Gone With the Wind (1939)

I’m back with movie reviews this week, and what a movie to make a return with. Four hours of racism, misogyny, more racism, and one of the worst female characters ever to grace the big screen!

Plot: It is April 1861 and life is oh so good for Scarlett O’Hara. All the boys love her, including Ashley Wilkes, but when Scarlett finds out Ashley plans to propose to Melanie Hamilton, Scarlett is incensed that Ashley chose someone other than herself. While the film takes us through the Civil War and Reconstruction, the core plot is really about Scarlett’s inability to let go of the one thing she couldn’t have–even though she married three times (once for spite, once for money, once for love…I think). It’s not until the end of the film that she realizes what a waste her life has been, pining for Ashley, and Scarlett is utterly alone. Her sisters hate her, her parents are dead, her daughter is dead, the only person to be a friend to her is also dead, and her estranged husband leaves her for good. Yet somehow the film has an air of hope at the end.

Best Moment(s): While I find plenty about this film to be problematic, it really is a visually beautiful film to watch. The color had to be stunning to audiences used to mostly black and white films, the score is lush, the costumes almost made me long for late 19th-century fashion to make a comeback. The script itself is decent, but it’s Rhett Butler’s lines that zing nearly every time he opens his mouth. About halfway through the film, I realized the only lines I’d jotted down came from Rhett.

Worst Moment(s): It’s so tough to choose just one here. Is it the villainizing of the North, every time an insert title appeared on screen? Is it Rhett’s implied rape of Scarlett near the end of the film? Is it every single time Scarlett opens her mouth and reveals how truly awful she is? Is it the constant racism, and the appearance of longing for a return to slavery in the opening title? Pick one. It’s bad.

Here’s some alternate titles I thought of:

“Gone With the Wind”
“Scarlett O’Hara is the Worst…But Also Not The Worst”
“Co-dependent Relationships: A Cautionary Tale”
“If The War Won’t Kill You, The Fallout Will”

Rhett Butler’s Best Lines: While “Frankly, my dear, I don’t give a damn” is so cemented in our consciousness, people who’ve never seen the movie quote it, Rhett has some amazing lines. Here’s some of my favorites.

  1. With enough courage, you can do without a reputation.
  2. You should be kissed and often and by someone who knows how.
  3. Mr. Wilkes, who is mentally unfaithful to his wife, but can’t bring himself to be technically unfaithful.
  4. In response to Scarlett finally declaring she loves him, he responds, “Well that’s your misfortune.”

Fun Fact: Hattie McDaniel, who played Mammy in the film, won the Academy Award for Best Supporting Actress that year. The awards ceremony was held in a segregated hotel, and she was not allowed to sit with her castmates for the ceremony. Here’s her acceptance speech:


Recommendation: Truly, this is a must-see when it comes to American cinema. I would hope that audiences today would be quite discomfited by the sympathetic portrayal of the South–and that’s something we should all sit with a bit.

For some context, check out this timeline of when Confederate monuments were built. D.W. Griffith’s ode to the South, slavery, and racism “Birth of a Nation” had debuted just 24 years earlier. Take a look at that timeline again. Notice when the biggest surge was in building Confederate monuments. And just 24 years later, we get “Gone With the Wind.”

I know, I know–correlation is not causation. But the media we consume does, in part, construct our world view. My hope is that 2018 viewers of “Gone With The Wind” see just how problematic it is, and are moved to do whatever they can to end racism and injustice in their little corner of the world.

I checked the Googles, and I’m not alone in finding the film problematic. Here’s some additional reading about this film and grappling with its place in our collective history.

From the L.A. Times

From Vulture


Brief Hiatus

The next film in my project is “Gone With The Wind.” It clocks in at 3 hours and 58 minutes, and when I look at my calendar for the next two weeks, well…I don’t have four solid hours to give over to watching it.

The only time I’ve seen the film is when AMC used to show it on Thanksgiving Day, all day. It could only air 3 times that day–starting at 6 a.m, I think–because with the commercials, it took 5 1/2 hours to make it through one viewing. So I’ve seen pieces of it, but not in its entirety and not without interruption.

So to give the film the attention it deserves, I have to wait until Nov. 3 to watch it. I’ll be back that week with my review of an American classic.

Dark Victory (1939)

Screen Shot 2018-10-10 at 7.35.22 PM

Promotional photograph of Geraldine Fitzgerald and Bette Davis in the film Dark Victory. Public Domain Photo.

Plot: Judy Traherne is a 23 year-old socialite who loves riding horses. One afternoon, she takes a nasty spill and tests conclude she has a brain tumor. Though hesitant, she eventually concedes to a surgery that is ultimately unsuccessful. But she’s not told by either her doctor-turned-lover/fiancé or her best friend that she will die within months. But like every good story, Judy discovers her prognosis and confronts her saboteurs. While initially angry, Judy eventually softens, and reconciles with both of them, marries the doctor, moves to New England so the doctor can focus on research, while they both ignore Judy’s reality. The film ends with Judy sending away her husband, her friend, and EVEN HER DOGS, so she can die alone on her bed.

