Gone with the Wind (1939)

Calificación de los usuarios:

8.2/10   

Director:

Victor Fleming

Escritores:

Margaret Mitchell (novel)
Sidney Howard (screenplay)

Fecha de Lanzamiento:

17 enero 1941 (USA)

Género:

Drama | Romance | Guerra

Frase comercial:

Now in 70mm. wide screen and full stereophonic sound! [reissue]

Plot:

American classic in which a manipulative woman and a roguish man carry on a turbulent love affair in the American south during the Civil War and Reconstruction.

Plot Keywords:

Love | Civil War | Poverty | Reconstruction | Epic

Premios:

Won 8 Oscars. Another 6 wins & 5 nominations

Comentarios de los usuarios:

Astounding Film - GWTW is the Definition of a Classic!

Reparto

Thomas Mitchell	...	Gerald O'Hara
Barbara O'Neil	...	Ellen - His Wife (as Barbara O'Neill)
Vivien Leigh	...	Scarlett - Their Daughter
Evelyn Keyes	...	Suellen - Their Daughter
Ann Rutherford	...	Carreen - Their Daughter
George Reeves	...	Brent Tarleton - Scarlett's Beau
Fred Crane	...	Stuart Tarleton - Scarlett's Beau
Hattie McDaniel	...	Mammy - House Servant
Oscar Polk	...	Pork - House Servant
Butterfly McQueen	...	Prissy - House Servant
Victor Jory	...	Jonas Wilkerson - Field Overseer
Everett Brown	...	Big Sam - Field Foreman
Howard C. Hickman	...	John Wilkes (as Howard Hickman)
Alicia Rhett	...	India - His Daughter
Leslie Howard	...	Ashley - His Son

También conocida como:

Lo que el viento se llevó (Argentina) (Chile) (Colombia) (Mexico) (Panama) (Peru) (Spain) (Venezuela) [es]

Duración:

USA:238 min (restored DVD version) | Sweden:223 min (1969 re-release) | Sweden:234 min (1985 re-release) | UK:224 min (1994 re-release) | UK:233 min (1989 re-release) | 226 min (copyright length)

País:

USA

Idioma:

Inglés

Color:

Color (Technicolor)

Relación de Aspecto:

1.37 : 1

Sonido:

Mono (Western Electric Sound System)

Clasificación:

Iceland:L | Portugal:M/12 | Finland:K-11 (2004) | Brazil:Livre | West Germany:12 (f) | Argentina:Atp | Australia:PG | Belgium:KT | Canada:G (British Columbia/Nova Scotia/Québec) | Canada:PG (Manitoba/Ontario) | Chile:TE | Finland:K-16 | Germany:12 (DVD rating) | Netherlands:AL | New Zealand:PG | Norway:16 | Peru:PT | South Korea:12 | Sweden:11 (re-release) (1985) | Sweden:15 (original rating) | UK:A (original rating) | UK:PG (video rating) | USA:Approved (PCA #5729) (original rating) | USA:G (re-rating) (1971)

Locaciones de Filmación:

Agoura Hills, California, USA

Compañía:

Selznick International Pictures

Trivialidades:

David O. Selznick, in a memo from October 1939, about the movie's writing credits: " [Y]ou can say frankly that of the comparatively small amount of material in the picture which is not from the book, most is my own personally, and the only original lines of dialog which are not my own are a few from Sidney Howard and a few from Ben Hecht and a couple more from John Van Druten. Offhand I doubt that there are ten original words of [Oliver] Garrett's in the whole script. As to construction, this is about eighty per cent my own, and the rest divided between Jo Swerling and Sidney Howard, with Hecht having contributed materially to the construction of one sequence."

Errores:

Micrófono Boom visible: Shadow on the right hand white door when Scarlett leaves the makeshift hospital.

Citas:

[first lines]
Brent Tarleton: What do we care if we *were* expelled from college, Scarlett? The war is gonna start any day now, so we'd have left college anyhow.
Stuart Tarleton: Oh, isn't it exciting, Scarlett? You know those fool Yanks may actually *want* a war?
Brent Tarleton: We'll show 'em!
Scarlett: Fiddle-dee-dee. War, war, war; this war talk's spoiling all the fun at every party this spring. I get so bored I could scream. Besides... there isn't going to be any war.
Brent Tarleton: Not going to be any war?
Stuart Tarleton: Why, honey, of course there's gonna be a war.
Scarlett: If either of you boys says "war" just once again, I'll go in the house and slam the door.
Brent Tarleton: But Scarlett...
Stuart Tarleton: Don't you *want* us to have a war?
[...]

Conexiones de Película:

Referenced in "According to Jim: The Chaperone (#7.14)" (2008)

Banda de Sonido:

The Bonnie Blue Flag

Astounding Film - GWTW is the Definition of a Classic!

The setting is a Georgia plantation. The year is 1861, and sixteen-year-old Scarlett O'Hara is infatuated with the blond, drowsy-eyed Ashley Wilkes - the problem is, Ashley plans to marry another woman. Little matter that every other man in the county is courting Scarlett and that a charming scoundrel named Rhett Butler is staring at her with questionable intent - she cares only for Ashley.

Suddenly, the Civil War brakes out, changing the fates and fortunes of all. Scarlett, clever, manipulative, and charming, proves an adept survivor - but what will she have to do to survive? And will she ever learn whom it is that she really loves?

GWTW is one of the most meticulously cast films ever; with the possible exception of Leslie Howard as Ashley (in his forties, rather old to be playing a man half that age), every role was perfectly assigned. After you watch Vivien Leigh you will be unable to imagine anyone else playing Scarlett, and Hattie McDaniel's strong, unforgettable performance as "Mammy" netted her an academy award (the first for an African-American actor).

GWTW's backdrop is the gruesome Civil War, and in the end this film is the story a woman and a civilization (the Old South) going through a war that will not leave either of them unchanged.

The cinematography is beautiful, memorable. Gone With the Wind was shot entirely in gorgeous technicolor; the scene of the fire in Atlanta required the use of all eight technicolor cameras in existence at the time.

The pragmatic may think Gone with the Wind overly dramatic; the restless may find it too long; the action-stimulated, too subtle. None of this, however, detracts from the fact that GWTW retains a lasting appeal as one of the crowning cinematic achievements of the 20th century. Those who see its ending as depressing - tragic, even - perhaps miss the point - which Scarlett O'Hara makes in her very last instant with us, tear-stained eyes uplifted in a sudden, curious burst of hope beneath all the turmoil; that .. . "After all, tomorrow is another day." 10/10