Gone with the Wind
Theatrical pre-release poster. David O. Selznick demanded that Vivien Leigh be given higher billing, so in later posters, her name was billed right below Clark Gable's.
Directed by | Victor Fleming Uncredited: George Cukor Sam Wood
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 Hattie McDaniel Butterfly McQueen
Music by | Max Steiner
Cinematography | Ernest Haller Lee Garmes (uncredited)
Editing by | Hal C. Kern James E. Newcom
Studio | Selznick International Pictures
Distributed by | Metro-Goldwyn-Mayer (original) Warner Bros. (current)
Release dates | December 15, 1939 (1939-12-15) (Atlanta premiere) January 17, 1940 (1940-01-17) (United States)
Running time | 224 minutes 238 minutes (with overture, entr'acte, and exit music)
Country | United States
Language | English
Budget | $3.85 million
Box office | $400 million

  This article is about the film. For the original novel of the same title, see Gone with the Wind. For other uses, see Gone with the Wind (disambiguation)

Gone with the Wind is a 1939 American historical epic film adapted from Margaret Mitchell's Pulitzer-winning 1936 novel of the same name. It was produced by David O. Selznick and directed by Victor Fleming from a screenplay by Sidney Howard. Set in the 19th-century American South, the film stars Clark Gable, Vivien Leigh, Leslie Howard, Olivia de Havilland, and Hattie McDaniel, among others, and tells a story of the American Civil War and Reconstruction era from a white Southern point of view.

The film received ten Academy Awards (eight competitive, two honorary), a record that stood for 20 years[1] until Ben-Hur surpassed it in 1960.[2] In the American Film Institute's inaugural Top 100 Best American Films of All Time list of 1998, it was ranked fourth, and in 1989 was selected to be preserved by the National Film Registry.[3] The film was the longest American sound film made up to that time ? 3 hours 44 minutes, plus a 15-minute intermission ? and was among the first of the major films shot in color (Technicolor), winning the first Academy Award for Best Cinematography in the category for color films. It became the highest-grossing film of all-time shortly after its release, holding the position until 1966. After adjusting for inflation, it has still earned more than any other film in box office history.

## Plot[edit]

### Part 1[edit]

The film opens on a large cotton plantation called Tara in rural Georgia in 1861, on the eve of the American Civil War. Scarlett O'Hara is flirting with the two Tarleton brothers, Brent and Stuart, who have been expelled from the University of Georgia. Scarlett, Suellen, and Careen are the daughters of Irish immigrant Gerald O?Hara and his wife, Ellen O'Hara, who is of aristocratic French ancestry. The brothers share a secret with Scarlett: Ashley Wilkes, whom Scarlett secretly loves, is to be married to his cousin, Melanie Hamilton. 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 turned out of West Point and disowned by his Charleston 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. The ladies retire to take an afternoon nap, but Scarlett sneaks out to be alone with Ashley in the library, and confesses her love for him. He admits he has always secretly loved Scarlett but that he and the sweet Melanie are more compatible. She accuses Ashley of misleading her and slaps him in anger. Ashley exits as Rhett, who has been sleeping unseen on a couch, reveals he has overheard the conversation between Ashley and Scarlett. Rhett promises to keep her secret and Scarlett leaves the library in haste. The barbecue is disrupted by the announcement that war has broken out. As the men rush to enlist, the ladies are awakened from their naps. As Scarlett watches Ashley kiss Melanie goodbye from the upstairs window, Melanie's shy younger brother Charles Hamilton, with whom Scarlett had been innocently flirting, asks for her hand in marriage before he goes. Though she does not love Charles, Scarlett consents. 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 heroic 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, as the elderly ladies murmur objections, 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 leaves for the war. In the hospital, Scarlett and Melanie care for a convalescent soldier.

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, exclaiming, "As God is my witness, I'll never be hungry again!"

### Part 2[edit]

Scarlett sets her family and servants to picking the cotton fields. She also kills a Union deserter who threatens her during a burglary and finds Union currency in his wallet, enough to sustain her family and servants for a time. With the defeat of the Confederacy and war's end, Ashley returns. Mammy restrains Scarlett from running to him when he reunites with Melanie. The dispirited Ashley finds he is of little help to Tara, and 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. Gerald dies after he is thrown from his horse in an attempt to chase from his property a Scalawag, his former plantation overseer who now wants to buy Tara.

Scarlett realizes she cannot pay the rising taxes on Tara implemented by Reconstructionists. Knowing Rhett is in Atlanta, she has Mammy make an elaborate gown for her from her mother?s drapes. 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 fianc?, the middle-aged Frank Kennedy, who now owns a successful general store and lumber mill. Scarlett lies to Kennedy 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 about to take a job with a bank in the north, Scarlett preys on his weakness by weeping that she needs him to help run the mill; pressured by the sympathetic Melanie, he relents. One day, after Scarlett is attacked while driving alone through a nearby shantytown, Frank, Ashley, and others make a night raid on the shantytown. Ashley is wounded in a melee with Union troops, and Frank is killed.

With Frank?s funeral barely over, Rhett visits Scarlett and proposes marriage. Scarlett accepts. He kisses her passionately and tells her that he will win her love one day because they are both the same. After a honeymoon in New Orleans, Rhett promises to restore Tara to its former grandeur, while Scarlett builds the biggest mansion in Atlanta. The two have a daughter. Scarlett wants to name her Eugenie Victoria, but Rhett names her Bonnie Blue Butler. Rhett adores her. He does everything to win the good opinion of Atlanta society for his daughter?s sake. Scarlett, still pining for Ashley and chagrined at the perceived ruin of her figure (her waist has gone from eighteen-and-a-half inches to twenty), lets Rhett know that she wants no more children and that they will no longer share a bed. Rhett steps on a picture of Ashley that Scatlett had been admiring and in anger, he kicks open the door that separates their bedrooms to show her that she cannot keep him away.

