Aljean (1996). On the Road to Tara: The Making of Gone with the Wind. New York: Harry N. Abrams. ISBN 978-0-8109-3684-3.
Lambert, Gavin (1973). GWTW: The Making of Gone With the Wind. New York: Little, Brown and Company. ISBN 978-0-316-51284-8.
Vertrees, Alan David (1997). Selznick's Vision: Gone with the Wind and Hollywood Filmmaking. University of Texas Press. ISBN 978-0-292-78729-2.
External links[edit]
 Wikiquote has quotations related to: Gone with the Wind (film)
 Wikimedia Commons has media related to Gone with the Wind (film).
Gone with the Wind at the Internet Movie Database
Gone with the Wind at the TCM Movie Database
Gone with the Wind at the TCM Mediaroom
William Hartsfield and Russell Bellman premiere films at the Atlanta History Center.
Gone with the Wind Online Exhibit at the Harry Ransom Center
Gone With the Wind article series at The Atlantic
Gone with the Wind at Rotten Tomatoes





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Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
 Rhett Butler ·
 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
 Others
 

Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 



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Categories: 1939 films
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Gone with the Wind
1930s romance films
American films
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Best Picture Academy Award winners
Culture of Atlanta, Georgia
Epic films
Films about American slavery
Films about rape
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Films directed by Victor Fleming
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Films set in Georgia (U.S. state)
Films set in Atlanta, Georgia
Films set in London
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Metro-Goldwyn-Mayer films
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 http://en.wikipedia.org/wiki/Gone_with_the_Wind_(film)















Gone with the Wind (film)
From Wikipedia, the free encyclopedia
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Gone with the Wind
A film poster showing a man and a woman in a passionate embrace.
Theatrical pre-release poster

Directed by
Victor Fleming
Produced by
David O. Selznick
Screenplay by
Sidney Howard
Based on
Gone with the Wind
 by Margaret Mitchell
Starring
Clark Gable
Vivien Leigh
Leslie Howard
Olivia de Havilland

Music by
Max Steiner
Cinematography
Ernest Haller
Edited by
Hal C. Kern
James E. Newcom

Production
 company
Selznick International Pictures
Metro-Goldwyn-Mayer

Distributed by
Loew's, Inc.
Release dates
December 15, 1939 (Atlanta premiere)

Running time
221 minutes
234–238 minutes (with overture, intermission, entr'acte, and exit music)

Country
United States
Language
English
Budget
$3.85 million
Box office
$390 million
Gone with the Wind is a 1939 American epic historical romance film adapted from Margaret Mitchell's Pulitzer-winning 1936 novel. It was produced by David O. Selznick of Selznick International Pictures and directed by Victor Fleming. Set in the 19th-century American South, the film tells the story of Scarlett O'Hara, the strong-willed daughter of a Georgia plantation owner, from her romantic pursuit of Ashley Wilkes, who is married to his cousin, Melanie Hamilton, to her marriage to Rhett Butler. Set against the backdrop of the American Civil War and Reconstruction era, the story is told from the perspective of white Southerners. The leading roles are portrayed by Vivien Leigh (Scarlett), Clark Gable (Rhett), Leslie Howard (Ashley), and Olivia de Havilland (Melanie).
The production of the film was troubled from the start. Filming was delayed for two years due to David O. Selznick's determination to secure Clark Gable for the role of Rhett Butler, and the "search for Scarlett" led to 1,400 women being interviewed for the part. The original screenplay was written by Sidney Howard, but underwent many revisions by several writers in an attempt to get it down to a suitable length. The original director, George Cukor, was fired shortly after filming had begun and was replaced by Victor Fleming, who in turn was briefly replaced by Sam Wood while Fleming took some time off due to exhaustion.
The film received positive reviews upon its release in December 1939, although some reviewers found it dramatically lacking and bloated. The casting was widely praised and many reviewers found Vivien Leigh especially suited to her role as Scarlett. At the 12th Academy Awards held in 1940, it received ten Academy Awards (eight competitive, two honorary) from thirteen nominations, including wins for Best Picture, Best Director (Victor Fleming), Best Adapted Screenplay (posthumously awarded to Sidney Howard), Best Actress (Vivien Leigh) and Best Supporting Actress (Hattie McDaniel, becoming the first African-American to win an Academy Award). It set records for the total number of wins and nominations at the time. The film was immensely popular, becoming the highest-earning film made up to that point, and retained the record for over a quarter of a century. Adjusted for inflation, it is still the most successful film in box-office history.
The film has been criticized as historical revisionism glorifying slavery, but nevertheless it has been credited for triggering changes to the way African Americans are depicted on film. It was re-released periodically throughout the 20th century and became ingrained in popular culture. It has placed in the top ten of the American Film Institute's list of top 100 American films since the list's inception in 1998, and in 1989, Gone with the Wind was selected to be preserved by the National Film Registry.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Casting
3.2 Screenplay
3.3 Filming
3.4 Music
4 Release 4.1 Preview, premiere and initial release
4.2 Later releases
4.3 Television and home video
5 Reception 5.1 Critical response
5.2 Accolades
5.3 African-American reaction
5.4 Box office
6 Analysis 6.1 Critical re-evaluation
6.2 Racial criticism
6.3 Depiction of marital rape
7 Legacy 7.1 In popular culture
7.2 Sequel
7.3 Recognition
8 See also
9 Notes
10 References
11 Further reading
12 External links