Best Moment: Maybe I’m a tad bit pragmatic, but early on in the film, the good doctor goes on a rant about the lack of cancer research. I loved it. He is frustrated with his inability to understand the disease, so he decides to quit surgery and focus on research. He does this because he hopes for “a serum for cancer, like insulin for diabetes.” Oh, that it were so, dear doctor.

Worst Moment: Can there be a bad moment in a film that stars Bette Davis? Perhaps if I redefine “worst”–the worst moment was when I realized just how powerless doctors often are. So many times in film and television, doctors are the heroes, those who know all. Here, I felt a great deal of empathy for all doctors. As my brother-in-law once said to me, “There’s a reason we call it a practice.”

Fun Facts: Well, probably the funnest fact is that Judy’s horse trainer is played by Humphrey Bogart, and her friend that’s a boy is played by Ronald Reagan. Bette Davis was nominated for an Academy Award for this performance–and she really is quite wonderful–but the film had the unfortunate timing of coming out the same year as Gone With The Wind, so I’ll let you figure out how that ended up for Ms. Davis.

(Vivien Leigh totally won.)

Recommendation: Oh, see it. The end isn’t gut-wrenching. And it really is a good testament to how we all can live fully, even when we know our time is running out. Plus, when my friend Lynne found out what this week’s movie was, she was so excited I’d seen it! She loves this movie! So if Lynne loves it, and if I say see it, then you should probably see it.


The Adventures of Robin Hood (1937)

Plot: Every Robin Hood movie or cartoon you’ve ever seen. Is it really necessary that I rehash the plot here? I mean, this basically sums it up:

Okay, okay, in all seriousness, as I watched the ORH (or at least the original speaking Robin Hood), I made a list of all the incarnations of this story I’d seen, and I came up with four: Costner, Elwes, Daffy, and that adorable Disney fox. What I didn’t expect was how the base story was so similar in each version.

Best Moment: Not gonna lie, near the beginning when Robin Hood shows up at Prince John’s feast with a dead deer draped across his shoulders, and then slams said deer at the Prince’s table? I was reminded of how displays of virile masculinity are incredibly attractive. I didn’t find Errol Flynn all that attractive, but in that moment he certainly was. Maybe it was that whole “he can provide for me theory” .

Worst Moment: When I went into the kitchen to cut up some brownies, missed about five minutes, didn’t rewind, and completely lost interest in the rest of the film. I mean, if you’ve seen one Robin Hood movie, haven’t you seen them all?

Fun Facts: The 1937 Robin Hood film was directed by Michael Curtiz, who directed my all-time favorite movie, Casablanca. AND Claude Rains–who plays Captain Renault in Casablanca–plays the tyrannical Prince John here. I love seeing directors and actors repeatedly work with each other.

Recommendation: I mean, it’s a Robin Hood movie. Perhaps watching another one will feel something like this:



But if you love the story of Robin of Locksley and Marian and all the Merry Men in Tights, give it a view. Then watch Arrow (which I hear is good), and then look forward to this flick, which I think we need like we need another hole in our collective heads, but it does have that cutie pie from the Kingsmen series, so…it may be worth a gander.

The Life of Emile Zola (1937)

Plot: This film is another biopic, this time about Emile Zola, a man I’d heard of but knew nothing about. The film tracks his time from penniless “man of letters” hanging out with Paul Cézanne, through his rise as a prolific Parisian author, to his famous “J’accuse” letter published in a newspaper and subsequent trial for defamation in what is called The Dreyfus Affair (which is about as cuckoo bananas as it gets, in terms of government conspiracy and coverups). The film ends with Dreyfus’ exoneration and Zola’s death.

Best Moment: Zola’s whole life, according to the film, was about fighting injustice. Early in the film, his employer asks why he writes such “muckraking” content, when there is so much that is pleasant in the world. Calling truth “muckraking” popped my relevance antennae, and several other moments in the film had an element of timelessness to them. Which should give me hope…the more things change, the more they stay the same, I guess.

Worst Moment: The pacing of the film was tough for me. I usually love films based on people’s lives, but I found myself dozing off, even though the overall content was interesting.

Fun Facts: Saturday night, this tweet landed in my timeline:

Screen Shot 2018-09-22 at 10.31.22 PM

So I looked at the history of the “J’accuse” letter, and felt a bit more prepared for the film. Serendipitous that David Frum would pull out a Zola reference in response to what’s going on with the Kavanaugh hearing.

Also, watching this film Sunday night was a nice little cap to a week in which both me and Stueve were accosted and verbally harassed for teaching journalism, and for defending journalists:

Screen Shot 2018-09-23 at 8.01.09 PM

I want to read Zola’s work now, just because of how he was portrayed in the film–as a pursuer of truth and justice. Oh, and my favorite line?

Each serves his country in his own way:
One with a sword, the other with a pen.

The release date of this film was not lost on me: the world was three years into the Third Reich, and the entire Dreyfus Affair, at its core, is blatant anti-semitism. My hope is that American audiences were incensed at what they saw. Though knowing immigration policies for Jews during Hitler’s reign, I’m not confident the film had much effect.

Recommendation: You can probably skip this one, and instead, read up on The Dreyfus Affair and Zola’s role in exonerating him.