Gone With The Wind (1939)

A Cinematic Masterpiece of Epic Proportions

Released in 1939, Gone with the Wind is one of the most iconic films in the history of cinema. Based on Margaret Mitchell's Pulitzer Prize-winning novel, this epic romance drama—directed by Victor Fleming—captures the turbulent and transformative period of the American South during the Civil War and Reconstruction. Spanning over four hours in length, Gone with the Wind is a sweeping saga that explores love, loss, survival, and the deep divides of race and class. It is a film that, despite its controversial elements, remains a towering achievement in both technical and narrative film making.

The film's massive success, both at the box office and with critics, helped define Hollywood’s golden age. Featuring a star-studded cast, sweeping cinematography, and an unforgettable score, Gone with the Wind has stood the test of time as a symbol of American cinematic grandeur. However, its portrayal of the antebellum South, its romanticised view of the Confederacy, and its treatment of racial issues have sparked significant debate over the decades. Despite these criticisms, the film’s artistry and scope continue to make it a landmark in film history.

Plot Summary

At its core, Gone with the Wind is the story of Scarlett O'Hara (played by Vivien Leigh), a strong-willed, manipulative Southern belle whose life is upended by the Civil War and its aftermath. The film opens with Scarlett's idyllic life on the Tara plantation in Georgia, where she is beloved by all but obsessed with Ashley Wilkes (Leslie Howard), the noble but indecisive son of a wealthy landowning family. When Ashley announces his engagement to his cousin Melanie Hamilton (Olivia de Havilland), Scarlett’s world is shattered.

As the war begins, Scarlett’s life—and the life of the entire South—becomes increasingly chaotic. Her once-thriving plantation is decimated, and the land she loves is ravaged by the horrors of war. Scarlett struggles to adapt to the harsh realities of life under Union occupation and the devastation that ensues. Along the way, she finds herself in a complex and ultimately tragic relationship with Rhett Butler (Clark Gable), a charming and cynical Confederate officer who is determined to make his fortune and win Scarlett’s heart.

Over the course of the film, Scarlett faces loss, betrayal, heartbreak, and the collapse of the social and political systems that once defined her world. However, she remains unyielding in her determination to survive and rebuild. The film concludes with Scarlett, now hardened by her trials, vowing to return to Tara and fight to rebuild her life, with the iconic line "Tomorrow is another day."

Themes: Love, War, and the Fall of the Old South

Gone with the Wind is a sweeping exploration of the intersection between personal desires and national upheaval. At its heart, the film grapples with themes of love and survival, but it also tackles broader issues, particularly the devastation of the South during the Civil War and Reconstruction. However, the way it portrays these themes and historical events is complex and controversial, particularly in its treatment of race.

Love and ObsessionCentral to the film is Scarlett O'Hara’s unrelenting obsession with Ashley Wilkes. Her love for him is idealised and often portrayed as an obsession rooted in the traditions and values of the Old South. Throughout the film, Scarlett's feelings for Ashley act as a driving force, causing her to make decisions that will shape her life, both for better and for worse. Scarlett’s relationship with Rhett Butler serves as the emotional core of the film, with their tumultuous and often antagonistic relationship providing a counterpoint to Scarlett’s idealised love for Ashley. Rhett, as a foil to Ashley, represents the practical, cynical, and unflinching reality of life during the war, while Scarlett’s feelings for Ashley are emblematic of the lost world of Southern aristocracy.

The Fall of the Old South. The depiction of the South before, during, and after the Civil War is integral to the film’s narrative, and much of its thematic weight is centred on the loss of the Old South. Gone with the Wind is often praised for its impressive set designs and its immersive recreation of plantation life, but it is also criticised for its romanticisation of the antebellum South. The film presents the Confederacy as a noble cause, focusing on the honour and dignity of the Southern aristocracy. The film is deeply nostalgic for a pre-war South that was built upon the labour of enslaved African Americans. Scarlett’s emotional journey is tied to her efforts to preserve this way of life, and her eventual acceptance of the loss of Tara symbolises the South’s broader cultural and economic collapse.

While the destruction of the South is a central theme, the film's depiction of the Civil War and its aftermath glosses over the brutal realities of slavery and the struggles of African Americans during and after the war. The film’s framing of the South as a lost, more “innocent” time has contributed to the continued controversy surrounding its portrayal of the Confederacy.

Survival and Determination. Throughout the film, Scarlett’s ability to adapt and survive serves as one of its most compelling aspects. She is determined to rebuild Tara and her family’s legacy, even at the expense of her own happiness. Scarlett's resilience in the face of unimaginable loss is both her strength and her flaw. She will stop at nothing to get what she wants, even if it means hurting those closest to her. In many ways, Scarlett embodies the strength of the Southern woman, but her refusal to confront her true emotions and her refusal to change ultimately hinder her ability to truly heal. This inner conflict is one of the most tragic aspects of her character.

