Gone Wit Hthe Wind Inhaltsverzeichnis
Die junge, schöne Scarlett O'Hara, Tochter eines reichen Plantagenbesitzers, verliebt sich unsterblich in den Soldaten Ashley. Als der jedoch ihre Cousine Melanie heiratet, bricht für Scarlett eine Welt zusammen. Dann lernt sie den. Vom Winde verweht (Originaltitel: Gone with the Wind) ist eine US-amerikanische Literaturverfilmung aus dem Jahr mit Vivien Leigh und Clark Gable in. Vom Winde verweht bzw. in jüngerer Übersetzung Vom Wind verweht (Gone with the Wind) ist ein Roman von Margaret Mitchell um die fiktiven Figuren Scarlett. Since its original publication in , Gone With the Wind—winner of the Pulitzer Prize and one of the bestselling novels of all time—has been heralded by. Gone with the Wind | Mitchell, Margaret | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon.
Vom Winde verweht (Originaltitel: Gone with the Wind) ist eine US-amerikanische Literaturverfilmung aus dem Jahr mit Vivien Leigh und Clark Gable in. Since its original publication in , Gone With the Wind—winner of the Pulitzer Prize and one of the bestselling novels of all time—has been heralded by. Victor Fleming, USA, , min, Gone with the Wind ist immer noch der populärste Film überhaupt. Vor allem aber ist es ein Film von emblematischer.
Rhett rides his horse around town with Bonnie in front of him, and he soon buys Bonnie a Shetland pony , teaching her to ride sidesaddle.
He also pays a boy to teach the pony to jump over wood bars. One day, Bonnie asks her father to raise the bar to one-and-a-half feet. He gives in, warning her not to come crying if she falls.
During the jump, Bonnie falls and dies of a broken neck. In the dark days and months following Bonnie's death, Rhett is often drunk and disheveled, while Scarlett, though equally bereaved, is more presentable.
Shortly thereafter, with the untimely death of Melanie Wilkes, Rhett decides that he only wants the calm Southern dignity he once knew in his youth, and leaves Atlanta to find it.
Scarlett finally realizes that she had stopped loving Ashley long ago, that Melanie had been her only friend among the women who had disowned her, and that she had always sincerely loved Rhett.
She tries to persuade Rhett to either stay or take her along with him, but Rhett claims to no longer care for her. In the midst of her despair and loneliness, Scarlett realizes that she still has Tara and returns there with the certainty that she can recover and win Rhett back, because "tomorrow is another day.
Born in in Atlanta , Georgia , Margaret Mitchell was a Southerner and writer throughout her life.
She grew up hearing stories about the American Civil War and the Reconstruction from her Irish-American grandmother, who had 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.
He was killed in World War I , 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 pandemic flu , Mitchell returned to Atlanta.
She married, but her husband was an abusive bootlegger. Mitchell took a job writing feature articles for the Atlanta Journal at a time when Atlanta debutantes of her class did not work.
After divorcing her first husband, she married again, this time to a man who shared her interest in writing and literature. He had also been the best man at her first wedding.
Margaret Mitchell began writing Gone with the Wind in to pass the time while recovering from a slow-healing auto-crash injury.
After Latham agreed to publish the book, Mitchell worked for another six months checking the historical references and rewriting the opening chapter several times.
Mitchell wrote the book's final moments first and then wrote the events that led up to them. The author tentatively titled the novel Tomorrow is Another Day , from its last line.
I have forgot much, Cynara! 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 had "gone with the wind which had swept through Georgia.
When taken in the context of Dowson's poem about "Cynara," the phrase "gone with the wind" alludes to erotic loss. 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 to , Scarlett ages from sixteen to twenty-eight years. This is a type of Bildungsroman ,  a novel concerned with the moral and psychological growth of the protagonist from youth to adulthood coming-of-age story.
Scarlett's development is affected by the events of her time. The novel is known for its exceptional "readability". Gone with the Wind is often placed in the literary subgenre of the historical romance novel.
Slavery in the United States in Gone with the Wind is a backdrop to a story that is essentially about other things. 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.
Of the servants who stayed at Tara, Scarlett thinks, "There were qualities of loyalty and tirelessness and love in them that no strain could break, no money could buy.
The field slaves make up the lower class in Mitchell's caste system. Mitchell wrote that other field slaves were "loyal" and "refused to avail themselves of the new freedom",  but the novel has no field slaves who stay on the plantation to work after they have been emancipated.
American William Wells Brown escaped from slavery and published his memoir, or slave narrative , in He wrote 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. Elliott, Although the novel is more than 1, pages long, the character of Mammy never considers what her life might be like away from Tara.
