By Molly Haskell
How and why has the saga of Scarlett O’Hara saved this type of tenacious carry on our nationwide mind's eye for nearly three-quarters of a century? within the first e-book ever to deal at the same time with Margaret Mitchell’s cherished novel and David Selznick’s astounding movie model of Gone with the Wind, movie critic Molly Haskell seeks the solutions. via all predictions, the movie shouldn't ever have labored. What makes it paintings so amazingly good are the interesting and uncompromising personalities that Haskell dissects the following: Margaret Mitchell, David Selznick, and Vivien Leigh. As a feminist and onetime Southern adolescent, Haskell is aware how the tale takes on assorted colors of that means in accordance with the age and eye of the beholder. She explores the way it has saved its aspect due to Margaret Mitchell’s (and our) ambivalence approximately Scarlett and thanks to the complicated racial and sexual attitudes embedded in a narrative that at one time or one other has indignant virtually everyone.
Haskell imaginatively weaves jointly disparate strands, engaging in her tale as her personal internal debate among attraction and disenchantment. delicate to the ways that heritage and cinema intersect, she reminds us why those characters, so riveting to melancholy audiences, proceed to fascinate 70 years later.
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Extra resources for Frankly, My Dear: "Gone with the Wind" Revisited
Implying a moment arrested in time, a difference in the before and after. If the Jesuits could boast, “Give me the child until he is seven and I will show you the man,” Gone with the Wind could make the same claim if it had you by age thirteen or fourteen. But if Northerners fell in love with the story, in the South it was an obsession. In Richmond, Virginia, in the ﬁfties, when I was a teenager, the effect was momentous, both seductive and incendiary. Reading the book and seeing the movie were to my 14 The American Bible generation interchangeable rites of passage as inevitable as baptism, the ﬁrst communion, the ﬁrst date, the ﬁrst kiss.
Northerners were by no means excluded from Gone with the Wind’s spell. I know from my New York friends that, like Nancy Drew and Marjorie Morningstar, Gone with the Wind, book and movie, was not on any summer reading list but something you discovered on your own and with your friends, a formative experience. ” implying a moment arrested in time, a difference in the before and after. If the Jesuits could boast, “Give me the child until he is seven and I will show you the man,” Gone with the Wind could make the same claim if it had you by age thirteen or fourteen.
Girls and young women used to light up with anticipation when they saw the familiar white columns and veranda of the Selznick logo, catnip to that era’s version of a “chick-ﬂick” audience that Selznick instinctively and intelligently sought. But underneath that huge ambition and comparative reﬁnement lay a thirst for revenge as powerful as Scarlett’s. (“As God is my witness . . ”) Margaret Mitchell, professing a lack of enthusiasm for the project, expressed the general view when she said it could never be made into a movie.