Plot[edit]
Part 1
On the eve of the American Civil War in 1861, Scarlett O'Hara lives at Tara, her family's cotton plantation in Georgia, with her parents and two sisters. Scarlett learns that Ashley Wilkes—whom she secretly loves—is to be married to his cousin, Melanie Hamilton, and the engagement is to be announced the next day at a barbecue at Ashley's home, the nearby plantation Twelve Oaks.
At the Twelve Oaks party, Scarlett notices that she is being admired by Rhett Butler, who has been disowned by his family. Rhett finds himself in further disfavor among the male guests when, during a discussion of the probability of war, he states that the South has no chance against the superior numbers and industrial might of the North. Scarlett secretly confesses to Ashley that she loves him, but he rebuffs her by responding that he and the sweet Melanie are more compatible. Afterwards, Rhett reveals to Scarlett he has overheard their conversation, but promises to keep her secret. The barbecue is disrupted by the declaration of war and the men rush to enlist. As Scarlett watches Ashley kiss Melanie goodbye from the upstairs window, Melanie's shy younger brother Charles asks for her hand in marriage before he goes. Though she does not love him, Scarlett consents, and they are married before he leaves to fight.
Scarlett is quickly widowed when Charles dies from a bout of pneumonia and measles while serving in the Confederate Army. Scarlett's mother sends her to the Hamilton home in Atlanta to cheer her up, although the O'Haras' outspoken housemaid Mammy tells Scarlett she knows she is going there only to wait for Ashley's return. Scarlett, who should not attend a party while in deep mourning, attends a charity bazaar in Atlanta with Melanie. There, Scarlett is the object of shocked comments on the part of the elderly women who represent proper Atlanta society. Rhett, now a blockade runner for the Confederacy, makes a surprise appearance. To raise money for the Confederate war effort, gentlemen are invited to offer bids for ladies to dance with them. Rhett makes an inordinately large bid for Scarlett and, to the disapproval of the guests, Scarlett agrees to dance with him. As they dance, Rhett tells her he intends to win her, which she says will never happen.
The tide of war turns against the Confederacy after the Battle of Gettysburg in which many of the men of Scarlett's town are killed. Scarlett makes another unsuccessful appeal to Ashley while he is visiting on Christmas furlough, although they do share a private and passionate kiss in the parlor on Christmas Day, just before he returns to war.
Eight months later, as the city is besieged by the Union Army in the Atlanta Campaign, Melanie goes into premature and difficult labor. Keeping her promise to Ashley to take care of Melanie, Scarlett and her young house servant Prissy must deliver the child without medical assistance. Scarlett calls upon Rhett to bring her home to Tara immediately with Melanie, Prissy, and the baby. He appears with a horse and wagon and takes them out of the city through the burning depot and warehouse district. Instead of accompanying her all the way to Tara, he sends her on her way with a nearly dead horse, helplessly frail Melanie, her baby, and tearful Prissy, and with a passionate kiss as he goes off to fight. On her journey home, Scarlett finds Twelve Oaks burned, ruined and deserted. She is relieved to find Tara still standing but deserted by all except her parents, her sisters, and two servants: Mammy and Pork. Scarlett learns that her mother has just died of typhoid fever and her father's mind has begun to fail under the strain. With Tara pillaged by Union troops and the fields untended, Scarlett vows she will do anything for the survival of her family and herself.
Part 2
Scarlett sets her family and servants to picking the cotton fields, facing many hardships along the way, including the killing of a Union deserter who attempts to rape her during a burglary. With the defeat of the Confederacy and war's end, Ashley 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. Meanwhile, Scarlett's father dies after he is thrown from his horse in an attempt to chase away a scalawag from his property.
Scarlett realizes she cannot pay the rising taxes on Tara implemented by Reconstructionists, so pays a visit to Rhett in Atlanta. However, upon her visit, Rhett, now in jail, tells her his foreign bank accounts have been blocked, and that her attempt to get his money has been in vain. As Scarlett departs, she encounters her sister's fiancé, the middle-aged Frank Kennedy, who now owns a successful general store and lumber mill. Scarlett lies to Frank by saying Suellen got tired of waiting and married another beau, and after becoming Mrs. Frank Kennedy, Scarlett takes over his business and becomes wealthy. When Ashley is offered a job with a bank in the north, Scarlett uses emotional blackmail to persuade him to take over managing the mill.
Frank, Ashley, Rhett and several other accomplices make a night raid on a shanty town after Scarlett narrowly escapes an attempted gang rape while driving through it alone, resulting in Frank's death. With Frank's funeral barely over, Rhett visits Scarlett and proposes marriage, and she accepts. They 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.
When visiting the mill one day, Scarlett and Ashley are spied in an embrace by two gossips, including Ashley's sister, India (who dislikes Scarlett). They eagerly spread the rumor, and Scarlett's reputation is again sullied. Later that evening, Rhett, having heard the rumors, forces Scarlett to attend a birthday party for Ashley. Incapable of believing anything bad of her beloved sister-in-law, Melanie stands by Scarlett's side so that all know that she believes the gossip to be false. After returning home from the party, Scarlett finds Rhett downstairs drunk, and they argue about Ashley. Seething with jealousy, Rhett grabs Scarlett's head and threatens to smash in her skull. When she taunts him that he has no honor Rhett retaliates by forcing himself onto her, kissing Scarlett against her will, and states his intent to have sex with her that night. Frightened, she attempts to physically resist him, but Rhett overpowers her 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.
After Rhett returns from an extended trip to London, Scarlett's attempts at reconciliation are rebuffed. She informs him that she is pregnant, but an argument ensues which results in Scarlett falling down a flight of stairs and suffering a miscarriage. As Scarlett is recovering, tragedy strikes when Bonnie dies while attempting to jump a fence with her pony. Melanie visits their home to comfort them, but then collapses during a second pregnancy she was warned could kill her.
On her deathbed, Melanie asks Scarlett to look after Ashley for her and to be kind to Rhett. As Scarlett consoles Ashley, Rhett quickly leaves and returns home. Realizing that Ashley only ever truly loved Melanie, Scarlett dashes after Rhett to find him preparing to leave for good. She pleads with him, telling him she realizes now that she had loved him all along, and that she never really loved Ashley. However, he refuses, saying that with Bonnie's death went any chance of reconciliation. As Rhett is about to walk out the door, Scarlett begs him to stay but to no avail, and he walks away into the early morning fog leaving Scarlett weeping on the staircase and vowing to one day win back his love.
Cast[edit]
Despite receiving top-billing in the opening credits, Clark Gable—along with Leigh, Howard and de Havilland who receive second, third and fourth billing respectively—have a relatively low placing in the cast list, due to its unusual structure. Rather than ordered by conventional billing, the cast is broken down into three sections: the Tara plantation, Twelve Oaks, and Atlanta. The cast's names are ordered according to the social rank of the characters; therefore Thomas Mitchell, who plays Gerald O'Hara, leads the cast list as the head of the O'Hara family, while Barbara O'Neil as his wife receives the second credit and Vivien Leigh as the eldest daughter the third credit, despite having the most screen time. Similarly, Howard C. Hickman as John Wilkes is credited over Leslie Howard who plays his son, and Clark Gable, who plays only a visitor at Twelve Oaks, receives a relatively low credit in the cast list, despite being presented as the "star" of the film in all the promotional literature.[1] Following the death of Mary Anderson—who played Maybelle Merriwether—in April 2014, there are just two surviving credited cast members from the film: Olivia de Havilland who played Melanie Wilkes and Mickey Kuhn, who played her son Beau Wilkes.[2]