You kain sen' me nowhar Ah doan wanter go," but Mammy remains duty-bound to "Miss Ellen's chile.
Eighteen years before the publication of Gone with the Wind , an article titled, "The Old Black Mammy," written in the Confederate Veteran in , discussed the romanticized view of the mammy character persisting in Southern literature :.
Micki McElya , in her book Clinging to Mammy , suggests the myth of the faithful slave, in the figure of Mammy, lingered because white Americans wished to live in a world in which African Americans were not angry over the injustice of slavery.
The best-selling anti-slavery novel, Uncle Tom's Cabin by Harriet Beecher Stowe, published in , is mentioned briefly in Gone with the Wind as being accepted by the Yankees as "revelation second only to the Bible".
The southern belle is an archetype for a young woman of the antebellum American South upper class. The southern belle was believed to be physically attractive but, more importantly, personally charming with sophisticated social skills.
She is subject to the correct code of female behavior. For young Scarlett, the ideal southern belle is represented by her mother, Ellen O'Hara.
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 However, Scarlett is not always willing to conform.
The figure of a pampered southern belle, Scarlett lives through an extreme reversal of fortune and wealth, and survives to rebuild Tara and her self-esteem.
Marriage was supposed to be the goal of all southern belles, as women's status was largely determined by that of their husbands. All social and educational pursuits were directed towards it.
Despite the Civil War and loss of a generation of eligible men, young ladies were still expected to marry.
The exhibit asked, "Was Scarlett a Lady? White women performed traditional jobs such as teaching and sewing, and generally disliked work outside the home.
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.
In the fall of , Confederate laws were changed to permit women to be employed in hospitals as members of the Confederate Medical Department.
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. Several battles are mentioned or depicted in Gone with the Wind.
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.
Although Abraham Lincoln is mentioned in the novel fourteen times, no reference is made to his assassination on April 14, Ashley Wilkes is the beau ideal of Southern manhood in Scarlet's eyes.
A planter by inheritance, Ashley knew the Confederate cause had died. His "pallid skin literalizes the idea of Confederate death. Ashley contemplates leaving Georgia for New York City.
Had he gone North, he would have joined numerous other ex-Confederate transplants there. He feels he is not "shouldering a man's burden" at Tara and believes he is "much less than a man—much less, indeed, than a woman".
A "young girl's dream of the Perfect Knight",  Ashley is like a young girl himself. Scarlett's love interest, Ashley Wilkes, lacks manliness, and her husbands—the "calf-like"  Charles Hamilton, and the "old-maid in britches",  Frank Kennedy—are unmanly as well.
Mitchell is critiquing masculinity in southern society since Reconstruction. The word "scallawag" is defined as a loafer, a vagabond, or a rogue.
In the early years of the Civil War, Rhett is called a "scoundrel" for his "selfish gains" profiteering as a blockade-runner.
As a scallawag, Rhett is despised. He is the "dark, mysterious, and slightly malevolent hero loose in the world".
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. The sales of Margaret Mitchell's novel in the summer of , as the nation was recovering from the Great Depression and at the virtually unprecedented high price of three dollars, reached about one million by the end of December.
Ralph Thompson, a book reviewer for The New York Times , was critical of the length of the novel, and wrote in June I happen to feel that the book would have been infinitely better had it been edited down to say, 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.
Mitchell herself claimed Charles Dickens as an inspiration and called Gone with the Wind a "' Victorian ' type novel. The book brought her fond memories of her southern infancy but she also felt sadness comparing that with what she knew about the South.
Gone with the Wind has been criticized for its stereotypical and derogatory portrayal of African Americans in the 19th century South.
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.
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' during Reconstruction solely on 'mean niggers',  of which, she said, there were few even in slavery days.
Critics say that Mitchell downplayed the violent role of the Ku Klux Klan and their abuse of freedmen. 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".
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.
In Gone with the Wind , Mitchell explores some complexities in racial issues. Scarlett was asked by a Yankee woman for advice on whom 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".
Ethnic slurs on the Irish and Irish stereotypes pervade the novel, O'Connell claims, and Scarlett is not an exception to the terminology.
The novel has been criticized for promoting plantation values and romanticizing the white supremacy of the antebellum south. She said that the popular film "promotes a false notion of the Old South ".
Mitchell was not involved in the screenplay or film production. 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 related to Scarlett.
The novel and film adaptation have come under intense criticism for racist and white supremacist themes in following the on-camera killing of Black American, George Floyd , and the ensuing protests and focus on systemic racism in the United States.
In a Harris poll, Mitchell's novel ranked again as second, after the Bible. As of , more than 30 million copies have been printed in the United States and abroad.
