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Gone with the Wind [1939 film]

av Victor Fleming (Director), Lee Garmes (Cinematographer), Ernest Haller (Cinematographer), Ben Hecht (Screenwriter), Sidney Howard (Screenwriter)4 till, Margaret Mitchell (Novel), Ray Rennahan (Cinematographer), David O. Selznick (Producer), Sam Wood (Uncredited director)

Andra författare: Yakima Canutt (Actor), George Cukor (Uncredited director), Jane Darwell (Actor), Clark Gable (Actor), Olivia de Havilland (Actor)9 till, Leslie Howard (Actor), Victor Jory (Actor), Evelyn Keyes (Actor), Vivien Leigh (Actor), Hattie McDaniel (Actor), Butterfly McQueen (Actor), Marjorie Reynolds (Actor), Ann Rutherford (Actor), Max Steiner (Kompositör)

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632426,562 (4.19)4
Focuses on the life and loves of the beautiful and selfish Scarlett O'Hara. The story begins on the O'Haras' Georgia plantation of Tara in antebellum days and moves through the Civil War and Reconstruction.

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Gone with the Wind (1939)

Vivien Leigh – Scarlett O’Hara
Clark Gable – Rhett Butler

Olivia de Haviland – Melanie Hamilton
Leslie Howard – Ashley Wilkes
Thomas Mitchell – Gerald O’Hara
Hattie McDaniel – Mammy
Harry Davenport – Dr. Meade
Leona Roberts – Mrs. Meade
Ona Munson – Belle Watling
Evelyn Keyes – Suellen O’Hara
Ann Rutherford – Carreen O’Hara
Barbara O’Neil – Ellen O’Hara
Howard Hickman – John Wilkes
Alicia Rhett – India Wilkes
Butterfly McQueen – Prissy

Screenplay by Sidney Howard, based on the novel (1936) by Margaret Mitchell
Directed by Victor Fleming

Warner Home Video, 2000. Colour. 224 min. 1:33:1. DD 5.1.

==============================================

“Cathleen, who’s that?
“Who?
“That man looking at us and smiling. The nasty dog.”
“My dear, don’t you know? That’s Rhett Butler. He’s from Charleston. He has the most terrible reputation.”
“He looks as if... as if he knows what I look like without my shimmy.”


Hard to believe this movie is now more than eighty years old, is it? It still looks spectacular. Certain scenes achieve a combination of beauty and drama almost unmatched in the history of the silver screen. The hair-raising escape of Rhett and Scarlett from the burning Atlanta is my favourite example of this. But it’s not the only one. Dave Selznick knew his job, that’s for sure. Equally important, he spared no expense.

The most remarkable thing about this movie is that it never drags. Quite an achievement for a four-hour epic! Stylish direction and lavish production have something to do with that, but the major reason is the most important and least appreciated part of any great movie. The script. This one is fantastically well-written. It tells an excellent story in the first place, epic yet intimate, melodramatic yet not mere melodrama, full of delicious humour yet as far from comedy as they come. The dialogue is sharp and blunt at the same time, striking the perfect balance between cynical quips and earnest heart-to-heart confessions. Most important of all, characters and relationships are developed with surprising skill, and not just the Rhett-Scarlett time bomb. For example, note the friendship between Rhett and Melanie, briefly sketched yet moving, and the small but vital character of Belle Watling, especially her last scene with Rhett.

Then there is the cast, of course, perfect to the last cameo. Who can resist the imposing charms of Hattie McDaniel? Not I, I assure you. “Mr. Rhett, you is bad” is one of the few truly immortal movie lines, and Hattie McDaniel owns it. Leslie Howard is perfectly cast as the spineless, feckless and colourless Ashley Wilkes. Melanie Hamilton is, in the apt words of another character, too good to be true. It takes the beauty, grace and acting genius of Olivia de Haviland to make her engaging, even moving. She is still living at the time of writing, the last surviving member of the cast, and for some obscure reason that fact pleases me much. From the small army of supporting roles, my personal Oscar goes to Ona Munson. What a pity she wasn’t better known and had to end her life with suicide sixteen years later at the age of 51. Note again the last scene with Rhett, after he leaves. This is great acting in a glance.

But, of course, the leads make the four hours fly like one. They have become so closely associated with those legendary characters that it’s impossible to imagine anybody else in the roles. Theirs is a romance made in heaven and a marriage made in hell. “Has the war started”, Rhett prophetically asks at their first meeting. Indeed, it has!

Vivien Leigh, besides trifles like being breathtakingly beautiful at the age of 26, plays the hell out of Scarlett. She nails everything from the childish brat in the beginning to the manipulative monster later on. Nor does she miss Scarlett’s gritty pluckiness when the occasion demands it. That Yankee on the stairs had it coming, didn’t he? Scarlett constantly reinvents herself, as a businesswoman for instance. A woman in business – imagine the horror! Fiddle-dee-dee, that talk of propriety spoils all the fun. Scarlett would rather buy and sell than starve. She is determined to beat the carpetbaggers at their own game, convict labour or not, and she sure does. If she can’t shoot very far, she can certainly shoot straight.

When a character like that, who ought to be insufferable, ends up being irresistible, this must be great acting. That’s what Vivien delivers consistently. She was lucky with her leading man, though.