Clark Gable



Vivien Leigh



Leslie Howard



Olivia de Havilland
Tara plantationThomas Mitchell as Gerald O'Hara
Barbara O'Neil as Ellen O'Hara (his wife)
Vivien Leigh as Scarlett O'Hara (daughter)
Evelyn Keyes as Suellen O'Hara (daughter)
Ann Rutherford as Carreen O'Hara (daughter)
George Reeves as Brent Tarleton (actually as Stuart)[nb 1]
Fred Crane as Stuart Tarleton (actually as Brent)[nb 1]
Hattie McDaniel as Mammy (house servant)
Oscar Polk as Pork (house servant)
Butterfly McQueen as Prissy (house servant)
Victor Jory as Jonas Wilkerson (field overseer)
Everett Brown as Big Sam (field foreman)
At Twelve OaksHoward C. Hickman as John Wilkes
Alicia Rhett as India Wilkes (his daughter)
Leslie Howard as Ashley Wilkes (his son)
Olivia de Havilland as Melanie Hamilton (Ashley's cousin)
Rand Brooks as Charles Hamilton (Melanie's brother)
Carroll Nye as Frank Kennedy (the guest)
Clark Gable as Rhett Butler
In AtlantaLaura Hope Crews as Aunt Pittypat Hamilton
Eddie Anderson as Uncle Peter (her coachman)
Harry Davenport as Doctor Meade
Leona Roberts as Mrs. Meade
Jane Darwell as Mrs. Merriwether
Ona Munson as Belle Watling
Minor supporting rolesPaul Hurst as the Yankee deserter
Cammie King Conlon as Bonnie Blue Butler
J.M. Kerrigan as Johnny Gallagher
Jackie Moran as Phil Meade
Lillian Kemble-Cooper as Bonnie's nurse in London
Marcella Martin as Cathleen Calvert
Mickey Kuhn as Beau Wilkes
Irving Bacon as the Corporal
William Bakewell as the mounted officer
Isabel Jewell as Emmie Slattery
Eric Linden as the amputation case
Ward Bond as Tom, the Yankee captain
Cliff Edwards as the reminiscent soldier
Yakima Canutt as the renegade
Louis Jean Heydt as the hungry soldier holding Beau Wilkes
Olin Howland as the carpetbagger businessman
Robert Elliott as the Yankee major
Mary Anderson as Maybelle Merriwether
Production[edit]
Before publication of the novel, several Hollywood executives and studios declined to create a film based on it, including Louis B. Mayer and Irving Thalberg at Metro-Goldwyn-Mayer (MGM), Pandro Berman at RKO Pictures, and David O. Selznick of Selznick International Pictures. Jack Warner liked the story, but Warner Bros.'s biggest star Bette Davis was uninterested, and Darryl Zanuck of 20th Century-Fox did not offer enough money. Selznick changed his mind after his story editor Kay Brown and business partner John Hay Whitney urged him to buy the film rights. In July 1936—a month after it was published—Selznick bought the rights for $50,000.[3][4][5]
Casting[edit]



 Publicity photo of Clark Gable and Vivien Leigh as Rhett and Scarlett
The casting of the two lead roles became a complex, two-year endeavor. For the role of Rhett Butler, Selznick wanted Clark Gable from the start, but Gable was under contract to MGM, who never loaned him to other studios.[3] Gary Cooper was considered, but Samuel Goldwyn—to whom Cooper was under contract—refused to loan him out.[6] Warner offered a package of Bette Davis, Errol Flynn, and Olivia de Havilland for lead roles in return for the distribution rights.[7] By this time, Selznick was determined to get Gable and eventually struck a deal with MGM. Selznick's father-in-law, MGM chief Louis B. Mayer, offered in August 1938 to provide Gable and $1,250,000 for half of the film's budget but for a high price: Selznick would have to pay Gable's weekly salary, and half the profits would go to MGM while Loew's, Inc—MGM's parent company—would release the film.[3][6]
The arrangement to release through MGM meant delaying the start of production until the end of 1938, when Selznick's distribution deal with United Artists concluded.[6] Selznick used the delay to continue to revise the script and, more importantly, build publicity for the film by searching for the role of Scarlett. Selznick began a nationwide casting call that interviewed 1,400 unknowns. The effort cost $100,000 and was useless for the film, but created "priceless" publicity.[3] Early frontrunners included Miriam Hopkins and Tallulah Bankhead, who were regarded as possibilities by Selznick prior to the purchase of the film rights; Joan Crawford, who was signed to MGM, was also considered as a potential pairing with Gable. After a deal was struck with MGM, Selznick held discussions with Norma Shearer—who was MGM's top female star at the time—but she withdrew herself from consideration. 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.[6][7][8]
Many famous—or soon-to-be-famous—actresses were considered, but only thirty-one women were actually screen-tested for Scarlett including Ardis Ankerson, Jean Arthur, Tallulah Bankhead, Diana Barrymore, Joan Bennett, Nancy Coleman, Frances Dee, Ellen Drew (as Terry Ray), Paulette Goddard, Susan Hayward (under her real name of Edythe Marrenner), Vivien Leigh, Anita Louise, Haila Stoddard, Margaret Tallichet, Lana Turner and Linda Watkins.[9] Although Margaret Mitchell refused to publicly name her choice, the actress who came closest to winning her approval was Miriam Hopkins, who Mitchell felt was just the right type of actress to play Scarlett as written in the book. However, Hopkins was in her mid-thirties at the time and was considered too old for the part.[6][7][8] Four actresses, including Jean Arthur and Joan Bennett, were still under consideration by December 1938; however, only two finalists, Paulette Goddard and Vivien Leigh, were tested in Technicolor, both on December 20.[10] Goddard almost won the role, but controversy over her marriage with Charlie Chaplin caused Selznick to change his mind.[3]
Selznick had been quietly considering Vivien Leigh, a young English actress who was still little known in America, for the role of Scarlett since February 1938 when Selznick saw her in Fire Over England and A Yank at Oxford. 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 1938 the Selznicks were negotiating with Alexander Korda, to whom Leigh was under contract, for her services later that year.[11] Selznick's brother arranged for them to meet for the first time on the night of December 10, 1938, when the burning of Atlanta was filmed. 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, 1939.[12] Just before the shooting of the film, Selznick informed newspaper columnist Ed Sullivan: "Scarlett O'Hara's parents were French and Irish. Identically, Miss Leigh's parents are French and Irish."[13]
Screenplay[edit]
Of 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 ... and Howard's first submission was far too long, and would have required at least six hours of film; ... [producer] Selznick wanted Howard to remain on the set to make revisions ... but Howard refused to leave New England [and] as a result, revisions were handled by a host of local writers".[14] Selznick dismissed director George Cukor three weeks into filming and sought out Victor Fleming, who was directing The Wizard of Oz at the time. Fleming was dissatisfied with the script, so Selznick brought in famed writer 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.[15]