Gone with the Wind has appeared in many places and forms in popular culture :. On June 30, , the 50th anniversary of the day Gone with the Wind went on sale, the U.
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.
Postal Service's Great Americans series. On September 10, , the U. Post Office issued a cent 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.
To commemorate the 75th anniversary of the publication of Gone with the Wind in , Scribner published a paperback edition featuring the book's original jacket art.
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 meeting place. One story of the 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. Some readers of the novel have seen the film first and read the novel afterward.
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. Earlier in the novel, in an intended rape at Shantytown Chapter 44 , Scarlett is attacked by a black man who rips open her dress while a white man grabs hold of the horse's bridle.
She is rescued by another black man, Big Sam. The Library of Congress began a multiyear "Celebration of the Book" in July 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.
Throughout the world, the novel appeals due to its universal themes: war, love, death, racial conflict, class, gender and generation, which speak especially to women.
Margaret Mitchell had separated from the Catholic Church. 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.
The first printing of 10, copies contains the original publication date: "Published May, ". After the book was chosen as the Book-of-the-Month's selection for July, publication was delayed until June The second printing of 25, copies and subsequent printings contains the release date: "Published June, Additionally, 50, 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, 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.
In , 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 The copyright holders of Gone with the Wind attempted to suppress publication of The Wind Done Gone by Alice Randall ,  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,  was blocked from publication in the United States.
The novel was republished in Australia, avoiding U. Away from copyright lawsuits, Internet fan fiction has proved to be a fertile medium for sequels some of them book-length , parodies, and rewritings of Gone with the Wind.
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. 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 s 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.
Gone with the Wind has been in the public domain in Australia since 50 years after Margaret Mitchell's death. Under an extension of copyright law, Gone with the Wind will not enter the public domain in the United States until , however.
From Wikipedia, the free encyclopedia. Redirected from Gone With the Wind novel. Dewey Decimal. This article's plot summary may be too long or excessively detailed.
Selznick and Fleming, eager to continue with their acting, kept hurrying me. We worked in this fashion for seven days, putting in eighteen to twenty hours a day.
Selznick refused to let us eat lunch, arguing that food would slow us up. He provided bananas and salted peanuts MacAdams writes, "It is impossible to determine exactly how much Hecht scripted In the official credits filed with the Screen Writers Guild , Sidney Howard was of course awarded the sole screen credit, but four other writers were appended Jo Swerling for contributing to the treatment, Oliver H.
Garrett and Barbara Keon to screenplay construction, and Hecht, to dialogue Principal photography began January 26, , and ended on July 1, with post-production work continuing until November 11, Director George Cukor , with whom Selznick had a long working relationship and who had spent almost two years in pre-production on Gone with the Wind , was replaced after less than three weeks of shooting.
Emanuel Levy , Cukor's biographer, claimed that Gable had worked Hollywood's gay circuit as a hustler and that Cukor knew of his past, so Gable used his influence to have him discharged.
Although some of Cukor's scenes were later reshot, Selznick estimated that "three solid reels" of his work remained in the picture. As of the end of principal photography, Cukor had undertaken eighteen days of filming, Fleming ninety-three, and Wood twenty-four.
Cinematographer Lee Garmes began the production, but on March 11, —after a month of shooting footage that Selznick and his associates regarded as "too dark"—was replaced with Ernest Haller , working with Technicolor cinematographer Ray Rennahan.
Garmes completed the first third of the film—mostly everything prior to Melanie having the baby—but did not receive a credit. With that amendment, the Production Code Administration had no further objection to Rhett's closing line.
Warner Bros. Steiner spent twelve weeks working on the score, the longest period that he had ever spent writing one, and at two hours and thirty-six minutes long it was also the longest that he had ever written.
The score is characterized by two love themes, one for Ashley's and Melanie's sweet love and another that evokes Scarlett's passion for Ashley, though notably there is no Scarlett and Rhett love theme.
The theme that is most associated with the film today is the melody that accompanies Tara, the O'Hara plantation; in the early s, "Tara's Theme" formed the musical basis of the song "My Own True Love" by Mack David.
In all, there are ninety-nine separate pieces of music featured in the score. Due to the pressure of completing on time, Steiner received some assistance in composing from Friedhofer, Deutsch and Heinz Roemheld , and in addition, two short cues—by Franz Waxman and William Axt —were taken from scores in the MGM library.
The film was still a rough cut at this stage, missing completed titles and lacking special optical effects. It ran for four hours and twenty-five minutes; it was later cut to under four hours for its proper release.
A double bill of Hawaiian Nights and Beau Geste was playing, but after the first feature it was announced that the theater would be screening a preview; the audience were informed they could leave but would not be readmitted once the film had begun, nor would phone calls be allowed once the theater had been sealed.
