Gone with the Wind (1939 film)

Gone with the Wind (1939 film)
Name	Gone with the Wind
Caption	Theatrical release poster
Director	Victor Fleming
Producer	David O. Selznick
Based on	Gone with the Wind by Margaret Mitchell
Starring	Clark Gable, Vivien Leigh, Leslie Howard, Olivia de Havilland
Music	Max Steiner
Cinematography	Ernest Haller, Ray Rennahan
Edited	Hal C. Kern
Studio	Selznick International Pictures
Distributor	Metro-Goldwyn-Mayer
Released	1939
Runtime	238 minutes (roadshow), 221 minutes (general release)
Country	United States
Language	English
Budget	$3.85 million
Gross	$390 million (adjusted)

Gone with the Wind (1939 film) is an American epic historical romance film adapted from the 1936 novel by Margaret Mitchell. Produced by David O. Selznick and principally directed by Victor Fleming, the film stars Clark Gable, Vivien Leigh, Leslie Howard, and Olivia de Havilland. It dramatizes the experiences of Southern belle Scarlett O'Hara and her relationships during the American Civil War and Reconstruction era.

Plot

The narrative follows Scarlett O'Hara of Atlanta, Georgia as she navigates love, loss, and survival after the onset of the American Civil War and the policy upheavals of Reconstruction era. Scarlett's unrequited affection for Ashley Wilkes intersects with the arrival of the roguish Rhett Butler, producing personal and social conflicts that mirror battles such as Battle of Gettysburg and the siege of southern cities. The story depicts events including the burning of Atlanta, civilian displacement, and the economic collapse of plantation life at estates like Tara, paralleled by political developments in Richmond, Virginia and the shifting fortunes of families tied to slavery and cotton economy centered on ports such as Savannah, Georgia.

Cast and characters

Principal cast includes Clark Gable as Rhett Butler, Vivien Leigh as Scarlett O'Hara, Leslie Howard as Ashley Wilkes, and Olivia de Havilland as Melanie Hamilton. Supporting performances feature Hattie McDaniel as Mammy, Butterfly McQueen as Prissy, and Thomas Mitchell as Gerald O'Hara. The ensemble brings to life archetypal figures connected to Southern society, plantation aristocracy, Confederate leadership, and freedpeople navigating emancipation after the Thirteenth Amendment and amid political debates in Washington, D.C..

Production

Development began when producer David O. Selznick secured film rights to Margaret Mitchell's novel shortly after its publication, negotiating with publishing interests and studio executives at Metro-Goldwyn-Mayer and engaging screenwriters experienced with adaptations like Sidney Howard. The production employed multiple directors, including George Cukor and Victor Fleming, with Fleming ultimately credited; cinematographers Ernest Haller and Ray Rennahan used three-strip Technicolor processes influenced by pioneers at Technicolor Motion Picture Corporation. Set construction recreated antebellum plantations and urban Atlanta on studio lots and backlots in Culver City, California, while costume designer Walter Plunkett designed hundreds of period garments referencing fabrics from Savannah, Charleston, South Carolina, and European ateliers. Composer Max Steiner scored the picture, integrating motifs of Southern melodies and leitmotifs comparable to contemporaneous film scores associated with composers like Erich Wolfgang Korngold.

Release and reception

The film premiered in an extravagant roadshow presentation at venues in Atlanta, Georgia and met immediate box office success, distributed by Metro-Goldwyn-Mayer to wide audiences across the United States and international markets including London. Contemporary reviews praised production values, performances, and cinematography while critics debated historical fidelity and narrative choices in outlets such as The New York Times and trade publications like Variety (magazine). The movie's commercial performance established new benchmarks for ticket sales and re-release returns, influencing studio distribution strategies during Hollywood's Golden Age alongside pictures like The Wizard of Oz.

Controversy and legacy

The film's depiction of slavery, Reconstruction, and race relations has provoked sustained controversy involving civil rights organizations, scholars, and filmmakers from the mid-20th century through the present. Activism by groups including the National Association for the Advancement of Colored People and commentary by historians examining the Lost Cause narrative, plantation mythmaking, and representations of Black characters such as Mammy have prompted reevaluation. Debates intersect with broader cultural reckonings involving works like Birth of a Nation and conversations about film censorship, studio practices, and public memory in cities including Atlanta and institutions such as the Smithsonian Institution. Its legacy endures in film scholarship, television retrospectives, film restoration projects, and disputes over exhibition contextualization in modern platforms.

Awards and honors

At the 12th Academy Awards, the film received multiple honors including Best Picture for producer David O. Selznick, acting awards for Vivien Leigh and Hattie McDaniel, and technical awards recognizing costume, cinematography, and production. The film is included in preservation programs such as the National Film Registry and frequently appears on lists compiled by organizations like the American Film Institute and retrospectives at institutions such as the Museum of Modern Art. Its commercial and critical achievements have led to numerous reissues, restorations, and scholarly editions of the novel and screenplay.

Category:1939 films Category:American epic films Category:Films set in Georgia (U.S. state)