 David O. Selznick in 1940
"By the time of the film's release in 1939, there was some question as to who should receive screen credit," writes Yeck. "But despite the number of writers and changes, the final script was remarkably close to Howard's version. 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 1939 Sidney Howard died at age 48 in a farm-tractor accident, and before the movie's premiere."[14] Selznick, in a memo written in October 1939, discussed the film's writing credits: "[Y]ou can say frankly that of the comparatively small amount of material in the picture which is not from the book, most is my own personally, and the only original lines of dialog which are not my own are a few from Sidney Howard and a few from Ben Hecht and a couple more from John Van Druten. 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."[16]
According to Hecht biographer, William MacAdams, "At dawn on Sunday, February 20, 1939, David Selznick ... and director Victor Fleming shook Hecht awake to inform him he was on loan from MGM and must come with them immediately and go to work on Gone with the Wind, which Selznick had begun shooting five weeks before. It was costing Selznick $50,000 each day the film was on hold waiting for a final screenplay rewrite and time was of the essence. 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 would act out 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 ... thus on the seventh day I had completed, unscathed, the first nine reels of the Civil War epic."
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. P. Garrett and Barbara Keon to screenplay construction, and Hecht, to dialogue ..."[17]
Filming[edit]
Principal photography began January 26, 1939, and ended on July 1, with post-production work continuing until November 11, 1939. 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.[7][nb 2] Selznick and Cukor had already disagreed over the pace of filming and the script,[7][18] but other explanations put Cukor's departure down to Gable's discomfort at working with him. Emanuel Levy, Cukor's biographer, claimed that Clark 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.[20] Vivien Leigh and Olivia de Havilland learned of Cukor's firing on the day the Atlanta bazaar scene was filmed, and the pair went to Selznick's office in full costume and implored him to change his mind. Victor Fleming, who was directing The Wizard of Oz, was called in from MGM to complete the picture, although Cukor continued privately to coach Leigh and De Havilland.[15] Another MGM director, Sam Wood, worked for two weeks in May when Fleming temporarily left the production due to exhaustion. 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.[7]


File:Burning of Atlanta.ogg
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 The "burning" of Atlanta from the film trailer
Cinematographer Lee Garmes began the production, but on March 11, 1939—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.[21] Most of the filming was done on "the back forty" of Selznick International with all the location scenes being photographed in California, mostly in Los Angeles County or neighboring Ventura County.[22] Tara, the fictional Southern plantation house, existed only as a plywood and papier-mâché facade built on the "back forty" California studio lot.[23] For the burning of Atlanta, other false facades were built in front of the "back forty"'s many abandoned sets, and Selznick himself operated the controls for the explosives that burned them down.[3] Sources at the time put the estimated production costs at $3.85 million, making it the second most expensive film made up to that point, with only Ben-Hur (1925) having cost more.[24][nb 3]
Although legend persists that the Hays Office fined Selznick $5,000 for using the word "damn" in Butler's exit line, in fact the Motion Picture Association board passed an amendment to the Production Code on November 1, 1939, that forbade use of the words "hell" or "damn" except when their use "shall be essential and required for portrayal, in proper historical context, of any scene or dialogue based upon historical fact or folklore ... or a quotation from a literary work, provided that no such use shall be permitted which is intrinsically objectionable or offends good taste." With that amendment, the Production Code Administration had no further objection to Rhett's closing line.[26]
Music[edit]










 "Tara's Theme" from the film trailer
To compose the score, Selznick chose Max Steiner, with whom he had worked at RKO Pictures in the early 1930s. Warner Bros.—who had contracted Steiner in 1936—agreed to lend him to Selznick. 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. Five orchestrators were hired, including Hugo Friedhofer, Maurice de Packh, Bernard Kaun, Adolph Deutsch and Reginald Bassett. 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. Steiner drew considerably on folk and patriotic music, which included Stephen Foster tunes such as "Louisiana Belle," "Dolly Day," "Ringo De Banjo," "Beautiful Dreamer," "Old Folks at Home," and "Katie Belle," which formed the basis of Scarlett's theme; other tunes that feature prominently are: "Marching through Georgia" by Henry Clay Work, "Dixie," "Garryowen" and "The Bonnie Blue Flag." The theme that is most associated with the film today is the melody that accompanies Tara, the O'Hara plantation; in the early 1940s, "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.[27]
Release[edit]
Preview, premiere and initial release[edit]
On September 9, 1939, Selznick, his wife, Irene, investor John "Jock" Whitney and film editor Hal Kern drove out to Riverside, California to preview it at the Fox Theatre. 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, but would later be cut down to under four hours for its proper release. A double bill of Hawaiian Nights and Beau Geste was playing, and 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.[7][28] In his biography of Selznick, David Thomson wrote that the audience's response before the film had even started "was the greatest moment of [Selznick's] life, the greatest victory and redemption of all his failings",[29] with Selznick describing the preview cards as "probably the most amazing any picture has ever had."[30] When Selznick was asked by the press in early September how he felt about the film, he said: "At noon I think it's divine, at midnight I think it's lousy. Sometimes I think it's the greatest picture ever made. But if it's only a great picture, I'll still be satisfied."[24]
One million people came to Atlanta for the film's premiere at the Loew's Grand Theatre on December 15, 1939. 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 residents and visitors to Atlanta lined the streets for up to seven miles to watch a procession of limousines bring the stars from the airport. Only Leslie Howard and Victor Fleming chose not to attend: Howard had returned to England due to the outbreak of World War II, and Fleming had fallen out with Selznick and declined to attend any of the premieres.[24][30] Hattie McDaniel was also absent, as she and the other black actors from the film were prevented from attending the premiere due to Georgia's Jim Crow laws, which would have kept them from sitting with the white members of the cast. Upon learning that McDaniel had been barred from the premiere, Clark Gable threatened to boycott the event, but McDaniel convinced him to attend.[31] President Jimmy Carter would later recall it as "the biggest event to happen in the South in my lifetime."[32] Premieres in New York and Los Angeles followed, the latter attended by some of the actresses that had been considered for the part of Scarlett, among them Paulette Goddard, Norma Shearer and Joan Crawford.[30]
From December 1939 to July 1940, the film played only advance-ticket road show engagements at a limited number of theaters at prices upwards of $1—more than double the price of a regular first-run feature—with MGM collecting an unprecedented 70 percent of the box office receipts (as opposed to the typical 30–35 percent of the period). 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 1941 at "popular" prices.[33] Along with its distribution and advertising costs, total expenditure on the film was as high as $7 million.[30][34]
Later releases[edit]