When the title appeared on the screen the audience cheered, and after it had finished it received a standing ovation.
Sometimes I think it's the greatest picture ever made. But if it's only a great picture, I'll still be satisfied.
About , people came out in Atlanta for the film's premiere at the Loew's Grand Theatre on December 15, It was the climax of three days of festivities hosted by Mayor William B.
Hartsfield , which included a parade of limousines featuring stars from the film, receptions, thousands of Confederate flags, and a costume ball.
Eurith D. Rivers , the governor of Georgia, declared December 15 a state holiday. An estimated three hundred thousand Atlanta residents and visitors lined the streets for seven miles to view the procession of limousines that brought stars from the airport.
Upon learning that McDaniel had been barred from the premiere, Clark Gable threatened to boycott the event, but McDaniel persuaded him to attend.
After reaching saturation as a roadshow, MGM revised its terms to a 50 percent cut and halved the prices, before it finally entered general release in at "popular" prices.
In doing so, a number of shots were optically re-framed and cut into the three-strip camera negatives, forever altering five shots in the film.
A release of the film commemorated the centennial anniversary of the start of the Civil War, and it also included a gala "premiere" at the Loew's Grand Theater.
It was attended by Selznick and many other stars of the film, including Vivien Leigh and Olivia de Havilland;  Clark Gable had died the previous year.
For its re-release, the film was blown up to 70mm ,  and issued with updated poster artwork featuring Gable—with his white shirt ripped open—holding Leigh against a backdrop of orange flames.
It was released theatrically one more time in the United States, in In , a 4K digital restoration was released in the United Kingdom to coincide with Vivien Leigh's centenary.
The film received its U. The film debuted on videocassette in March , where it placed second in the sales charts,  and has since been released on DVD and Blu-ray Disc formats.
Upon its release, consumer magazines and newspapers generally gave Gone with the Wind excellent reviews;  however, while its production values, technical achievements, and scale of ambition were universally recognized, some reviewers of the time found the film to be too long and dramatically unconvincing.
Frank S. Nugent for The New York Times best summed up the general sentiment by acknowledging that while it was the most ambitious film production made up to that point, it probably was not the greatest film ever made, but he nevertheless found it to be an "interesting story beautifully told".
There are moments when the two categories meet on good terms, but the long stretches between are filled with mere spectacular efficiency.
While the film was praised for its fidelity to the novel,  this aspect was also singled out as the main factor in contributing to the lengthy running time.
Flinn wrote for Variety that Selznick had "left too much in", and that as entertainment, the film would have benefited if repetitious scenes and dialog from the latter part of the story had been trimmed.
The Guardian believed that if "the story had been cut short and tidied up at the point marked by the interval, and if the personal drama had been made subservient to a cinematic treatment of the central theme—the collapse and devastation of the Old South—then Gone With the Wind might have been a really great film".
Despite many excellent scenes, he considered the drama to be unconvincing and that the "psychological development" had been neglected.
Much of the praise was reserved for the casting, with Vivien Leigh in particular being singled out for her performance as Scarlett. Nugent described her as the "pivot of the picture" and believed her to be "so perfectly designed for the part by art and nature that any other actress in the role would be inconceivable".
At the 12th Academy Awards , Gone with the Wind set a record for Academy Award wins and nominations, winning in eight of the competitive categories it was nominated in, from a total of thirteen nominations.
The film's record of eight competitive wins stood until Gigi won nine, and its overall record of ten was broken by Ben-Hur which won eleven. Hattie McDaniel became the first African-American to win an Academy Award—beating out her co-star Olivia de Havilland, who was also nominated in the same category—but was racially segregated from her co-stars at the awards ceremony at the Coconut Grove ; she and her escort were made to sit at a separate table at the back of the room.
Thalberg Memorial Award for his career achievements. Black commentators criticized the film for its depiction of black people and as a glorification of slavery; they have done so since the release of the film, but initially newspapers controlled by white Americans did not report on these criticisms.
He went on to characterize it as a "nostalgic plea for sympathy for a still living cause of Southern reaction". Moss further called out the stereotypical black characterizations, such as the "shiftless and dull-witted Pork", the "indolent and thoroughly irresponsible Prissy", Big Sam's "radiant acceptance of slavery", and Mammy with her "constant haranguing and doting on every wish of Scarlett".
McDaniel responded that she would "rather make seven hundred dollars a week playing a maid than seven dollars being one"; she further questioned White's qualification to speak on behalf of blacks, since he was light-skinned and only one-eighth black.
Opinion in the black community was generally divided upon release, with the film being called by some a "weapon of terror against black America" and an insult to black audiences, and demonstrations were held in various cities.