When visiting the mill one day, Scarlett listens to a nostalgic Ashley, and when she consoles him with an embrace, they are spied by two gossips including Ashley's sister India, who hates Scarlett. They eagerly spread the rumor and Scarlett?s reputation is again sullied. Later that night, Rhett, having heard the rumors, forces Scarlett out of bed and 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.

At home later that night, Scarlett finds Rhett downstairs drunk. Blind with jealousy, he tells Scarlett that he could kill her if he thought it would make her forget Ashley. He carries her up the stairs in his arms, telling her, "This is one night you're not turning me out." She awakens the next morning with a look of guilty pleasure, but Rhett returns to apologize for his behavior and offers a divorce, which Scarlett rejects saying it would be a disgrace. Rhett decides to take Bonnie on an extended trip to London only to realize, after Bonnie suffers a terrible nightmare, that she still needs her mother by her side. Rhett returns and Scarlett is delighted to see him, but he rebuffs her attempts at reconciliation. She tells him that she is pregnant again. An argument ensues, and Scarlett, enraged, lunges at Rhett, falls down the stairs, and suffers a miscarriage. Rhett, frantic with guilt, cries to Melanie about his jealousy yet refrains from telling Melanie about Scarlett's feelings for Ashley. As Scarlett is recovering, little Bonnie dies while attempting to jump a fence with her pony. Scarlett blames Rhett; Rhett blames himself. Melanie visits the home to comfort them and convinces Rhett to allow Bonnie to be laid to rest, 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, as Scarlett had looked after her for Ashley. With her dying breath, Melanie tells Scarlett to be kind to Rhett because he loves her. Outside, Ashley collapses in tears, forcing Scarlett to realize that Ashley only ever truly loved Melanie. Scarlett runs home to find Rhett preparing to leave. She pleads with him, telling him she realizes now that she had loved him all along, that she never really loved Ashley. However, he refuses, saying that with Bonnie's death went any chance of reconciliation.

As Rhett walks out the door, she pleads, "Rhett, if you go, where shall I go? What shall I do?" He answers, "Frankly, my dear, I don't give a damn" and walks away into the fog. She sits on her stairs and weeps in despair, "What is there that matters?" She then recalls the voices of Gerald, Ashley, and Rhett, all of whom remind her that her strength comes from Tara itself. Hope lights Scarlett's face: "Tara! Home. I'll go home, and I'll think of some way to get him back! After all, tomorrow is another day!" It ends with a silhouette of Scarlett standing under a large tree, looking forward. In the distance lies Tara.

## Cast[edit]

- Vivien Leigh as Scarlett O'Hara
- Clark Gable as Rhett Butler
- Leslie Howard as Ashley Wilkes
- Olivia de Havilland as Melanie Hamilton
- Hattie McDaniel as Mammy
- Butterfly McQueen as Prissy
- Thomas Mitchell as Gerald O'Hara
- Barbara O'Neil as Ellen O'Hara
- Evelyn Keyes as Suellen O'Hara
- Ann Rutherford as Carreen O'Hara
- George Reeves as Stuart Tarleton
- Fred Crane as Brent Tarleton
- Oscar Polk as Pork
- Victor Jory as Jonas Wilkerson
- Howard Hickman as John Wilkes
- Alicia Rhett as India Wilkes
- Rand Brooks as Charles Hamilton
- Carroll Nye as Frank Kennedy
- Laura Hope Crews as Aunt Pittypat
- Eddie Anderson as Uncle Peter
- Harry Davenport as Dr. Meade
- Jane Darwell as Mrs. Merriwether
- Mary Anderson as Maybelle Merriweather
- Ona Munson as Belle Watling
- Ward Bond as Tom, Yankee Captain
- Cammie King as Bonnie Blue Butler
- Mickey Kuhn as Beau Wilkes
- Paul Hurst as Yankee deserter
- Isabel Jewell as Emmie Slattery
- Yakima Canutt as Shantytown renegade
- Cliff Edwards as voice of unseen Reminiscent Soldier

(The credits in the film contain an error: George Reeves and Fred Crane appear as the Tarleton brothers. Reeves plays Stuart, but is listed as Brent, while Crane, playing Brent, is listed as Stuart.)

As of 2012, there were four surviving credited cast members from the film. Alicia Rhett (born February 1, 1915), who played India Wilkes, is the oldest surviving cast member. Also surviving are Olivia de Havilland (born July 1, 1916), who played Melanie Wilkes; Mary Anderson (born April 3, 1920), who played Maybelle Meriweather; and Mickey Kuhn (born September 21, 1932), who played Beau Wilkes.

## Production[edit]

### Development[edit]

Before publication several Hollywood executives and studios declined to create a film based on the novel, including Louis B. Mayer and Irving Thalberg at Metro-Goldwyn-Mayer, Pandro Berman at RKO, 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. A month after the book's publication in June 1936, Selznick bought the rights for $50,000 (equal to $841,127 today),[4]:17 a record amount at the time.

### Casting[edit]

The casting of the two lead roles became a complex, two-year endeavor. For the role of Rhett Butler, Clark Gable was an almost immediate favorite for both the public and Selznick. As Selznick had no male stars under long-term contract, he needed to borrow an actor from another studio.[4]:19 Gary Cooper was 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 non-committal in negotiations.[5] Warner offered a package of Bette Davis, Errol Flynn, and Olivia de Havilland for lead roles in return for the distribution rights. By this time, Selznick was determined to get Gable and eventually found a way to borrow him from MGM, which normally never lent its actors. Selznick's father-in-law, MGM chief Louis B. Mayer, offered in May 1938 to provide Gable and $1,250,000 ($20,729,905 today[6]) for half of the film's budget but for a high price: Selznick would have to pay Gable's $7,000 ($116,087 today[6]) weekly salary, 50% of the profits would go to MGM,[4]:19 the film's distribution would be credited to MGM's parent company, Loew's, Inc., and Loew's would receive 15% of the movie's gross income. Selznick accepted this offer in August, and Gable was cast.

