Again, this week's film is another terrific example of why I tasked myself with this frivolous assignment to begin with! A 4 hour post-Civil War soap opera is hardly the selection I would typically make, but by committing to a viewing, I found that I actually really liked this movie. And as this is the first film on my list that Cindy has joined me for, she did as well!
Gone With the Wind is pretty much as epic and "classic Hollywood" as youcan get. Vivian Leigh and Clark Gable occupy a space between chewing the scenery and winking at the camera, and yet do so with such commitment to their roles that you can't help falling for their performances. The production design was absolutely gorgeous and over the top. And certainly the special effects (such as the burning of Atlanta) paired with the vivid Technicolor must have had all of the wow-factor of a 1930's Avatar.
The story was fascinating and overly-dense. If I felt that "Lawerence of Arabia" (clocking in at 1 minute longer than GWTW) covered a marathon of a plot, this film was like running around the whole world. In fact, that was perhaps its greatest flaw, an early example of how "including everything in the book" doesn't always make for the strongest movie. The first act is a terrific portrayal of Scarlett's forced maturation upon facing the destructive forces of war. However, film's second act seems to squander all of her character development in favor of furiously hitting various plot-checkpoints like a gamer trying to save his progress.
Ultimately, I was able to look past this and the film's other 1930's flaws (like, erm...the handling of slavery and...I'm pretty sure Scarlett was raped and was totally cool with it) by staying captivated by the film's storytelling techniques and Scarlett and Rhett's tumultuous relationship. All movie long, I kept being drawn to certain choices that I would have otherwise categorized as "modern": elements like the film's pointed use of color (with Scarlett's dress corresponding to her mood or role), some brilliant camera pans and pushes, and of course, the beautiful score being used with drama, precision, and gusto. Finally, while I normally can't stand "old-timey" dialogue, Scarlett and Rhett's witty, verbal-fencing kept me so engaged that by the time Gable plunged forth with the ultimate rebuff--"Frankly my dear, I don't give a damn!"--I was applauding.
If you have 4 hours and are interested in a completely watchable old-school film, give this one a go!