In its editorial congratulation to McDaniel on winning her Academy Award, Opportunity: A Journal of Negro Life used the film as reminder of the "limit" put on black aspiration by old prejudices.
Upon its release, Gone with the Wind broke attendance records everywhere. At the Capitol Theatre in New York alone, it averaged eleven thousand admissions per day in late December,  and within four years of its release had sold an estimated sixty million tickets across the United States—sales equivalent to just under half the population at the time.
Even though it earned its investors roughly twice as much as the previous record-holder, The Birth of a Nation ,   the box-office performances of the two films were likely much closer.
The bulk of the earnings from Gone with the Wind came from its roadshow and first-run engagements, where the distributor received 70 percent and 50 percent of the box-office gross respectively, rather than its general release, which at the time typically saw the distributor's share set at 30—35 percent of the gross.
Carl E. Milliken , secretary of the Motion Picture Producers and Distributors Association , estimated that The Birth of a Nation had been seen by fifty million people by The reissue was unusual in that MGM opted to roadshow it, a decision that turned it into the most successful re-release in the history of the industry.
The film remains immensely popular with audiences into the 21st century, having been voted the most popular film in two nationwide polls of Americans undertaken by Harris Interactive in , and again in The market research firm surveyed over two thousand U.
American Film Institute . In revisiting the film in the s, Arthur Schlesinger believed that Hollywood films generally age well, revealing an unexpected depth or integrity, but in the case of Gone with the Wind time has not treated it kindly.
Sarris concedes that despite its artistic failings, the film does hold a mandate around the world as the "single most beloved entertainment ever produced".
The film has featured in several high-profile industry polls: in it was voted the most popular film by the American Film Institute AFI , in a poll of the organization's membership;  the AFI also ranked the film fourth on its " Greatest Movies " list in ,  with it slipping down to sixth place in the tenth anniversary edition in Gone with the Wind has been criticized as having perpetuated Civil War myths and black stereotypes.
And, in the background, the black slaves are mostly dutiful and content, clearly incapable of an independent existence.
From to , the Atlanta Historical Society held a number of Gone with the Wind exhibits, among them a exhibit which was titled, "Disputed Territories: Gone with the Wind and Southern Myths".
Bryan Rommel Ruiz has argued that despite factual inaccuracies in its depiction of the Reconstruction period, Gone with the Wind reflects contemporary interpretations of it that were common in the early 20th century.
One such viewpoint is reflected in a brief scene in which Mammy fends off a leering freedman : a government official can be heard offering bribes to the emancipated slaves in exchange for their votes.
The inference is taken to mean that freedmen are ignorant about politics and unprepared for freedom, unwittingly becoming the tools of corrupt Reconstruction officials.
While perpetuating some Lost Cause myths, the film makes concessions with regard to others. After the attack on Scarlett in the shanty town, a group of men including Scarlett's husband Frank, Rhett Butler, and Ashley raid the town; in the novel they belong to the Ku Klux Klan, representing the common trope of protecting the white woman's virtue, but the filmmakers consciously neutralize the presence of the Klan in the film by simply referring to it as a "political meeting".
Thomas Cripps reasons that in some respects, the film undercuts racial stereotypes;  in particular, the film created greater engagement between Hollywood and black audiences,  with dozens of films making small gestures in recognition of the emerging trend.
More than any film since The Birth of a Nation , it unleashed a variety of social forces that foreshadowed an alliance of white liberals and blacks who encouraged the expectation that blacks would one day achieve equality.
According to Cripps, the film eventually became a template for measuring social change. In the 21st century, criticism of the films depictions of race and slavery had led to its availability being curtailed.
In , Gone with the Wind was pulled from the schedule at the Orpheum Theatre in Memphis, Tennessee , after a year run of annual showings.
On June 9, , the film was removed from HBO Max amid the George Floyd protests as well as in response to an op-ed written by screenwriter John Ridley that was published in that day's edition of the Los Angeles Times , which called for the streaming service to temporarily remove the film from its content library.
He wrote that "it continues to give cover to those who falsely claim that clinging to the iconography of the plantation era is a matter of 'heritage, not hate'.
It was also announced that the film would return to the streaming service at a later date, although it would incorporate "a discussion of its historical context and a denouncement of those very depictions, but will be presented as it was originally created, because to do otherwise would be the same as claiming these prejudices never existed.
If we are to create a more just, equitable and inclusive future, we must first acknowledge and understand our history.
HBO Max returned the film to its service later that month, with a new introduction by Jacqueline Stewart. One of the most notorious and widely condemned scenes in Gone with the Wind depicts what is now legally defined as " marital rape ".
Molly Haskell has argued that, nevertheless, women are mostly uncritical of the scene, and that by and large it is consistent with what women have in mind if they fantasize about being raped.