Rhett Butler’s role as a foil to Scarlett is also crucial in exploring the theme of survival. While Scarlett’s tenacity is admirable, Rhett, a man of worldly experience, is ultimately too jaded by his own failures and disillusionment to find lasting peace. The dynamic between these two characters forms the emotional backbone of the film, and their final separation underscores the tragic nature of both of their personal journeys.

Cinematic Achievement: Direction, Cinematography, and Music

Gone with the Wind is often regarded as a technical masterpiece, both in its scale and its execution. Director Victor Fleming’s work, combined with the contributions of other key figures such as producer David O. Selznick, screenwriter Sidney Howard, and cinematographer Ernest Haller, made the film an enduring example of classical Hollywood film making.

Direction and Pacing. While the length of the film (over 230 minutes) may seem daunting, Fleming’s direction ensures that every scene contributes to the development of the story or its characters. The film moves from the idyllic pre-war South to the chaos of war and the ultimate ruin of the Confederate cause. Each section of the film is carefully crafted to reflect the emotional journey of Scarlett, while also showcasing the grandeur of the events surrounding her.

Cinematography. Ernest Haller’s cinematography is some of the most beautiful ever captured on film. The sweeping shots of the South, combined with the meticulously designed sets, create a grand spectacle that mirrors the vast scope of the narrative. The camera work is also instrumental in reflecting Scarlett’s inner turmoil, often using close-ups to emphasise her emotional state, especially in the iconic scene where she declares her desire to rebuild Tara: “As God is my witness, I’ll never be hungry again.” These moments of emotional intensity are captured with breathtaking clarity, further heightening the film's impact.

Music and Score. Max Steiner’s score for Gone with the Wind is one of the most iconic in film history. The music perfectly complements the emotional highs and lows of the story, from the stirring “Tara’s Theme” to the sweeping love themes between Scarlett and Rhett. Steiner’s score imbues the film with an air of grandeur and melancholy, with every musical cue accentuating the epic and tragic nature of the film’s themes. The music is both sweeping and intimate, giving depth to Scarlett’s journey.

Performances: Vivien Leigh and Clark Gable

The film’s stellar performances are a large part of what has kept Gone with the Wind in the public consciousness for so many years. Vivien Leigh’s portrayal of Scarlett O'Hara is one of the most iconic performances in film history. Leigh brings both vulnerability and strength to the role, making Scarlett a complex and often contradictory character. Her ability to balance the character’s manipulative tendencies with her genuine desire to protect her family and rebuild her life gives Scarlett an emotional depth that continues to resonate.

Clark Gable, as Rhett Butler, is equally mesmerising. Gable’s effortless charm and cynicism make him the perfect foil to Scarlett’s passionate and headstrong nature. He delivers some of the film’s most memorable lines with his signature style and charisma, yet he also brings vulnerability to his character’s more tender moments. The chemistry between Gable and Leigh is electric, and their dynamic anchors the film’s emotional weight.

Olivia de Havilland, as Melanie Hamilton, provides a perfect contrast to Scarlett. Melanie represents the gentility and moral purity that Scarlett longs for but cannot attain. De Havilland’s performance is understated yet powerful, and her character’s kindness and resilience serve as a quiet anchor in a world filled with chaos.

Controversy and Legacy

Despite its undeniable achievements, Gone with the Wind has been heavily criticised for its portrayal of race, slavery, and the antebellum South. The film romanticises the Old South, portraying slavery as a benign institution and African Americans as largely subservient and happy. This depiction has led to accusations of racial insensitivity and historical revisionism. The character of Mammy (Hattie McDaniel) is an example of this, as she is portrayed as a loyal servant to Scarlett, and her character, while iconic in many ways, is a symbol of the film’s problematic racial views.

In recent years, the film has been subject to reevaluation, with some arguing that while it remains an important cinematic achievement, it should be viewed with a critical eye, especially in light of contemporary conversations about race and representation in film. Warner Bros. has added disclaimers to the film, acknowledging its problematic portrayal of slavery and racism, and contextualising its historical significance in a modern context.

Conclusion

Gone with the Wind is undeniably one of the greatest and most influential films ever made. Its cinematic grandeur, unforgettable performances, and emotional storytelling have cemented its place in film history. However, its controversial treatment of race and its romanticised portrayal of the Old South make it a complex work, one that requires careful consideration and discussion. As a piece of cultural history, Gone with the Wind remains a fascinating and significant film, but it also serves as a reminder of the evolving nature of how we engage with art and history in a modern context.