 1967 re-release poster
In 1942, Selznick liquidated his company for tax reasons, and sold his share in Gone with the Wind to his business partner, John Whitney, for $500,000. In turn, Whitney sold it on to MGM for $2.8 million, so that the studio more or less owned the film outright.[34] MGM first re-released the film in 1947, and again in 1954;[7] the 1954 reissue was the first time the film was shown in widescreen, compromising the original Academy ratio and cropping the top and bottom to an aspect ratio of 1.75:1. 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.[35] A 1961 release commemorated the centennial anniversary of the start of the Civil War, and 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;[36] Clark Gable had died the previous year.[37] For its 1967 re-release, it was blown up to 70mm,[7] and issued with updated poster artwork featuring Gable—with his white shirt ripped open—holding Leigh against a backdrop of orange flames.[36] There were further re-releases in 1971, 1974 and 1989; for the fiftieth anniversary reissue in 1989, it was given a complete audio and video restoration. It was released theatrically one more time in the United States, in 1998.[38][39] In 2013, a 4K digital restoration was released in the United Kingdom to coincide with Vivien Leigh's centenary.[40] In 2014, special screenings were scheduled over a two-day period at theaters across the United States to coincide with the film's 75th anniversary.[41]
Television and home video[edit]
The film received its world television premiere on the HBO cable network on June 11, 1976, and played on the channel for a total of fourteen times throughout the rest of the month. It made its network television debut in November later that year: NBC paid $5 million for a one-off airing, and it was broadcast in two parts on successive evenings. It became at that time the highest-rated television program ever presented on a single network, watched by 47.5 percent of the households sampled in America, and 65 percent of television viewers. In 1978, CBS signed a deal worth $35 million to broadcast the film twenty times over as many years.[15][39] Turner Entertainment acquired the MGM film library in 1986, but the deal did not include the television rights to Gone with the Wind, which were still held by CBS. A deal was struck in which the rights were returned to Turner Entertainment and CBS's broadcast rights to The Wizard of Oz were extended.[15] It was used to launch two cable channels owned by Turner Broadcasting System: Turner Network Television (1988) and Turner Classic Movies (1994).[42][43] It debuted on videocassette in March 1985, where it placed second in the sales charts,[15] and has since been released on DVD and Blu-ray Disc formats.[36]
Reception[edit]
Critical response[edit]
Gone with the Wind was well received upon its release, with most consumer magazines and newspapers giving it generally excellent reviews.[7] However, while its production values, technical achievements and scale of ambition were universally recognized, some of the more notable reviewers of the time found the film to be dramatically lacking. 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 nevertheless found it to be an "interesting story beautifully told".[44] Franz Hoellering of The Nation was of the same opinion: "The result is a film which is a major event in the history of the industry but only a minor achievement in motion-picture art. There are moments when the two categories meet on good terms, but the long stretches between are filled with mere spectacular efficiency."[45]
“ The result is a film which is a major event in the history of the industry but only a minor achievement in motion-picture art. ”
—Franz Hoellering, reviewer for The Nation

While the film was praised for its fidelity to the novel,[44] this aspect was also singled out as the main factor in contributing to the bloated running time, which many critics felt was to the detriment of the overall dramatic impact.[46] John C. Flinn wrote for Variety that Selznick had "left too much in", and that as entertainment, the film would have benefitted if repetitious scenes and dialog from the latter part of the story had been trimmed.[46] The Manchester Guardian felt that the film's one serious drawback was that the story lacked the epic quality to justify the outlay of time, and found the second half which focuses on Scarlett's "irrelevant marriages" and "domestic squabbles" mostly superfluous, and the sole reason for their inclusion had been "simply because Margaret Mitchell wrote it that way". 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."[47] Likewise, Hoellering also found the second half of the film to be weaker than the first half: identifying the Civil War to be the driving force of the first part while the characters dominate in the second part, he concluded this is where the main fault of the picture lay, commenting that "the characters alone do not suffice". Despite many excellent scenes, he considered the drama to be unconvincing and that the "psychological development" had been neglected.[45]
Much of the praise was reserved for the impeccable 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".[44] Similarly, Hoellering found her "perfect" in "appearance and movements"; he felt her acting best when she was allowed to "accentuate the split personality she portrays", and thought she was particularly effective in such moments of characterization like the morning after the marital rape scene.[45] Flinn also found Leigh suited to the role physically, and felt she was best in the scenes where she displays courage and determination, such as the escape from Atlanta, and when Scarlett kills a Yankee deserter.[46] Of Clark Gable's performance as Rhett Butler, Flinn felt the characterization was "as close to Miss Mitchell's conception—and the audience's—as might be imagined",[46] a view which Nugent concurred with,[44] although Hoellering felt that Gable didn't quite convince in the closing scenes, as Rhett walks out on Scarlett in disgust.[45] Of the other principal cast members, both Hoellering and Flinn found Leslie Howard to be "convincing" as the weak-willed Ashley, with Flinn identifying Olivia de Havilland as a "standout" as Melanie;[45][46] Nugent was also especially taken with de Havilland's performance, describing it as a "gracious, dignified, tender gem of characterization".[44] Hattie McDaniel's performance as Mammy was singled out for praise by many critics: Nugent believed she gave the best performance in the film after Vivien Leigh,[44] with Flinn placing it third after Leigh's and Gable's performances.[46]
Accolades[edit]
At the 12th Academy Awards held in 1940, 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. It won for Best Picture, Best Actress, Best Supporting Actress, Best Director, Best Screenplay, Best Cinematography, Best Interior Decoration and Best Editing, and received two further honorary awards for its use of equipment and color (it also became the first color film to win Best Picture).[48][49] Its record of eight competitive wins stood until Gigi (1958) won nine, and its overall record of ten was broken by Ben-Hur (1959) which won eleven.[50] Gone with the Wind also held the record for most nominations until All About Eve (1950) secured fourteen.[8] It was the longest American sound film made up to that point, and may still hold the record of the longest Best Picture winner depending on how it is interpreted.[51] The running time for Gone with the Wind is just under 221 minutes, while Lawrence of Arabia (1962) runs for just over 222 minutes; however, including the overture, intermission, entr'acte, and exit music, Gone with the Wind lasts for 234 minutes (although some sources put its full length at 238 minutes) while Lawrence of Arabia comes in slightly shorter at 232 minutes with its additional components.[52][53]
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.[54] Meanwhile, screenwriter Sidney Howard became the first posthumous Oscar winner, Selznick personally received the Irving G. Thalberg Memorial Award for his career achievements, and Vivien Leigh won the New York Film Critics Award for Best Actress.[8][48]
Academy Awards and nominations

Award
Recipient(s)
Result

Best Picture
Selznick International Pictures Won
Best Director
Victor Fleming Won
Best Actor
Clark Gable
 Winner was Robert Donat for Goodbye, Mr. Chips Nominated
Best Actress
Vivien Leigh Won
Best Adapted Screenplay Sidney Howard Won
Best Supporting Actress
Hattie McDaniel Won
Best Supporting Actress
Olivia de Havilland Nominated
Best Cinematography, Color
Ernest Haller and Ray Rennahan Won
Best Film Editing
Hal C. Kern and James E. Newcom Won
Best Art Direction
Lyle Wheeler Won
Best Visual Effects
Jack Cosgrove, Fred Albin and Arthur Johns
 Winners were Fred Sersen and E. H. Hansen for The Rains Came Nominated
Best Music, Original Score
Max Steiner
 Winner was Herbert Stothart for The Wizard of Oz Nominated
Best Sound Recording
Thomas T. Moulton (Samuel Goldwyn Studio Sound Department)
 Winner was Bernard B. Brown (Universal Studio Sound Department) for When Tomorrow Comes Nominated
Special Award
William Cameron Menzies
 For outstanding achievement in the use of color for the enhancement of dramatic mood in the production of Gone with the Wind. Honorary
Technical Achievement Award
Don Musgrave and Selznick International Pictures
 For pioneering in the use of coordinated equipment in the production Gone with the Wind. Honorary
African-American reaction[edit]