Their fantasies revolve around love and romance rather than forced sex; they will assume that Scarlett was not an unwilling sexual partner and wanted Rhett to take the initiative and insist on having sexual intercourse.
Gone with the Wind and its production have been explicitly referenced, satirized, dramatized and analyzed on numerous occasions across a range of media, from contemporaneous works such as Second Fiddle —a film spoofing the "search for Scarlett"—to current television shows, such as The Simpsons.
Following the publication of her novel, Margaret Mitchell was inundated with requests for a sequel but she claimed not to have a notion of what happened to Scarlett and Rhett, and as a result, she had "left them to their ultimate fate".
Until her death in , Mitchell continued to resist pressure to write a sequel from Selznick and MGM. Anne Edwards was commissioned to write the sequel as a novel which would then be adapted into a screenplay, and published in conjunction with the film's release.
Edwards submitted a page manuscript which was titled Tara, The Continuation of Gone with the Wind , set between and and focusing on Scarlett's divorce from Rhett; MGM was not satisfied with the story and the deal collapsed.
The idea was revived in the s, when a sequel was finally produced in , in the form of a television miniseries.
Scarlett was based on the novel by Alexandra Ripley , itself a sequel to Mitchell's book. British actors Joanne Whalley and Timothy Dalton were cast as Scarlett and Rhett, and the series follows Scarlett's relocation to Ireland after she again becomes pregnant by Rhett.
George [Cukor] finally told me all about it. He hated [leaving the production] very much he said but he could not do otherwise. In effect he said he is an honest craftsman and he cannot do a job unless he knows it is a good job and he feels the present job is not right.
For days, he told me he has looked at the rushes and felt he was failing Gradually he became convinced that the script was the trouble David [Selznick], himself, thinks HE is writing the script And George has continually taken script from day to day, compared the [Oliver] Garrett-Selznick version with the [Sidney] Howard, groaned and tried to change some parts back to the Howard script.
But he seldom could do much with the scene So George just told David he would not work any longer if the script was not better and he wanted the Howard script back.
David told George he was a director—not an author and he David was the producer and the judge of what is a good script George said he was a director and a damn good one and he would not let his name go out over a lousy picture And bull-headed David said "OK get out!
From Wikipedia, the free encyclopedia. This is the latest accepted revision , reviewed on 27 August Theatrical pre-release poster.
Hal C. Kern James E. Release date. Running time. Meade Leona Roberts as Mrs. Meade Jane Darwell as Mrs. Play media. AFI Years In a confidential memo written in September , Selznick flirted with the idea of replacing him with Victor Fleming.
Mayer had been trying to have Cukor replaced with an MGM director since negotiations between the two studios began in May In December , 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.
American Film Institute. Retrieved January 12, Movie History: A Survey 2nd ed. Los Angeles Times. Retrieved April 8, Entertainment Weekly.
Retrieved July 26, City of Nets: A Portrait of Hollywood in the s. Gone with the Wind Online Exhibit.
Archived from the original on June 2, The Atlantic Monthly. Retrieved March 7, TCM database. Turner Classic Movies. Retrieved January 16, Archived from the original on September 26, Archived from the original on January 5, David O.
Selznick's Hollywood. New York: Alfred A. Scarlett Fever. New York: Macmillan Publishers. Peachtree Publishers. January 7, Selznick to Ed Sullivan".
Archived from the original on October 28, Harry Ransom Center. Retrieved June 22, The Macon Telegraph. Retrieved September 28, Dictionary of Literary Biography.
Taylor Trade Publishing. Behlmer, Rudy ed. Memo from David O. New York: Modern Library published Ben Hecht.
New York: Barricade Books. Macon, Georgia: Mercer University Press. Robson Books. Vivien Leigh: A Biography.
A Celebration of Gone with the Wind. Dragon's World. The Filming of Gone with the Wind. Mercer University Press. December 25, Retrieved July 6, University Press of Kentucky.
Scarecrow Press. Retrieved January 25, Showman: The Life of David O. New York: Knopf. Archived from the original on November 27, Clark Gable: A Biography.
Harmony Books. Great Depression: People and Perspectives. Perspectives in American Social History. Boom and Bust: American Cinema in the s.
History of the American Cinema. University of California Press. The New York Times. Retrieved July 14, Selznick's Gone with the Wind.
New York: Random House. Taylor Trade Publications. Historical Dictionary of the s. Greenwood Publishing Group.