The arrangement to release through MGM meant delaying the start of production until Selznick International completed its contract with United Artists and Gable became available. 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 ($1,658,392 today[6]) and was useless for the film but created "priceless" publicity.[4]:20 Many famous, or soon-to-be-famous, actresses were screen-tested, auditioned, or considered, including: Jean Arthur, Lucille Ball, Tallulah Bankhead, Joan Bennett, Clara Bow, Joan Crawford, Bette Davis, Frances Dee, Olivia de Havilland, Irene Dunne, Joan Fontaine, Greer Garson, Paulette Goddard, Susan Hayward, Miriam Hopkins, Katharine Hepburn, Carole Lombard, Ida Lupino, Merle Oberon, Norma Shearer, Barbara Stanwyck, Margaret Sullavan, Lana Turner, Shelley Winters, and Loretta Young. Miriam Hopkins was the choice of the novel's author Margaret Mitchell, who felt Hopkins, a Georgia native, was just the right type of actress to play Scarlett as written in the book. Unfortunately Hopkins was in her mid-thirties at the time and was considered too old for the part.

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.[7] Goddard almost won the role, but controversy over her marriage with Charlie Chaplin caused Selznick to change his mind.[4]:20

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.[8] But, for publicity reasons, David arranged to meet her for the first time on the night of December 10, 1938, when the burning of Atlanta was filmed.[4]:20 The story was invented for the press that Leigh and Laurence Olivier were just visiting the studio as guests of Myron Selznick, who was also Olivier's agent and that Leigh was in Hollywood hoping for a part in Olivier's current movie, Wuthering Heights. 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. 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."[9]

### 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, including Ben Hecht..."[10]

Selznick replaced the director George Cukor three weeks into filming and then had the script rewritten. He sought out Victor Fleming, who, at the time, was directing The Wizard of Oz. Fleming was dissatisfied with the script, so Selznick brought in famed writer Ben Hecht to rewrite the entire screenplay within five days."[11] The popular play Moonlight and Magnolias by playwright Ron Hutchinson, is about this dramatic episode when "Selznick literally locked himself, Fleming and screenwriter Ben Hecht in a room for five days to completely redo the script."[12][13]

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 tragically at age forty-eight in a farm-tractor accident, and before the movie's premiere."[10]

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.

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.[14]:199

Hecht was in the middle of working on the film At the Circus for the Marx brothers."[14]:199 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."[14]:200

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, so it would appear Hecht's influence was not insubstantial."[14]:201

### Filming[edit]

Principal photography began January 26, 1939, and ended on June 27, 1939, with post-production work (including a fifth version of the opening scene) going to November 11, 1939. Director George Cukor, with whom Selznick had a long working relationship, and who had spent almost two years in preproduction on Gone with the Wind, was replaced after less than three weeks of shooting. Olivia de Havilland said that she learned of George Cukor's firing from Vivien Leigh on the day the Atlanta bazaar scene was filmed. The pair went to Selznick's office in full costume and begged him to change his mind. Selznick apologized, but refused.[note 1] 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. Another MGM director, Sam Wood, worked for two weeks in May when Fleming temporarily left the production due to exhaustion.[15]

Cinematographer Lee Garmes began the production, but after a month of shooting what Selznick and his associates thought was "too dark" footage, was replaced with Ernest Haller, working with Technicolor cinematographer Ray Rennahan. 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.[16] Tara, which for many Americans is the iconic Southern plantation house, existed only as a plywood and papier-m?ch? facade built on the "back forty" California studio lot.[17] 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.[4]:20 Estimated production costs were $3.85?million;[18] only Ben-Hur (1925) and Hell's Angels (1930) had cost more.[19]

Although rumor 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.[20] This is also discussed in the documentary film, The Making of a Legend: Gone With The Wind.

