Gone With the Wind | Chicago Reader

Gone With the Wind

A critic-proof movie if there ever was one: it isn't all that good, but somehow it's great. The first part, in which the gracefully moving camera of George Cukor (soon to be replaced) establishes the ordered world of Tara in elegant visual terms, is really very fine. But the last half is all slow, desultory denouement, and the death of the little girl is the dirtiest kind of screenwriter's trick. No one I know of has yet solved the secret of this 1939 film's apparently timeless appeal, though I'd guess it has something to do with the elaborate mechanisms of fate, history, and sex brought to bear on Scarlett, whose overweening libido must be punished as magnificently as it has been celebrated. The striking color overlays, which are the film's sole stylistic eccentricity, were the contribution of that cryptic auteur, production designer William Cameron Menzies. Victor Fleming signed it, though there were many, many fingers in this particular pie.



  • Victor Fleming


  • Clark Gable
  • Vivien Leigh
  • Leslie Howard
  • Olivia de Havilland
  • Thomas Mitchell
  • Barbara O'Neil
  • Victor Jory
  • Laura Crews
  • Hattie McDaniel
  • Ona Munson
  • Harry Davenport
  • Ann Rutherford
  • Evelyn Keyes
  • Carroll Nye
  • Paul Hurst
  • Isabel Jewell
  • Cliff Edwards
  • Ward Bond
  • Butterfly McQueen
  • Rand Brooks
  • Eddie Anderson
  • Oscar Polk
  • Jane Darwell
  • William Bakewell
  • Lillian Kemble-Cooper
  • Eric Linden
  • George Reeves
  • Fred Crane
  • Cammie King


  • David Selznick

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