Short Cuts. Wallflower Press. British Film Institute. Archived from the original on December 1, July 28, May 5, September 29,Das muss sitzen, das muss prägnant sein. Und er ist überall, auch Geschichte Des Glücksspiels, wo er eigentlich bekämpft wird. Scarlett muss währenddessen zusammen mit der kindlichen und verängstigten Sklavin Prissy Melanie bei der schweren Geburt von Ashleys Sohn beistehen. Pralles Pathos. Es wurde verlautet, dass im Falle einer komplett originalgetreuen Buchverfilmung km Film notwendig gewesen wären. Alles was packen und rühren kann, wurde herbeigeholt; wirkt dadurch überladen und ist inhaltlich sehr zwielichtig. Physik und Spielsucht. Sie bauen sich unter anderem eine prächtige Villa in Atlanta. Auch der Schriftsteller F. Melanie empfängt Scarlett liebevoll und hält die Gäste an, Scarlett nicht zu ächten. Allein die Reinigungskosten für die Kostüme, die nach jeder Benutzung gesäubert werden mussten, betrugen rund Thomas Mitchell. Dieser Rekord wurde erst durch Verdammt in alle Ewigkeit und durch Die Faust im Nacken mit jeweils acht Auszeichnungen eingestellt und hielt bis zur Oscarverleihungbei der Gigi neun Oscars bei neun Nominierungen erhielt. Obwohl sie Rhett heiratet, vergöttert sie dennoch weiterhin ihren Jugendfreund Leslie Howardder jedoch mit der gutmütigen Melanie Hamilton Olivia de Havilland verheiratet ist. Free Monopoly Online with the Wind. Verrohte Gesprächskultur: Der Wille zum Missverständnis. Scarlett und Rhett geben sich gegenseitig die Schuld am Tod des Mädchens. Scarlett bringt einen Sohn zur Welt, entwickelt Casino Riva Erfahrung wenig mütterliche Gefühle für Slotmaschinen Poker Kind. Newsletter bestellen. Carlton Mossein afroamerikanischer Dramatiker, warf dem Temple Run For vor, in der gleichen anti-schwarzen Kategorie wie Die Geburt einer Nation zu sein. Formel 1. Klima und Umwelt. In der neuen Version klinge das weniger resignierend als in der alten, sagt Andreas Nohl:.
Gone Wit Hthe Wind VideoGone with the Wind Official Trailer 1939 Oscar Best Picture Hattie McDaniel App Reich Werden 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 Adresse Alexanderplatz Berlin 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. Behlmer, Rudy ed. Minor Role Austria Gaming Emerson Treacy My favorite character was Melanie. July 28, Melanie is the only one who sees Rhett cry and soon after she dies. Happy slaves bustle around: "The house negroes of the County considered themselves superior Stars W Stargames white trash This is the latest accepted revisionreviewed on 27 Monkey Goes Banana 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. While perpetuating some Lost Cause myths, the film makes concessions with regard to others. Wm Quali Gruppe C Spielplan wagt es daher nicht, zu Ashleys Geburtstagsfeier zu gehen. Da muss ich sagen, ist der Begriff 'Schwarz' natürlich sehr viel angemessener. Die Sklaverei und die Rolle des Ku Klux Klan nach dem Sezessionskrieg würden beschönigt, die Reconstruction und die nordstaatlichen Soldaten dagegen negativ dargestellt. Margaret Mitchell, porträtiert Ich wollte Mammy auf dem Heimweg kurz Guten Tag sagen. Selznick sei das Wagnis eingegangen, Mitchells Buch mit bisher nicht gekannter literarischer Treue zu verfilmen. Scarlett O'Hara habe sie als eine lebenshungrige, unzerstörbare, mehrfach verheiratete, erfolgreiche Geschäftsfrau gezeichnet, Gute Mafia Spiele ironisiert "die übliche männliche Enttäuschung darüber, dass eine Frau über ein Gehirn verfügt" so Mitchell. «Gone with the Wind» ist endlich neu übersetzt. Und wird dabei fast zu brav. Das war überfällig: Die alte deutsche Fassung von «Vom Winde. Victor Fleming, USA, , min, Gone with the Wind ist immer noch der populärste Film überhaupt. Vor allem aber ist es ein Film von emblematischer. Die tragische Liebe von Scarlett O'Hara und Rhett Butler rührte Millionen. Margaret Mitchells Roman "Gone with the Wind" war ein. Thalia: Infos zu Autor, Inhalt und Bewertungen ❤ Jetzt»Gone With the Wind«nach Hause oder Ihre Filiale vor Ort bestellen!
I'd reread the book for the thrill of Rhett alone! No page disappointed me. What other American novel surpasses its eagerness to tell a great story of love and war; what characters equal the cantankerous passions of Scarlett and Rhett?
Even Scott Fitzgerald spoke well of it. What more could I ask, even seven decades later? Daggett Junior High in Ft. Worth, Texas.