 Hattie McDaniel, the first African-American Oscar winner
Black commentators criticised the film for its depiction of black people and its glorification of slavery. Carlton Moss, a black dramatist, complained in an open letter that whereas The Birth of a Nation was a "frontal attack on American history and the Negro people", Gone with the Wind was a "rear attack on the same". He went on to dismiss it as a "nostalgic plea for sympathy for a still living cause of Southern reaction". Moss further criticized 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".[55] Following Hattie McDaniel's Oscar win, Walter Francis White, leader of the National Association for the Advancement of Colored People, accused her of being an Uncle Tom. 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.[54]
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.[54] Even so, some sections of the black community recognized McDaniel's achievements to be representative of progression: some African-Americans crossed picket lines and praised McDaniel's warm and witty characterization, while others hoped that the industry's recognition of her work would lead to increased visibility on screen for other black actors. 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.[54][55] Malcolm X would later recall that "when Butterfly McQueen went into her act, I felt like crawling under the rug".[56]
Box office[edit]
Upon its release, Gone with the Wind broke attendance records everywhere. At the Capitol Theatre in New York alone, it was averaging eleven thousand admissions per day in late December,[33] 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.[57][58] It repeated its success overseas, and was a sensational hit during the Blitz in London, opening in April 1940 and playing for four years.[59] Its worldwide distribution returned a gross rental (the studio's share of the box office gross) of $32 million during its initial release, making it the most profitable film ever made up to that point.[8]
Even though it earned its investors roughly twice as much as the previous record-holder, The Birth of a Nation,[60][61] 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, which represented 70 percent and 50 percent of the box-office gross respectively, before entering general release (which at the time typically saw the distributor's share set at 30–35 percent of the gross).[33] In the case of The Birth of a Nation, its distributor, Epoch, sold off many of its distribution territories on a "states rights" basis—which typically amounted to 10 percent of the box-office gross—and Epoch's accounts are only indicative of its own profits from the film, and not the local distributors. 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 1930.[62][63]
When it was re-released in 1947, it earned an impressive $5 million rental in the United States and Canada, and was one of the top ten releases of the year.[34][60] Successful re-releases in 1954 and 1961 enabled it to retain its position as the industry's top earner, despite strong challenges from more recent films such as Ben-Hur,[64] but it was finally overtaken by The Sound of Music in 1966.[65] The 1967 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. It generated a box-office gross of $68 million, making it MGM's most lucrative picture after Doctor Zhivago from the latter half of the decade.[66] MGM earned a rental of $41 million from the release,[67] with the U.S. and Canadian share amounting to over $30 million, placing it second only to The Graduate for that year.[60][67] Including its $6.7 million rental from the 1961 reissue,[68] it was the fourth highest-earner of the decade in the North American market, with only The Sound of Music, The Graduate and Doctor Zhivago making more for their distributors.[60] A further re-release in 1971 allowed it to briefly recapture the record from The Sound of Music, bringing its total worldwide gross rental to about $116 million by the end of 1971—more than trebling its earnings from its initial release—before losing the record again the following year to The Godfather.[39][69]
Across all releases, it is estimated that Gone with the Wind has sold over 200 million tickets in the United States and Canada,[57] and 35 million tickets in the United Kingdom,[70] generating more theater admissions in those territories than any other film.[71][72] In total, Gone with the Wind has grossed over $390 million globally at the box office;[73] Turner Entertainment estimates the gross to be equivalent to approximately $3.3 billion when adjusted for inflation to current prices,[8] a figure that Guinness World Records also arrived at in 2011, making it the most successful film in cinema history.[74]
Analysis[edit]
Critical re-evaluation[edit]



 First Archivist of the United States R. D. W. Connor receiving the film Gone with the Wind from Senator Walter F. George of Georgia (on the left) and Loew's Eastern Division Manager Carter Barron, 1941
In revisiting the film in the 1970s, Arthur Schlesinger noted 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.[75] Richard Schickel posits that one measure of a film's quality is to ask what you can remember of it, and the film falls down in this regard: unforgettable imagery and dialogue is simply not present.[76] Stanley Kauffmann, likewise, also found the film to be a largely forgettable experience, claiming he could only remember two scenes vividly.[77] Both Schickel and Schlesinger put this down to it being "badly written", in turn describing the dialogue as "flowery" and possessing a "picture postcard" sensibility.[75][76] Schickel also believes the film fails as popular art, in that it has limited rewatch value—a sentiment that Kauffmann also concurs with, stating that having watched it twice he hopes "never to see it again: twice is twice as much as any lifetime needs".[76][77] Both Schickel and Andrew Sarris identify the film's main failing is in possessing a producer's sensibility rather than an artistic one: having gone through so many directors and writers the film does not carry a sense of being "created" or "directed", but rather having emerged "steaming from the crowded kitchen", where the main creative force was a producer's obsession in making the film as literally faithful to the novel as possible.[76][78]
Sarris concedes that despite its artistic failings, the film does hold a mandate around the world as the "single most beloved entertainment ever produced".[78] Judith Crist observes that kitsch aside, the film is "undoubtedly still the best and most durable piece of popular entertainment to have come off the Hollywood assembly lines", the product of a showman with "taste and intelligence".[79] Schlesinger notes that the first half of the film does have a "sweep and vigor" that aspires to its epic theme, but—finding agreement with the film's contemporary criticisms—the personal lives take over in the second half, and it ends up losing its theme in unconvincing sentimentality.[75] Kauffmann also finds interesting parallels with The Godfather, which had just replaced Gone with the Wind as the highest-grosser at the time: both were produced from "ultra-American" best-selling novels, both live within codes of honor that are romanticized, and both in essence offer cultural fabrication or revisionism.[77]
Racial criticism[edit]
Gone with the Wind has been criticized as having perpetuated Civil War myths and black stereotypes.[80] David Reynolds writes that "The white women are elegant, their menfolk noble or at least dashing. And, in the background, the black slaves are mostly dutiful and content, clearly incapable of an independent existence." Reynolds likened Gone with the Wind to The Birth of a Nation and other re-imaginings of the South during the era of segregation, in which white Southerners are portrayed as defending traditional values and the issue of slavery is largely ignored.[56] The film has been described as a "regression" that promotes the myth of the black rapist and the honourable and defensive role of the Ku Klux Klan during Reconstruction,[81] and as a "social propaganda" film offering a "white supremacist" view of the past.[80] From 1972 to 1996, the Atlanta Historical Society held a number of Gone with the Wind exhibits, among them a 1994 exhibit titled, "Disputed Territories: Gone with the Wind and Southern Myths". One of the questions explored by the exhibit was "How True to Life Were the Slaves in GWTW?" This section showed slave experiences were diverse and concluded that the "happy darky" was a myth, as was the belief that all slaves experienced violence and brutality.[82]
Despite factual inaccuracies in its depiction of the Reconstruction period, it nevertheless reflects contemporary interpretations common throughout the early twentieth century. One pervasive viewpoint argued by academics 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 for their votes. The clear inference is 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 in regards 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 referring to it only as a "political meeting".[83]
Thomas Cripps has argued that the film in some respects undercuts racial stereotypes;[84] in particular, the film created greater engagement between Hollywood and black audiences,[84] with dozens of movies making small gestures in recognition of the emerging trend.[55] Only a few weeks after its initial run, a story editor at Warner wrote a memo to Walter Wanger about Mississippi Belle, a script that contained the worst excesses of plantation films, suggesting that Gone with the Wind had made the film "unproducible". 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.[55]
Depiction of marital rape[edit]
One of the most notorious and widely condemned scenes in Gone with the Wind is what the law today defines as "marital rape".[85][86] The scene begins with Scarlett and Rhett at the bottom of the staircase, where he begins to kiss her, refusing to be told 'no' by the struggling and frightened Scarlett;[87][88] Rhett overcomes her resistance and carries her up the stairs to the bedroom,[87][88] where the audience is left in no doubt that she will "get what's coming to her".[89] The next scene, the following morning, shows Scarlett glowing with barely suppressed sexual satisfaction;[87][88][89] Rhett apologizes for his behavior, blaming it on his drinking.[87] The scene has been accused of combining romance and rape by making them indistinguishable from each other,[87] and of reinforcing a notion about forced sex: that women secretly enjoy it, and it is an acceptable way for a man to treat his wife.[89]
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 when they fantasize about being raped. Their fantasies revolve around love and romance rather than forced sex; they assume that Scarlett was not an unwilling sexual partner and wanted Rhett to take the initiative and insist on having sexual intercourse.[90]
Legacy[edit]
In popular culture[edit]
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 1939 film spoofing the "search for Scarlett"—to current television shows, such as The Simpsons.[91][80][92] The Scarlett O'Hara War (a 1980 television dramatization of the casting of Scarlett),[93] Moonlight and Magnolias (a 2007 play by Ron Hutchinson that dramatizes Ben Hecht's five-day re-write of the script),[94] and "Went with the Wind!" (a sketch on The Carol Burnett Show that parodied the film in the aftermath of its television debut in 1976) are among the more noteworthy examples of its enduring presence in popular culture.[15] It was also the subject of a 1988 documentary, The Making of a Legend: Gone with the Wind, detailing the film's difficult production history.[95] In 1990, the United States Postal Service issued a stamp depicting Clark Gable and Vivien Leigh embracing in a scene from the film.[96]

