Gone with the Wind Blew Back Last Week
A part of me is for shortening Gone with the Wind to simply Gone. And yet there are pockets that care, 116 of them showing up for a Fathom Events run this past week, my local six-plex using GWTW for one matinee (Sunday) and two evening runs (Monday, then Wednesday). Admission was $10, which means they collected $1160 total. That may have been more than Ghostbusters: Frozen Empire or Kung Fu Panda 4 took for comparable play. I dealt myself in for Sunday afternoon, time served one hour, as here is where audible reaction most occurs, at least that was case on distant occasions when me and audiences intersected. Back then prints were bad, good, worn, intact … one never knew. This time GWTW was digital and that translates more/less to idiot proof, so worry not of wrong ratio or faded color. This looked and sounded OK if dimmer, though I’d guess audiences by now are resigned to that. GWTW ran in a smaller room to seat 125, so Sunday’s 55 seemed a crowd. Here was chance to see what Rhett and Scarlett could do with 2024 viewership. Obviously none came on casual impulse … not to a four-hour film, most having seen GWTW I expect, never on a big screen perhaps, as was case with the lady who cuts my hair who pledged weeks ago not to miss her all-time favorite movie “as it was meant to be seen.” I had ears up for response to specific scenes well recalled for how each played a half-century back. Would they go same directions again? Answer was yes, with a few surprising no’s.
Gone with the Wind was pondered last at Greenbriar in 2010. Many comments were posted, these worth a latter look after fourteen years elapsed. I tried this time to put myself in the place of today-folk watching a 1939 release. Were any there who had never seen GWTW? If so, they were in for something unlike all that is modern filmmaking, and more so, storytelling. Is any current film so heavily scored? I’d like to think someone among the uninitiated might “discover” the music and want more of same sort, or is that too wishful thinking? Love for lush accompany might be too high a hill for anyone young (even old) to climb, for didn’t movies abandon classical/romantic models by the sixties, certainly the seventies? I felt keenly Wind's age when Thomas Mitchell did his Tara speech and the camera rolled back for a majesty take. When was this sort of thing last attempted? Gone with the Wind defines narrative-driven, bearing in mind this isn’t something moderns necessarily want, so does GWTW suffer for its discipline and careful construction? Characters are dense and piled high. Could you scroll, text, as so many do, and still keep up? Lots insist a movie permit all this, which may be why coherence matters so much less now. No film today is remotely like Gone with the Wind, whereas on 1967-68 occasion for a major reissue, there were still features that harked back, at least tentatively, to the epic original. Imitators stepped boldly forward just ten years before, Raintree County and lately mentioned Band of Angels. I wasn’t nervous watching GWTW for not being responsible for how it would be received, my days for bringing anything vintage before current watchers happily and mercifully passed.
Gone with the Wind was for years a gateway drug to old film addiction. Exposure enough, repeated enough, made a rest of the Classic Era simpler to access, easier to enjoy. How possible was it to sit a civilian down for black-and-white recital by faces all of which were unfamiliar? During the sixties-seventies at least, more people saw GWTW than any way-past title save The Wizard of Oz, opportunity arising to widen their acquaintance with at least the four principals from Wind: Clark Gable, Vivien Leigh, Leslie Howard, and Olivia DeHavilland. Gable as lure brought groups of sorority girls to my 1975 collegiate run of Honky Tonk, all of them there for knowing him as Rhett Butler. My sister long ago sat through televised Intermezzo with me after recognizing Leslie Howard, and how many tolerated Errol Flynn pictures I showed at school for familiar face Olivia DeHavilland showing up in them? Clark Gable acknowledged in later years that Gone with the Wind was what primarily kept his name alive and enabled public forgiveness for weaker movies he had done. Ever asked someone who liked GWTW if they’d seen anything else with one of its stars? Had they not, chances are they might be willing to. Wish I could have polled Wind’s exiting audience last week, me as modern-day Johnny Grant with Rock, Pretty Baby’s crowd. As it is, my stay was less than whole of runtime, truth of matter being I’m hard pressed to sit among an audience that long. Comfort of home has become too comfortable. When Blu-Ray looks hands down better than anything they can project upon public screens … well, that’s progress of a sort I suppose, but are we richer for it? Me for the door once data was gathered.
Query to all: Was Gone with the Wind the only Clark Gable starring feature where he did not end up with the girl? Did Leslie Howard really sacrifice himself so the Germans would not realize the Brits had broken their code? Had Vivien Leigh’s bipolar condition become a handicap by the time she played Scarlett, and if not then, when? I knew a collector named Herb Bridges who lived in Atlanta and had the largest GWTW stash of anyone under one roof. We visited him once and I got to hold the green Paris hat that Rhett brought Scarlett. Also went to a high school basketball gym where the Scarlett portrait hung, and you could still see a dent where Rhett threw his glass against it. Pleased to report 2024’s audience laughed at same spots they had before, the biggest when Aunt Pitty fainted at the bazaar, a most appreciative when Rhett says “And you, Mrs. Hamilton, I know just how much that meant to you.” Suppose Selznick penned that line? It could have been any of a dozen credited, or not, scribes. Either way, it's deathless. Most interesting and unexpected was the viewing 55’s non-reaction at Rand Brooks’ proposal to Scarlett, specifically his skipping away after her acceptance for “Mr. O’Hara, Mr. O’Hara!” Later when we’re shown a letter from the War Department informing Scarlett of Charles’ death wherein Measles is listed as the cause, audiences of my past tittered or laughed outright once eyes scrolled to the bottom, but this time, and for a first time I’ve experienced, there was stillness. Do present-day neighbors feel a greater compassion for Charles Hamilton than crueler counterparts I grew up among? What a difference fifty years makes. Ann recalls patronage stood up the street and around our local bank’s corner to see a Sunday matinee for Gone with the Wind at the Liberty in 1972. Comparing this with the 55 I saw it with seems a considerable drop down, the Liberty seating 700 in those days, but saints be praised for mere fact Gone with the Wind was shown theatrically at all, it among oldies I’d least expect to turn up in this or any present year.