Clark Gable was hardy a great actor, and not even that handsome if it comes to that. But who can resist his roguish smile? Not I, I assure you. Rhett Butler is the archetypal adventurer, a gypsy-like creature (and Gable does look a bit like a gypsy) who takes everything seriously but nothing too seriously, hiding a heart of gold deep beneath the cynical exterior. Who could have played him better than Gable in 1939? Fredric March? Perhaps; that man could play everything, but even he might have found it hard to achieve Gable’s perfection. Spencer Tracy? Nope, outstanding actor, but he just doesn’t look the part. Cary Grant? Not a chance, too lightweight for the part. Yes, Gable was the perfect choice. Frankly, my dear reader, I don’t give a damn about anybody else in that role.

All in all, the movie stands the test of time at the ripe age of 81. It still makes for some of the most entrancing four hours of screen entertainment. Now imagine a modern remake. Wouldn’t that be a fine horror movie!

So, should I read the book? You tell me. ( )
  Waldstein | Jul 1, 2020 |
A manipulative woman and a roguish man conduct a turbulent romance during the American Civil War and Reconstruction periods. (From IMDb) ( )
  DrLed | Nov 4, 2017 |
Set in the 19th-century American South. Scarlett O'Hara lives at Tara. She is the strong-willed daughter of a Georgia cotton plantation owner. Pursued by numerous beaux she imagines herself in love with Ashley Wilkes, who is to marry his cousin, Melanie Hamilton. When war breaks out she marries Charles Hamilton, but he dies of measles whilst serving with the Confederate Army. During the Battle of Gettysburg many of the men from Scarlett's town are killed and months later she is caught up in the Atlanta Campaign when the city is besieged by the Union Army. Confederacy blockade runner Rhett Butler helps her to escape the city along with Melanie and her newly born baby. They make it home, to find Tara still standing but pillaged by Union troops and the fields untended, her mother just passed from typhoid fever and her father suffering what seems like dementia. Scarlett sets her family and servants to work in the cotton fields and married Frank Kennedy in order to pay the taxes on Tara. When Frank is killed she finally marries Rhett, but things do not go smoothly, only the land will prevail.

Lovely to watch this classic movie yet again. ( )
  DebbieMcCauley | Jan 2, 2016 |
Amazon.com essential video
David O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could be and do and look like. In many respects he got what he worked so hard to achieve in this 1939 epic (and all-time box-office champ in terms of tickets sold), and in some respects he fell far short of the goal. While the first half of this Civil War drama is taut and suspenseful and nostalgic, the second is ramshackle and arbitrary. But there's no question that the film is an enormous achievement in terms of its every resource--art direction, color, sound, cinematography--being pushed to new limits for the greater glory of telling an American story as fully as possible. Vivien Leigh is still magnificently narcissistic, Olivia de Havilland angelic and lovely, Leslie Howard reckless and aristocratic. As for Clark Gable: we're talking one of the most vital, masculine performances ever committed to film. --Tom Keogh
Denna recension har flaggats av flera användare som missbruk av våra allmänna villkor och visas därför inte längre (visa).
  schotpot | May 13, 2007 |
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» Lägg till fler författare (111 möjliga)

Författarens namnRollTyp av författareVerk?Status
Fleming, VictorDirectorprimär författarealla utgåvorbekräftat
Garmes, LeeCinematographerhuvudförfattarealla utgåvorbekräftat
Haller, ErnestCinematographerhuvudförfattarealla utgåvorbekräftat
Hecht, BenScreenwriterhuvudförfattarealla utgåvorbekräftat
Howard, SidneyScreenwriterhuvudförfattarealla utgåvorbekräftat
Mitchell, MargaretNovelhuvudförfattarealla utgåvorbekräftat
Rennahan, RayCinematographerhuvudförfattarealla utgåvorbekräftat
Selznick, David O.Producerhuvudförfattarealla utgåvorbekräftat
Wood, SamUncredited directorhuvudförfattarealla utgåvorbekräftat
Canutt, YakimaActormedförfattarealla utgåvorbekräftat
Cukor, GeorgeUncredited directormedförfattarealla utgåvorbekräftat
Darwell, JaneActormedförfattarealla utgåvorbekräftat
Gable, ClarkActormedförfattarealla utgåvorbekräftat
Havilland, Olivia deActormedförfattarealla utgåvorbekräftat
Howard, LeslieActormedförfattarealla utgåvorbekräftat
Jory, VictorActormedförfattarealla utgåvorbekräftat
Keyes, EvelynActormedförfattarealla utgåvorbekräftat
Leigh, VivienActormedförfattarealla utgåvorbekräftat
McDaniel, HattieActormedförfattarealla utgåvorbekräftat
McQueen, ButterflyActormedförfattarealla utgåvorbekräftat
Reynolds, MarjorieActormedförfattarealla utgåvorbekräftat
Rutherford, AnnActormedförfattarealla utgåvorbekräftat
Steiner, MaxKompositörmedförfattarealla utgåvorbekräftat
Behlmer, RudyNotesmedförfattarevissa utgåvorbekräftat
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Rhett Butler: You're like the thief who isn't the least bit sorry he stole, but is terribly, terribly sorry he's going to jail.
Rhett Butler: Frankly, my dear, I don't give a damn.
Scarlett: I can't think about that right now. If I do, I'll go crazy. I'll think about that tomorrow.
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This LT work is for the 1939 movie version of Gone with the Wind. Please distinguish it from Margaret Mitchell's original 1936 novel of the same name. Thank you.
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Focuses on the life and loves of the beautiful and selfish Scarlett O'Hara. The story begins on the O'Haras' Georgia plantation of Tara in antebellum days and moves through the Civil War and Reconstruction.

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