AFI 100 Years... series

AFI's 100 Years...100 Movies – #4
AFI's 100 Years...100 Passions – #2
AFI's 100 Years...100 Heroes and Villains Rhett Butler, Hero – Nominated
Scarlett O'Hara, Hero – Nominated
AFI's 100 Years...100 Movie Quotes: "Frankly, my dear, I don't give a damn." – #1
"After all, tomorrow is another day!" – #31
"As God is my witness, I'll never be hungry again." – #59
"Fiddle-dee-dee." – Nominated
AFI's 100 Years of Film Scores – #2
AFI's 100 Years...100 Cheers – #43
AFI's 100 Years...100 Movies (10th Anniversary Edition) – #6
AFI's 10 Top 10 – #4 Epic film
American Film Institute[97]
Sequel[edit]
Following publication of her novel, Margaret Mitchell was inundated with requests for a sequel but claimed to not have a notion of what happened to Scarlett and Rhett, and that she had "left them to their ultimate fate". Mitchell continued to resist pressure from Selznick and MGM to write a sequel until her death in 1949. In 1975, her brother, Stephens Mitchell (who assumed control of her estate), authorized a sequel to be jointly produced by MGM and Universal Studios on a budget of $12 million. 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 775-page manuscript entitled Tara, The Continuation of Gone with the Wind, set between 1872 and 1882 focusing on Scarlett's divorce from Rhett; MGM was not satisfied with the story and the deal collapsed.[15]
The idea was revived in the 1990s, when a sequel was finally produced in 1994, in the form of a television miniseries. Scarlett was based upon 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 again becoming pregnant by Rhett.[98]
Recognition[edit]
In 2008 Gone with the Wind was voted the most popular film by Americans in a nationwide poll undertaken by Harris Interactive. The market research firm surveyed 2,279 U.S. adults, with the results weighted by age, sex, race/ethnicity, education, region and household income so their proportions matched those of the population.[99] The film has also featured in several high-profile industry polls: in 1977 it was voted the most popular film by the American Film Institute (AFI), in a poll of the organization's membership;[7] the AFI also ranked the film fourth on its "100 Greatest Movies" list in 1998,[100] with it slipping down to sixth place in the tenth anniversary edition in 2007;[101] in 2012, Sight & Sound ranked it 235th in their prestigious decennial critics poll, and 322nd in their directors poll;[102] in 2014, it placed fifteenth in a poll undertaken by The Hollywood Reporter, which ballotted every studio, agency, publicity firm and production house in the Hollywood region.[103] Gone with the Wind was selected for preservation in the U.S. National Film Registry in 1989.[8]
See also[edit]
List of films featuring slavery
Notes[edit]
1.^ Jump up to: a b The credits at the start of the film contain an error: George Reeves is listed as Brent Tarleton, but plays Stuart, while Fred Crane is listed as Stuart Tarleton, but plays Brent.[1]
2.Jump up ^ From a private letter from journalist and on-set technical advisor Susan Myrick to Margaret Mitchell in February 1939: 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... the thing did not click as it should. 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... And bull-headed David said "OK get out!"[18]Selznick had already been unhappy with Cukor ("a very expensive luxury") for not being more receptive to directing other Selznick assignments, even though Cukor had remained on salary since early 1937. In a confidential memo written in September 1938, Selznick flirted with the idea of replacing him with Victor Fleming.[16] Louis B. Mayer had been trying to have Cukor replaced with an MGM director since negotiations between the two studios began in May 1938. In December 1938, Selznick wrote to his wife about a phone call he had with Mayer: "During the same conversation, your father made another stab at getting George off of Gone With the Wind."[19]
3.Jump up ^ Time also reports that Hell's Angels (1930)—directed by Howard Hughes—cost more, but this was later revealed to be a fallacy; the accounts for Hell's Angels show it cost $2.8 million, but Hughes publicized it as costing $4 million, selling it to the media as the most expensive film ever made up to that point.[25]
References[edit]
1.^ Jump up to: a b "Gone With the Wind". The American Film Institute Catalog of Motion Pictures. American Film Institute. Retrieved January 12, 2013.
2.Jump up ^ Noland, Claire (April 7, 2014). "Mary Anderson dies at 96; actress had role in 'Gone With the Wind'". Los Angeles Times. Retrieved April 7, 2014.
3.^ Jump up to: a b c d e f Friedrich, Otto (1986). City of Nets: A Portrait of Hollywood in the 1940s. Berkeley and Los Angeles: University of California Press. pp. 17–21. ISBN 978-0-520-20949-7.
4.Jump up ^ "The Book Purchase". Gone With The Wind Online Exhibit. University of Texas at Austin: Harry Ransom Center. Archived from the original on February 24, 2014.
5.Jump up ^ "The Search for Scarlett: Chronology". Gone With The Wind Online Exhibit. University of Texas at Austin: Harry Ransom Center. Archived from the original on February 23, 2014.
6.^ Jump up to: a b c d e Lambert, Gavin (February 1973). "The Making of Gone With The Wind, Part I". The Atlantic Monthly. Retrieved March 7, 2013.
7.^ Jump up to: a b c d e f g h i j k "Gone with the Wind (1939) – Notes". TCM database. Turner Classic Movies. Retrieved January 16, 2013.
8.^ Jump up to: a b c d e f g Miller, Frank; Stafford, Jeff. "Gone with the Wind (1939) – Articles". TCM database. Turner Classic Movies. Archived from the original on September 26, 2013.