### Music[edit]

Overture ? MGM Studio Orchestra Written by Max Steiner Main Title ? Tara's Theme Written by Max Steiner Rhett's Theme Written by Max Steiner Ashley Written by Max Steiner Scarlett Written by Max Steiner Ashley and Melanie Love Theme Written by Max Steiner True Love Written by Max Steiner "(I Wish I Was in) Dixie's Land" (1860) (uncredited) Written by Daniel Decatur Emmett "Katie Belle" (uncredited) Written by Stephen Foster "Under the Willow She's Sleeping" (1860) (uncredited) Written by Stephen Foster "Lou'siana Belle" (1847) (uncredited) Written by Stephen Foster "Dolly Day" (1850) (uncredited) Written by Stephen Foster "Ring de Banjo" (1851) (uncredited) Written by Stephen Foster "Sweet and Low" (1865) (uncredited) Music by Joseph Barnby "Ye Cavaliers of Dixie" (uncredited) Composer unknown "Taps" (1862) (uncredited) Written by General Daniel Butterfield "Massa's in de Cold Ground" (1852) (uncredited) Written by Stephen Foster "Maryland, My Maryland" (1861) (uncredited) Based on traditional German Christmas carol "O Tannenbaum" "Irish Washerwoman" (uncredited) Traditional Irish Jig "Garryowen" (uncredited) Traditional "When Johnny Comes Marching Home" (1863) (uncredited) Written by Louis Lambert (Patrick Sarsfield Gilmore) | "Weeping, Sad and Lonely (When This Cruel War Is Over)" (1862) Music by Henry Tucker (uncredited) "The Bonnie Blue Flag" (1861) (uncredited) Written and arranged by Harry McCarthy "Hark! The Herald Angels Sing" (pub. 1856) (uncredited) Music by Felix Mendelssohn-Bartholdy (1840) "Tramp! Tramp! Tramp! (The Boys Are Marching)" (1864) (uncredited) Music and Lyrics by George Frederick Root "The Old Folks at Home (Swanee River)" (1851) (uncredited) Written by Stephen Foster "Go Down Moses (Let My People Go)" (uncredited) Traditional Negro spiritual "My Old Kentucky Home" (1853) (uncredited) Music and Lyrics by Stephen Foster Sung a cappella by Butterfly McQueen "Marching Through Georgia" (1865) (uncredited) Written by Henry Clay Work "The Battle Hymn of the Republic" (circa 1856) (uncredited) Music by William Steffe "Beautiful Dreamer" (1862) (uncredited) Music by Stephen Foster Played during the intermission "Jeanie with the Light Brown Hair" (1854) (uncredited) Music by Stephen Foster Played during the intermission "Yankee Doodle" (ca. 1755) (uncredited) Traditional music of English origin "Stars of the Summer Night" (1856) (uncredited) Music by Isaac Baker Woodbury "Bridal Chorus (Here Comes the Bride)" (1850) (uncredited) from "Lohengrin" Written by Richard Wagner "Deep River" (uncredited) Traditional "For He's a Jolly Good Fellow" (uncredited) Traditional "London Bridge Is Falling Down" (uncredited) Traditional children's song "Ben Bolt (Oh Don't You Remember)" (1848) (uncredited) Music by Nelson Kneass Poem by Thomas Dunn English (1842) Sung a cappella by Vivien Leigh[21]

## Release[edit]

from the film's trailer
File:Queen's Theatre 1941.jpg
Showing at the Queen's Theatre, Hong Kong in 1941

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."[22]

On September 9, 1939, Selznick, his wife, Irene, investor Jock Whitney, and film editor Hal Kern drove out to Riverside, California with all of the film reels to preview it before an audience. The film was still unfinished at this stage, missing many optical effects and most of Max Steiner's music score. They arrived at the Fox Theatre in Riverside, which was playing a double feature of Hawaiian Nights and Beau Geste. Kern called for the manager and explained that they had selected his theatre for the first public screening of Gone with the Wind. He was told that after Hawaiian Nights had finished, he could make an announcement of the preview, but was forbidden to say what the film was. People were permitted to leave, but the theatre would thereafter be sealed with no re-admissions and no phone calls out. The manager was reluctant, but finally agreed. His only request was to call his wife to come to the theatre immediately. Kern stood by him as he made the call to make sure he did not reveal the name of the film to her.

When the film began, there was a buzz in the audience when Selznick's name appeared, for they had read about the making of the film for over two years. In an interview years later, Kern described the exact moment the audience realized what was happening:

"When Margaret Mitchell's name came on the screen, you never heard such a sound in your life. They just yelled, they stood up on the seats...I had the [manually operated sound] box. And I had that music wide open and you couldn't hear a thing. Mrs. Selznick was crying like a baby and so was David and so was I. Oh, what a thrill! And when Gone with the Wind came on the screen, it was thunderous!"

In his seminal biography of Selznick, David Thomson wrote that the audience's response before the story had even started "was the greatest moment of his life, the greatest victory and redemption of all his failings."[23] When the film ended, there was a huge ovation. In the preview cards filled out after the screening, two-thirds of the audience rated it as excellent, an unusually high rating.[citation needed] Most of the audience begged that the film not be cut shorter, and many suggested that instead, they eliminate any newsreels, shorts and B-movie feature.

One million people came to Atlanta[4]:24 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, false antebellum fronts on stores and homes, and a costume ball. Eurith D. Rivers, the governor of Georgia, declared December 15 a state holiday. The New York Times reported that thousands lined the streets as "the demonstration exceeded anything in Atlanta's history for noise, magnitude and excitement".[24] President Jimmy Carter would later recall it as "the biggest event to happen in the South in my lifetime."

Hattie McDaniel 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. McDaniel convinced him to attend.[25]

In Los Angeles, the film had its premiere at the elegant Carthay Circle Theatre. From December 1939 to June 1940, the film played only advance-ticket road show engagements at a limited number of theaters, before it went into general release in 1941.[26] It was a sensational hit during the Blitz in London, opening in April 1940, and played for four years.[27] It replaced The Birth of a Nation as the highest-grossing film of all-time,[28] holding the position until 1966, when it was finally overtaken by The Sound of Music.[29]

### Later releases[edit]

Gone with the Wind was given theatrical re-releases in 1947, 1954, and 1961. The 1961 release commemorated the 100th anniversary of the start of the Civil War, and included a gala "premiere" at the Loew's Grand Theater. Gable had died months before, but other stars from the film attended. It was re-released in 1967 in a 70?mm stereophonic version, which is best known today for its iconic poster.[30][31] It was further rereleased in 1971, by United Artists in 1974, by Turner Entertainment and MGM/UA Communications Co. in 1989, and by New Line Cinema in 1998. The 1954 release was the first time the studio issued the film 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.[32] The 70?mm re-issue of the film cropped the film further, to a very narrow ratio of 2.20:1. The 1998 theatrical reissue and the VHS and DVD releases restored the film to its original aspect ratio. On November 14, 2009, on the occasion of the film's 70th anniversary, the film was re-issued in a new high definition transfer to the Blu-ray format.[33]