By some chance I was able to read "Gone with the Wind" early on. Then and now, I found it one of the great experiences of a young life.
I still list it as one of my 10 favorite books. So, here's a thought. Buy this handsome paperback edition, just for Pat Conroy's preface.
Indeed, his luminous preface packs a durable wallop, just like the epic Pulitzer prize-winning work that inspires it. Told from the standpoint of the women left behind, author Margaret Mitchell brilliantly illustrates the heartbreaking and devastating effects of war on the land and its people.
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Please enter the message. Atlanta Citizen uncredited Louise Carter Bandleader's Wife uncredited Shirley Chambers Belle's Girl uncredited Eddy Chandler Sergeant at Hospital uncredited Silver Chief Thomas Mitchell's white horse uncredited Wallis Clark Poker-Playing Captain uncredited Richard Clucas Minor Role uncredited Frank Coghlan Jr.
Collapsing Soldier uncredited Billy Cook Lumber Mill Convict uncredited Gino Corrado Minor Role uncredited Martina Cortina Housemaid at Twelve Oaks uncredited Luke Cosgrave Bandleader uncredited Kernan Cripps Yankee Soldier in Shantytown uncredited Patrick Curtis Melanie's Baby uncredited Russell Custer Party Guest uncredited Yola d'Avril Belle's Girl uncredited Ned Davenport Jewel Collector at Bazaar uncredited Marvin Davis Minor Role uncredited Dolores Dean Minor Role uncredited Dawn Dodd Minor Role uncredited Lester Dorr Minor Role uncredited Phyllis Douglas Hospital Nurse uncredited F.
Housemaid at Evening Prayers uncredited Edythe Elliott General's Wife uncredited Susan Falligant Minor Role uncredited Richard Farnsworth Soldier uncredited Frank Faylen Soldier Aiding Dr.
Meade uncredited Geraldine Fissette Cancan Girl uncredited Kelly Griffin Wounded Soldier in Pain uncredited Chuck Hamilton Yankee Soldier in Shantytown uncredited Evelyn Harding Cancan Girl uncredited Lucille Harding Housemaid at Twelve Oaks uncredited Jean Heker Hospital Nurse uncredited Ricky Holt Melanie's Son uncredited Shep Houghton Southern Dandy uncredited Peaches Jackson Cancan Girl uncredited Claire James Girl uncredited Jerry James Dancer - Atlanta Bazaar uncredited Si Jenks Yankee on Street uncredited Tommy Kelly Boy in Band uncredited Emmett King Party Guest uncredited W.
Yankee Soldier in Shantytown uncredited Timothy J. Party Guest uncredited Robert Locke Lorraine Party Guest uncredited Barbara Lynn Cancan Girl uncredited Margaret Mann Old Levi uncredited Leona McDowell Minor Role uncredited George Meeker Poker-Playing Captain uncredited Charles Middleton Minor Role uncredited Hans Moebus Party Guest uncredited Alberto Morin Rene Picard uncredited Adrian Morris Carpetbagger Orator uncredited Lee Murray Drummerboy uncredited H.
Yankee Soldier in Shantytown uncredited David Newell Cade Calvert uncredited Jeanette Noeson Minor Role uncredited Naomi Pharr Housemaid at Evening Prayers uncredited Lee Phelps Bartender uncredited Spencer Quinn Minor Role uncredited Jolane Reynolds Cancan Girl uncredited Marjorie Reynolds Guest at Twelve Oaks uncredited Suzanne Ridgway Cancan Girl uncredited Louisa Robert Minor Role uncredited Azarene Rogers Housemaid at Twelve Oaks uncredited Scott Seaton Guest at Birthday Party uncredited Tom Seidel Tony Fontaine uncredited Terry Shero Fanny Elsing uncredited William Stack Minister uncredited William Stelling Returning Veteran uncredited Harry Strang Tom's Aide uncredited Dirk Wayne Summers Youngest Boy in Band uncredited Stephanie Toler Minor Role uncredited Emerson Treacy Minor Role uncredited Phillip Trent Bonnie at Six Months uncredited Tom Tyler Gentleman at Twelve Oaks Barbecue uncredited E.
Alyn Warren Frank Kennedy's Clerk uncredited Blue Washington Renegade's Companion uncredited Rita Waterhouse Undetermined Minor Role uncredited Sarah Whitley Housemaid at Twelve Oaks uncredited Ernest Whitman Carpetbagger's Friend uncredited Guy Wilkerson Wounded Card Player uncredited Zack Williams Elijah uncredited Phyllis Woodward Minor Role uncredited John Wray Stacey Peter Ballbusch Reeves Eason