9.Jump up ^ "The Search for Scarlett: Girls Tested for the Role of Scarlett". Gone With The Wind Online Exhibit. University of Texas at Austin: Harry Ransom Center. Archived from the original on January 5, 2014.
10.Jump up ^ Haver, Ronald (1980). David O. Selznick's Hollywood. New York: Alfred A. Knopf. ISBN 978-0-394-42595-5.
11.Jump up ^ Pratt, William (1977). Scarlett Fever. New York: Macmillan Publishers. pp. 73–74, 81–83. ISBN 978-0-02-598560-5.
12.Jump up ^ Walker, Marianne (2011). Margaret Mitchell and John Marsh: The Love Story Behind Gone With the Wind. Peachtree Publishers. pp. 405–406. ISBN 978-1-56145-617-8.
13.Jump up ^ Selznick, David O. (January 7, 1939). "The Search for Scarlett: Vivien Leigh – Letter from David O. Selznick to Ed Sullivan". Gone With The Wind Online Exhibit. University of Texas at Austin: Harry Ransom Center. Archived from the original on October 28, 2013.
14.^ Jump up to: a b Yeck, Joanne (1984). Dictionary of Literary Biography. American Screenwriters. Gale.
15.^ Jump up to: a b c d e f g Bartel, Pauline (1989). The Complete Gone with the Wind Trivia Book: The Movie and More. Taylor Trade Publishing. pp. 64–69 & 161–172. ISBN 978-0-87833-619-7.
16.^ Jump up to: a b Selznick, David O. (1938–1939). Behlmer, Rudy, ed. Memo from David O. Selznick: the creation of Gone with the wind and other motion picture classics, as revealed in the producer's private letters, telegrams, memorandums, and autobiographical remarks. New York: Modern Library (published 2000). pp. 179–180 & 224–225. ISBN 978-0-375-75531-6.
17.Jump up ^ MacAdams, William (1990). Ben Hecht. New York: Barricade Books. pp. 199–201. ISBN 978-1-56980-028-7.
18.^ Jump up to: a b Myrick, Susan (1982). White Columns in Hollywood: Reports from the GWTW Sets. Macon, Georgia: Mercer University Press. pp. 126–127. ISBN 978-0-86554-044-6.
19.Jump up ^ Eyman, Scott (2005). Lion of Hollywood: The Life and Legend of Louis B. Mayer. Robson Books. pp. 258–259. ISBN 978-1-86105-892-8.
20.Jump up ^ Capua, Michelangelo (2003). Vivien Leigh: A Biography. McFarland & Company. pp. 59–61. ISBN 978-0-7864-1497-0.
21.Jump up ^ Turner, Adrian (1989). A celebration of Gone with the wind. Dragon's World. p. 114.
22.Jump up ^ Molt, Cynthia Marylee (1990). Gone with the Wind on Film: A Complete Reference. Jefferson, NC: McFarland & Company. pp. 272–281. ISBN 978-0-89950-439-1.
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Further reading[edit]
Bridges, Herb (1999). Gone with the Wind: The Three-Day Premiere in Atlanta. Mercer University Press. ISBN 978-0-86554-672-1.
Cameron, Judy; Christman, Paul J (1989). The Art of Gone with the Wind: The Making of a Legend. Prentice Hall. ISBN 978-0-13-046740-9.
Harmetz, Aljean (1996). On the Road to Tara: The Making of Gone with the Wind. New York: Harry N. Abrams. ISBN 978-0-8109-3684-3.
Lambert, Gavin (1973). GWTW: The Making of Gone With the Wind. New York: Little, Brown and Company. ISBN 978-0-316-51284-8.
Vertrees, Alan David (1997). Selznick's Vision: Gone with the Wind and Hollywood Filmmaking. University of Texas Press. ISBN 978-0-292-78729-2.
External links[edit]
 Wikiquote has quotations related to: Gone with the Wind (film)
 Wikimedia Commons has media related to Gone with the Wind (film).
Gone with the Wind at the Internet Movie Database
Gone with the Wind at the TCM Movie Database
Gone with the Wind at the TCM Mediaroom
William Hartsfield and Russell Bellman premiere films at the Atlanta History Center.
Gone with the Wind Online Exhibit at the Harry Ransom Center
Gone With the Wind article series at The Atlantic
Gone with the Wind at Rotten Tomatoes





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Gone with the Wind by Margaret Mitchell


Characters
Scarlett O'Hara ·
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 Ashley Wilkes ·
 Melanie Hamilton ·
 India Wilkes ·
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Adaptations
1939 Film ·
 Harold Rome musical ·
 Margaret Martin musical
 

Related works
Scarlett (miniseries) ·
 Rhett Butler's People ·
 The Wind Done Gone ·
 The Scarlett O'Hara War ·
 The Making of a Legend: Gone with the Wind ·
 Went with the Wind!
 

Related topics
American Civil War  (Atlanta)
   ·
 Confederate States of America ·
 Antebellum ·
 Reconstruction ·
 "Frankly, my dear, I don't give a damn"
 



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Categories: 1939 films
English-language films
Gone with the Wind
1930s romance films
American films
American Civil War films
Best Picture Academy Award winners
Culture of Atlanta, Georgia
Epic films
Films about American slavery
Films about rape
Films based on American novels
Films directed by Victor Fleming
Films featuring a Best Actress Academy Award winning performance
Films featuring a Best Supporting Actress Academy Award winning performance
Films set in Georgia (U.S. state)
Films set in Atlanta, Georgia
Films set in London
Films set in the 1860s
Films set in the 19th century
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Films whose art director won the Best Art Direction Academy Award
Films whose cinematographer won the Best Cinematography Academy Award
Films whose director won the Best Director Academy Award
Films whose editor won the Best Film Editing Academy Award
Films whose writer won the Best Adapted Screenplay Academy Award
Metro-Goldwyn-Mayer films
Rape and revenge films
Rape in fiction
Romantic epic films
Selznick International Pictures films
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