The film has made $400 million worldwide in theater receipts since its release,[34] which Turner Entertainment estimate to be equivalent to approximately $3.3 billion when adjusted to 2007 prices.[35] Other estimates place the adjusted gross between $3 billion and $5.3 billion at contemporary price levels, making it the highest grossing film of all time.[36][37][38] After adjustments for inflation, Gone with the Wind is also estimated to be the highest grossing film of all time in the United States[39][40] and the United Kingdom, where it is estimated to have sold a total of 35 million tickets.[41][42]

### Television[edit]

The film made its television debut on the HBO cable network in June 1976, and its broadcast TV debut in November of that year in two parts on NBC, where 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. Ironically, it was surpassed the following year by the mini-series Roots, a saga about slavery in America. The film was later shown on CBS. The film was also used to launch two cable channels owned by Turner Broadcasting: TNT and Turner Classic Movies.

### Sequel[edit]

Main article: Scarlett (TV miniseries)

Rumors of Hollywood producing a sequel persisted for decades until 1994, when one was finally produced for television. It was based upon Alexandra Ripley's novel Scarlett, itself a sequel to Mitchell's book. Both the book and the mini-series were met with mixed reviews. In the TV version, British actors played both key roles: Welsh-born actor Timothy Dalton played Rhett while Manchester-born Joanne Whalley played Scarlett. Original plans were used for the reconstruction of a replica of the original Tara set in Charleston, South Carolina for the filming.

## Legacy[edit]

Photograph of First Archivist of the United States R. D. W. Connor receiving the film Gone with the Wind from Senator George of Georgia and Loew's Eastern Division Manager Carter Barron, 1941

In an attempt to draw upon his company's profits, but to pay capital gain tax rather than a much higher personal income tax, David O. Selznick and his business partners liquidated Selznick International Pictures over a three-year period in the early 1940s. As part of the liquidation, Selznick sold his rights in Gone with the Wind to Jock Whitney and his sister, who in turn sold it to Metro-Goldwyn-Mayer in 1944. Today it is owned by Turner Entertainment, whose parent company Turner Broadcasting acquired MGM's film library in 1986. Turner itself is currently a subsidiary of Time Warner, which is the current parent company of Warner Bros. Entertainment. The film is the favorite movie of TBS founder Ted Turner, himself a resident of Atlanta.

In 1989, Gone with the Wind was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In 1998, the American Film Institute ranked it No. 4 on its "100 Greatest Movies" list. In 2007, the film had moved to No. 6 on the 10th anniversay AFI best film list.

Rhett Butler's famous farewell line to Scarlett O'Hara, "Frankly, my dear, I don't give a damn", was voted in a poll by the American Film Institute in 2005 as the most memorable line in cinema history.[43]

Leslie Howard's association to the screen character he most disliked, the winsome Ashley, later obscured his solid contribution to the British film industry and his fight to break the silence about the Holocaust.[44]

In 2005, the AFI ranked Max Steiner's score for the film the second greatest of all time. The AFI also ranked the film No. 2 in their list of the greatest romances of all time (100 Years... 100 Passions).

After filming concluded, the set of Tara sat on the back lot of the former Selznick Studios as the Forty Acres back lot reverted to RKO Pictures and then was sold to Desilu Productions. In 1959, Southern Attractions, Inc. purchased the fa?ade of Tara, which was dismantled and shipped to Georgia with plans to relocate it to the Atlanta area as a tourist attraction.[45][46] David O. Selznick commented at the time,

> Nothing in Hollywood is permanent. Once photographed, life here is ended. It is almost symbolic of Hollywood. Tara had no rooms inside. It was just a fa?ade. So much of Hollywood is a fa?ade.[47]

However, the Margaret Mitchell estate refused to license the novel's commercial use in connection with the fa?ade, citing Mitchell's dismay at how little it resembled her description. In 1979 the dismantled plywood and papier-m?ch? set, reportedly in "terrible" condition, was purchased for $5,000 by Betty Talmadge, the ex-wife of former Georgia governor and U.S. senator Herman Talmadge. She lent the front door of Tara's set to the Margaret Mitchell House and Museum in downtown Atlanta, Georgia where it is on permanent display, featured in the Gone with the Wind film museum. Other items from the movie, such as from the set of Scarlett and Rhett's Atlanta mansion, are still stored at The Culver Studios (formerly Selznick International) including the stained glass window from the top of the staircase which was actually a painting. The famous painting of Scarlett in her blue dress, which hung in Rhett's bedroom, hung for years at the Margaret Mitchell Elementary School in Atlanta, but is now on permanent loan to the Margaret Mitchell Museum, complete with stains from the glass of sherry that Clark Gable, as Rhett Butler, threw at it in anger.

## Reception[edit]

Gone With the Wind received positive reviews at the time of its release, today being considered a classic. In its original review for the 1939 release, Frank S Nuget from the New York Times praised it, especially the casting, writing that "Mr. Selznick's film is a handsome, scrupulous and unstinting version of the 1,037-page novel, matching it almost scene for scene with a literalness that not even Shakespeare or Dickens were accorded in Hollywood, casting it so brilliantly one would have to know the history of the production not to suspect that Miss Mitchell had written her story just to provide a vehicle for the stars already assembled under Mr. Selznick's hospitable roof."[48] The Manchester Guardian, in 1940, criticized the length, but praised it overall, especially the acting.[49]

With the 1998 restoration, Roger Ebert wrote that: "it will be around for years to come, a superb example of Hollywood's art and a time capsule of weathering sentimentality for a Civilization gone with the wind, all right--gone, but not forgotten."[50]

### Racial criticism[edit]

Recent historical studies of the Civil Rights Movement have focused on the idyllic portrayal (epitomized in the opening credits) of the Civil War-era South in the film. Professor D.J. Reynolds wrote 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 Birth of a Nation (based on The Clansman) 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. Hattie McDaniel's performance (for which she became the first black American to win an Oscar) and Butterfly McQueen's have been described as stereotypes of a 'black Mammy' and a childlike black slave (in the novel, the character of Prissy was twelve years old, but played in the film by an adult). Malcolm X recalled that "when Butterfly McQueen went into her act, I felt like crawling under the rug."[51]

### Awards and honors[edit]

Gone with the Wind was the first film to get more than five Academy Awards. Of the 17 competitive awards which were given at the time, Gone with the Wind had 13 nominations. It also was awarded the Greatest Film in History by the program Best In Film: The Greatest Films of Our Time, which aired March 22, 2011.

