Gone With The Wind (1939)

The Great American Movie

***This Review Contains Spoilers***

GWTW

The Great American Movie

So it’s about time I finally got around to reviewing the big cheese itself, the towering achievement of American cinema, those four glorious syllables – Gone With The Wind.

Gone With the Wind testament to how much filmmaking had changed in just 10 years from the beginning to the talkie period. From the astounding cinematic shots such as the long take of the bodies of fallen soldiers lying in the streets of Atlanta to those red Technicolor skies which I could stare at all day and huge matte paintings which are hard to distinguish from real sets – it’s a world to get lost in (I can even ignore the very clear continuity error at the beginning of the film when it goes from dusk back to early evening to dusk again). Even those opening titles themselves are breathtaking, let alone for a time when opening titles where a basic on-screen title card.

Gone With the Wind is a film with a fascinating history as it’s backdrop. The pink elephant in the room however for many modern viewers is the troublesome historical image of the American South both pre and post-antebellum, whether just or unjust. The emphasis on the Wilkes family marrying their cousins doesn’t help things but the real but the real point of contention is the dreaded “R” word, racism. To dismiss Gone With the Wind as a racist film is such a reductive argument, especially when certain commentators liken it to The Birth of a Nation, a film which shows black members of the House of Representatives eating fried chicken. To actually watch Gone With the Wind and study it closely, the way the film examines the racial issues is more 3 dimensional than popular critique contends.

Gone With the Wind is told from the point of view of slave owners who don’t see anything wrong with owning slaves (nor is it ever made clear if the plantation owners start paying their former slaves following the end of the war). The slave owners are a product of their time which the movie doesn’t pass judgment on. Only one line of dialogue in the film deals with the question of morality when it comes to slavery in which Ashley responds to Scarlett’s use of prisoners for labour which implies Ashley sees nothing wrong with slavery providing the slaves are treated well;

“Scarlett, I will not make money out of the enforced labour and misery of others”

“You won’t so particular about owning slaves”

“That was different; we didn’t treat them that way

I find by far the most interesting aspect the portrayal of race in Gone With The Wind is the stark contrast between the black carpetbaggers (northerners who came to the south following the war who were perceived to be exploiting the local populace) and the recently freed slaves who are still childlike, dim-witted and happy to help out their masters of whom they are dependent on. The first black carpetbagger seen in the film features a sharply dressed, liberated northern black man traveling with a white accomplish but more significantly, in a scene not long after this Mammy (Hattie McDaniel) sneers at a pair of African-American carpetbaggers who are wearing fancy suits, smoking cigars and laughing. Mammy, who just had to beg for money along with Scarlett, sneers at this black men having the time of their lives. While the phrase is not used in the movie, these individuals would be referred to in many quarters as “Uncle Toms”, perceived sellouts to their black brethren. The appearance of independent, well to do black men from the North goes against the narrative of Gone With The Wind being a racist film. I’m not qualified to comment on the historical accuracy of Gone With the Wind or how well it portrayed the time and place it depicts but there’s too much nuance within the film’s depiction to simply shout “wasis!” rather than having a more productive conversation or what the film did or did not do right. To quote the late, great Roger Ebert, “A politically correct “GWTW” would not be worth making, and might largely be a lie.”

The film’s opening prologue and the scenic shots of Tara could be seen as Confederate propaganda with its Utopian presentation of a world alongside the opening prologue which reads;

“There was a land of Cavaliers and Cotton Fields called the Old South. Here in this pretty world, Gallantry took its last bow. Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave. Look for it only in books, for it is no more than a dream remembered, a Civilization gone with the wind.”

Yet if there’s any authorial or filmmaking intent to propagate Confederate lost cause mythology (historical revisionism that the Confederacy’s cause during the civil war was a just and heroic one) is countered by much of the film’s content. There’s no explicit condemnation of slavery or the confederacy but does the movie have to do this? The biggest Uncle Tom in Gone With The Wind in Scarlet O’Hara herself for doing business with the northern carpetbaggers in order to save Tara and rise above poverty. What makes Scarlett O’Hara a character I can empathize with? By many accounts, I shouldn’t as she’s bratty, entitled and manipulative, yet you can’t help but admire her desire to survive and make better of herself despite what onlookers might say (her gumption as Margret Mitchell describes it). Scarlet is shown to have little interest in the southern cause (as does Rhett Butler). This is memorably symbolized in the shot in which war has just been announced as everyone runs frantically through the foyer of Twelve Oaks and Scarlett angrily walks by them as if they aren’t even there. Really the one cause Scarlett is dedicated to is that set of her family of Irish immigrants who came to America and accomplished the American Dream of owning land (“Land is the only thing in the world worth working for, worth fighting for, worth dying for”).

Gone With The Wind is one of few films in which every character, no matter how minor is significant in their own way, with Star Wars or The Ten Commandments being one of few other films which achieve this. Now if only I could do without Prissy (Butterfly McQueen), one of the most cowardly, unlikeable characters ever – and that nails on chalkboard voice! Thankfully Scarlett gives her a good slap.

