Gone With the Wind
<strong>Rating: </strong>4/5Rate this
Time Out saysWhat more can one say about this much-loved, much discussed blockbuster? It epitomises Hollywood at its most ambitious (not so much in terms of art, but of middlebrow, respectable entertainment served up on a polished platter); it's inevitably racist, alarmingly sexist (Scarlett's submissive smile after marital rape), nostalgically reactionary (wistful for a vanished, supposedly more elegant and honourable past), and often supremely entertaining. It never really confronts the political or historical context of the Civil War, relegating it to a backdrop for the emotional upheavals of Leigh's conversion from bitchy Southern belle to loving wife. It's also the perfect example of Hollywood as an essentially collaborative artistic production centre. Cukor, Sam Wood and Fleming directed from a script by numerous writers (including Scott Fitzgerald and Ben Hecht); William Cameron Menzies provided the art designs; there's a top-notch cast; and producer David O Selznick oversaw the whole project obsessively from start to finish. Yet, although anonymous, it's still remarkably coherent.