It was the winner of ten Academy Awards (eight regular, one honorary, one technical).[52]

Award | Result | Winner
--- | --- | ---
Best Picture | Won | Selznick International Pictures (David O. Selznick, Producer)
Best Director | Won | Victor Fleming
Best Actor | Nominated | Clark Gable Winner was Robert Donat ? Goodbye, Mr. Chips
Best Actress | Won | Vivien Leigh
Best Adapted Screenplay | Won | Sidney Howard Awarded posthumously
Best Supporting Actress | Won | Hattie McDaniel Received a miniature "Oscar" statuette on a plaque
Best Supporting Actress | Nominated | Olivia de Havilland Winner was Hattie McDaniel
Best Cinematography, Color | Won | Ernest Haller and Ray Rennahan This received the "Oscar" statuette
Best Film Editing | Won | Hal C. Kern and James E. Newcom Received a miniature "Oscar" statuette on a plaque, replaced with a regular statuette in 1962
Best Art Direction | Won | Lyle Wheeler
Best Visual Effects | Nominated | Fred Albin (Sound), Jack Cosgrove (Photographic), and Arthur Johns (Sound) Winners were Fred Sersen (Photographic) and E. H. Hansen (Sound) ? The Rains Came
Best Music, Original Score | Nominated | Max Steiner Winner was Herbert Stothart ? The Wizard of Oz
Best Sound Recording | Nominated | Thomas T. Moulton (Samuel Goldwyn Studio Sound Department) Winner was Bernard B. Brown (Universal Studio Sound Department) ? When Tomorrow Comes

Award | Recipient
--- | ---
Irving G. Thalberg Award | David O. Selznick For his career achievements as a producer.
Honorary Award | William Cameron Menzies (Miniature "Oscar" statuette on a plaque)[53] For outstanding achievement in the use of color for the enhancement of dramatic mood in the production of Gone with the Wind.
Technical Achievement Award | Don Musgrave and Selznick International Pictures (Certificate) For pioneering in the use of coordinated equipment in the production Gone with the Wind.

American Film Institute lists

- AFI's 100 Years... 100 Movies ? #4
- AFI's 100 Years... 100 Passions ? #2
- 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
- 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