Then there’s my boy, Rhett Butler; the cinematc embodiment alongside Han Solo and Indiana Jones of masculinity and individualism (and what an introductory shot!). Men want to be him and women want to be with him. A man out for himself and a realist doesn’t really believe in the Confederate cause and is by far the most self-aware character in the film. In a defining scene Rhett points out how the south isn’t equipped for war while the other southern gentlemen are blinded by illusions of grandeur and he’s not afraid to call them out on it, while remaining a gentleman the whole time and removes himself from the meeting after the other gentlemen feel insulted by his comments. Even when Rhett joins the Confederate Army near the end of the war as he describes himself as having a weakness for lost causes, he’s still self-aware of how foolish his actions are. Just before Rhett leaves Scarlet at the carriage after escaping from Atlanta, the film treats us to what I consider the greatest kiss in film history with its layers on intensity; melodramatic dialogue, sweeping music, and the blood-red sky.

Rhett’s actions do however lead to one scene which gets many viewers in a tussle; Rhett’s drunken marital rape of Scarlett after she refuses to have sex with him. Not to mention Scarlett is seen the following the morning have enjoyed the experience! I don’t believe however the film at all rewards or gratifies Rhett for his actions and subtlety condemns it. Not only does Rhett show remorse for his actions the following morning, but the rape is also the final act which leads to the destruction of a marriage which was already on shaky ground.

Leslie Howard’s Ashley Wilkes who is in many ways the counterpoint of Rhett Butler as the tender, effeminate, proud southerner (with a transatlantic accent, go figure). Ashley is a romantic who is crippled by his nostalgia for the old south. Ashley spends most of the film listlessly adrift through the harsher realities of the reconstruction era. Unlike Scarlett, he has no goals or ambitions for the future. All he can do is remember the elegance of his life as it once was and wish that he could return to those old days.

Rounding out the film’s four main cast members is Olivia de Havilland in her undersung performance as Melanie Wilkes, crossing the line of being saintly without ever being sickly. Did she know about Scarlett and Ashley or not? Was she really a saint, or just naive, or perhaps exceptionally wise? Scarlet is the sister Melanie always wanted with each of them possessing qualities the other lacked, especially during their bond over joint survival during and after the war. Scarlett saved Melanie’s life and Melanie kept her cool under fire in a way that earned Scarlett’s private (though reluctant) admiration. She also did not hesitate to do hard work she never would have had to touch before the war. She was, therefore, more valuable to the family’s survival than Scarlett’s two sisters. The speculative question of whether Melanie knew about Scarlett’s obsession with Ashley. Perhaps Melanie knew she could trust Ashley while seeing that Rhett was the right man for Scarlett by trying to promote their relationship.

Dances with Wolves (1990)

Writes With a Keyboard

It’s more than apparent that Kevin Costner has such love and reverence for the western, continuing the long tradition of epic Hollywood filmmaking with Dances with Wolves. In this revisionist western the Indians are the good guys and white men are the villains with Costner playing a character that likely would have been played by Gary Cooper 40 years earlier. The white man is shown killing mass amounts of Buffalo only for their horns, throwing their trash on the ground and polluting the water. The Native American mentality conflicts with the white man’s use of resources much like America’s carbon footprint today. I can’t say if Dances with Wolves is a movie intended to carry an environmental message but that is an impression I get from it. John Dunbar’s desire to see the western frontier before it disappears is comparable to the Arctic and Antarctica being the last great frontiers today which are apparently on the risk of eventually disappearing. John Dunbar doesn’t want to take advantage of the land but to admire and bask in it.

I find it refreshing to see westerns which include the Indian point of view. The insight in Dances with Wolves into the Sioux culture and lifestyle as well as hearing a not often heard language is fascinating. The Indians in Dances with Wolves are humanised with moments such as when Dunbar sees Kicking Bird having sex in the tipi, a relatable awkward moment or with the Indian children of the tribe having the desire to be grown up and act older than they are. The Indians, however, are not saintified ether; some members of the tribe are vicious killers and display prejudice against the white man. The movie presents both douches and more noble individuals on both sides. The passage of time in which Dunbar very slowly over the course of a four-hour movie becomes assimilated into this culture and learns the language represents an astounding piece of storytelling. Unfortunately, social justice warriors will look upon a movie like Dances with Wolves and decry it as offensive for its display of so-called “cultural appropriation” because apparently, the embracing of other cultures doesn’t represent unity between races but thievery of one culture’s ways by another.

Although not many people share the fondness I have for Kevin Costner dismissing him as a dull, monotone actor. I point to Dances with Wolves as a showcase that the man is a great screen presence; a four-hour long movie which he carries on his shoulders with no dialogue for long spaces of time while at other times he is exuberating his commanding narration voice. The scene in which Dunbar is being held by US soldiers as they assault him, denying him to return to his new found way of life as well as killing Two Socks and using his diary as toilet paper is so painful to watch. I’ve become so attached to the character at this point that I can’t bear to watch everything he has worked towards being destroyed.

Who needs CGI when there’s a world of scenic and natural beauty out there to capture on film? Simply look at the majestic landscapes of the badlands accompanied by John Barry’s score evokes a real sense of wonder. “Why go out to a location when you can just create it on a computer. Isn’t that so much easier?” Sigh. Likewise, the famous buffalo hunt scene is the real deal. How do you recreate a buffalo hunt? Why get huge herds of buffalo of course. Like the chariot race in Ben-Hur, history is brought back to life with buffalo as far as the eye can see with stuntmen on horseback right in the middle of it all; pulling off something as huge as this and retaining continuity is astounding.

Dances with Wolves doesn’t come off as cold, callous Oscar bait but sadly it is another movie in which its Best Picture win has hurt its reputation; “Dances with Wolves is just that movie which beat Goodfellas”.