## References[edit]

1. ^ Awards for Gone With the Wind at the Internet Movie Database
2. ^ Awards for Ben-Hur at the Internet Movie Database
3. ^ Awards for gone with the wind. (n.d.). Retrieved from http://www.imdb.com/title/tt0031381/awards
4. ^ a b c d e f g h Friedrich, Otto (1986). of netspg=PA6#v=onepageqf=false City of Nets: A Portrait of Hollywood in the 1940's. Berkeley and Los Angeles: University of California Press. ISBN 0-520-20949-4.
5. ^ Selznick, David O. (2000). Memo from David O. Selznick. New York: Modern Library. pp. 172?173. ISBN 0-375-75531-4.
6. ^ a b c Consumer Price Index (estimate) 1800–2013. Federal Reserve Bank of Minneapolis. Retrieved March 31, 2013.
7. ^ Haver, Ronald (1980). David O. Selznick's Hollywood. New York: Alfred A. Knopf. ISBN 0-394-42595-2.
8. ^ Pratt, William (1977). Scarlett Fever. New York: Macmillan Publishing Co. pp. 73?74, 81?83. ISBN 0-02-598560-4. In a memo to George Cukor on October 21, 1938, Selznick said he was "still hoping against hope for that new girl." Memo, p. 184
9. ^ Letter from David O. Selznick to Ed Sullivan, January 7, 1939.
10. ^ a b Yeck, Joanne, Dictionary of Literary Biography ? American Screenwriters (1984) Gale Reaearch
11. ^ Keelor, Josette, Northern Virginia Daily.com, [1] Behind the Scenes, August 1, 2008
12. ^ Moonlight and Magnolias pressconnects.com January 22, 2009
13. ^ Hutchinson, Ron (2004). Moonlight and Magnolias, Moonlight and Magnolias", The Times, October 3, 2007.
14. ^ a b c d MacAdams, William, Ben Hecht ? a Biography, (1990) Barricade Books, N.Y.
15. ^ Myrick, Susan (1982). White Columns in Hollywood: Reports from the GWTW Sets. Macon, Georgia: Mercer University Press. pp. 126?127. ISBN 0-86554-044-6.
16. ^ Molt, Cynthia Marylee (1990). Gone with the Wind on Film: A Complete Reference. Jefferson, NC: McFarland Company. pp. 272?281. ISBN 0-89950-439-6.
17. ^ "gone with the wind" "forty acres" Taraas_brr=3ie=ISO-8859-1output=html Bridges, The Filming of Gone with the Wind
18. ^ "G With the W", Time, vol. 34, December 25, 1939. "Record Wind", Time, February 19, 1940, specified $3,850,000.
19. ^ Robertson, Patrick (2001). Film Facts. New York: Billboard Books. p. 33. ISBN 0-8230-7943-0.
20. ^ Leonard J. Leff and Jerold L. Simmons, The Dame in the Kimono: Hollywood, Censorship, and the Production Code, pp. 107?108.
21. ^ "Soundtracks for Gone with the Wind (1939)". Internet Movie Database. Retrieved July 15, 2010.
22. ^ "G With the W", Time, vol. 34, December 25, 1939.
23. ^ Thomson, David (1992). Showman: The Life of David O. Selznick. New York: Knopf. ISBN 0-394-56833-8.
24. ^ Berger, Meyer (December 15, 1939). "Atlanta Retaken By Glory of Past" (PDF). The New York Times. Retrieved May 23, 2009.
25. ^ Harris, Warren G. Clark Gable: A Biography, Harmony, (2002), page 211
26. ^ In February 1940, the movie was playing in 156 theatres in 150 U.S. cities.
27. ^ "London Movie Doings", The New York Times, June 25, 1944, p. X3.
28. ^ Finler, Joel Waldo (2003). The Hollywood Story. Wallflower Press. p. 47. ISBN 978-1-903364-66-6.
29. ^ Dirks, T. "Top Films of All-Time: Part 1 ? Box-Office Blockbusters". Filmsite.org. Retrieved August 13, 2011.
30. ^ Gone With the Wind (1939). "Gone With the Wind Poster ? Internet Movie Poster Awards Gallery". Impawards.com. Retrieved July 15, 2010.
31. ^ The American Widescreen Museum, Gone With the Wind.
32. ^ Haver, Ronald (1993). "David O. Selznick's GONE WITH THE WIND." New York: Random House. pp. 84?85.
33. ^ 28-Oct-2009 MW20091028 "Media Advisory: Gone with the Wind in HD at Cineplex Entertainment Theatres on Saturday, November?14th". Reuters. October 28, 2009. Retrieved July 15, 2010.
34. ^ "Gone with the wind (1939)". Box Office Mojo. Retrieved January 1, 2009.
35. ^ Miller, Frank; Stafford, Jeff (January 5, 2007). "The Critics Corner: Gone With the Wind". Turner Classic Movie. Retrieved November 25, 2011.
36. ^ Shone, Tom (February 3, 2010). "Oscars 2010: How James Cameron took on the world". The Daily Telegraph. Retrieved March 22, 2012.
37. ^ Will, George F. (June 26, 2006). "'Wind' captured change". St. Petersburg Times. p. 11A. `|accessdate=` requires `|url=` (help)
38. ^ "Highest box-office film gross ? inflation adjusted". Guinness World Records. Retrieved March 22, 2012.
39. ^ ByAG "Top Grossing Films of All Time in the U.S. Adjusted for Inflation". The Movie Times. Retrieved July 15, 2010.
40. ^ "Top 10 Grossing Movies Adjusted for Inflation". Scene-Stealers. August 19, 2008. Retrieved July 15, 2010.
41. ^ "The Ultimate Film Chart". British Film Institute. Retrieved August 9, 2009.
42. ^ "Gone with the Wind tops film list". BBC News. BBC. November 28, 2004. Retrieved June 9, 2011.
43. ^ ABC.net http://www.abc.net.au/news/newsitems/200506/s1398449.htm
44. ^ Eforgan, Estel. Leslie Howard: The Lost Actor. London: Vallentine Mitchell Publishers, 2010. ISBN 978-0-85303-941-9
45. ^ Los Angeles Times, May 17, 1959, p. G10.
46. ^ Jennifer W. Dickey, "A Tough Little Patch of History": Atlanta's Marketplace for Gone With the Wind Memory, PhD dissertation, Georgia State University, 2007, pp. 85?89.
47. ^ Murray Schumach, "Hollywood Gives Tara to Atlanta," New York Times, May 25, 1959, p. 33.
48. ^ [http://movies.nytimes.com/movie/review?res=9807E2DA153EE432A25753C2A9649D946894D6CF Movie Review Gone With the Wind (1939) THE SCREEN IN REVIEW; David Selznick's 'Gone With the Wind' Has Its Long-Awaited Premiere at Astor and Capitol, Recalling Civil War and Plantation Days of South--Seen as Treating Book With Great Fidelity]
49. ^ [http://www.guardian.co.uk/theguardian/2010/may/28/archive-gone-with-the-wind-1940 From the archive, 28 May 1940: Gone with the wind at the Gaiety / Originally published in the Manchester Guardian on 28 May 1940]
50. ^ Gone With the Wind (1939)
51. ^ 'America, Empire of Liberty', D J Reynolds, p. 241-2; 'Making Whiteness', Grace Elizabeth Hale, p. 52
52. ^ "The 12th Academy Awards (1940) Nominees and Winners". oscars.org. Retrieved 2011-08-11.
53. ^ Newsreel footage of Menzies receiving award, seen in The Making of Gone With the Wind (1988).

Notes

1. ^ 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!"
   Myrick, Susan (1982). White Columns in Hollywood: Reports from the GWTW Sets. Macon, Georgia: Mercer University Press. pp. 126?127. ISBN 0-86554-044-6. 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. (Memo from David O. Selznick, 179?180.) 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." (Scott Eyman, Lion of Hollywood: The Life and Legend of Louis B. Mayer, pp. 258?259.)

Further reading

- Bridges, Herb (1998). The Filming of Gone with the Wind. Mercer University Press. ISBN 0-86554-621-5.
- Bridges, Herb (1999). Gone with the Wind: The Three-Day Premiere in Atlanta. Mercer University Press. ISBN 0-86554-672-X.
- Brown, Ellen F. and John Wiley (2011). Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood. Lanham: Taylor Trade. ISBN 978-1-58979-567-9
- Cameron, Judy; Christman, Paul J. (1989). The Art of Gone with the Wind: The Making of a Legend. Prentice Hall. ISBN 0-13-046740-5.
- Harmetz, Aljean (1996). On the Road to Tara: The Making of Gone with the Wind. New York: Harry N. Abrams. ISBN 0-8109-3684-4.
- Lambert, Gavin (1973). GWTW: The Making of Gone With the Wind. New York: Little, Brown and Company.
- Myrick, Susan (1982). White Columns in Hollywood: Reports from the GWTW Sets. Mercer University Press. ISBN 0-86554-245-7.
- Pratt, William. (1977). Scarlett Fever: The Ultimate Pictorial Treasury of Gone with the Wind. Macmillan. ISBN 0-02-012510-0.
- Vertrees, Alan David (1997). Selznick's Vision: Gone with the Wind and Hollywood Filmmaking. University of Texas Press. ISBN 0-292-78729-4.

## External links[edit]

| Wikiquote has a collection of quotations related to: API

| Wikimedia Commons has media related to API.

- Gone with the Wind at the Internet Movie Database
- Gone with the Wind at the TCM Movie Database
- Gone with the Wind at allmovie
- Gone with the Wind at Box Office Mojo
- Gone with the Wind at Rotten Tomatoes
- Gone with the Wind wardrobe, an online exhibition from the David O. Selznick collection at the Harry Ransom Center
- Film Stills Photo Archive
- Gone with the Wind on DVD at Warner Home Video
- Literature on Gone with the Wind
- Gone With the Wind Fan-Site

Awards
Preceded by Jezebel | Academy Award winner for Best Actress and Best Supporting Actress | Succeeded by Mrs. Miniver

Gone with the Wind by Margaret Mitchell
Characters | Scarlett O'Hara Rhett Butler Ashley Wilkes Melanie Hamilton India Wilkes Others
Adaptations | 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
Related topics | American Civil War Confederate States of America Antebellum Reconstruction "Frankly, my dear, I don't give a damn"

Films directed by Victor Fleming
1910s | When the Clouds Roll by (1919)
1920s | The Mollycoddle (1920) Mama's Affair (1921) Woman's Place (1921) The Lane That Had No Turning (1922) Red Hot Romance (1922) Anna Ascends (1922) Dark Secrets (1923) Law of the Lawless (1923) To the Last Man (1923) The Call of the Canyon (1923) Code of the Sea (1924) Empty Hands (1924) The Devil's Cargo (1925) Adventure (1925) A Son of His Father (1925) Lord Jim (1925) The Blind Goddess (1926) Mantrap (1926) The Way of All Flesh (1927) Hula (1927) The Rough Riders (1927) Abie's Irish Rose (1928) The Awakening (1928) The Wolf Song (1929) The Virginian (1929)
1930s | Common Clay (1930) Renegades (1930) The Wet Parade (1932) Treasure Island (1934) Reckless (1935) The Farmer Takes a Wife (1935) Captains Courageous (1937) Test Pilot (1938) The Wizard of Oz (1939) Gone with the Wind (1939)
1940s | Dr. Jekyll and Mr. Hyde (1941) Tortilla Flat (1942) A Guy Named Joe (1943) Adventure (1945) Joan of Arc (1948)

Academy Award for Best Picture
Wings (1927) The Broadway Melody (1929) All Quiet on the Western Front (1930) Cimarron (1931) Grand Hotel (1932) Cavalcade (1933) It Happened One Night (1934) Mutiny on the Bounty (1935) The Great Ziegfeld (1936) The Life of Emile Zola (1937) You Can't Take It With You (1938) Gone with the Wind (1939) Rebecca (1940) How Green Was My Valley (1941) Mrs. Miniver (1942) Casablanca (1943) Going My Way (1944) The Lost Weekend (1945) The Best Years of Our Lives (1946) Gentleman's Agreement (1947) Hamlet (1948) All the King's Men (1949) All About Eve (1950) An American in Paris (1951) The Greatest Show on Earth (1952) From Here to Eternity (1953) On the Waterfront (1954) Marty (1955) Around the World in 80 Days (1956) The Bridge on the River Kwai (1957) Gigi (1958) Ben-Hur (1959) The Apartment (1960) West Side Story (1961) Lawrence of Arabia (1962) Tom Jones (1963) My Fair Lady (1964) The Sound of Music (1965) A Man for All Seasons (1966) In the Heat of the Night (1967) Oliver! (1968) Midnight Cowboy (1969) Patton (1970) The French Connection (1971) The Godfather (1972) The Sting (1973) The Godfather Part II (1974) One Flew Over the Cuckoo's Nest (1975) Rocky (1976) Annie Hall (1977) The Deer Hunter (1978) Kramer vs. Kramer (1979) Ordinary People (1980) Chariots of Fire (1981) Gandhi (1982) Terms of Endearment (1983) Amadeus (1984) Out of Africa (1985) Platoon (1986) The Last Emperor (1987) Rain Man (1988) Driving Miss Daisy (1989) Dances with Wolves (1990) The Silence of the Lambs (1991) Unforgiven (1992) Schindler's List (1993) Forrest Gump (1994) Braveheart (1995) The English Patient (1996) Titanic (1997) Shakespeare in Love (1998) American Beauty (1999) Gladiator (2000) A Beautiful Mind (2001) Chicago (2002) The Lord of the Rings: The Return of the King (2003) Million Dollar Baby (2004) Crash (2005) The Departed (2006) No Country for Old Men (2007) Slumdog Millionaire (2008) The Hurt Locker (2009) The King's Speech (2010) The Artist (2011) Argo (2012)

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