Gone with the Wind [Blu-ray]

GWTW is NOT a documentary on the Civil War period. It is NOT a history of slavery in America. It is NOT a story of perfect people behaving perfectly at all times.

It IS an adaptation of a novel written by a Southern woman who, as a child, sat and listened to the stories the old Confederate veterans told about the old days before, during, and after THE war. It IS a love story, probably about the novelist's grandmother, which reflects the attitudes left over from that long-ago time.

To criticize this film for so many unrelated issues is silly. It stands on its merits as a masterful film that tells of bittersweet love and lost fantasy. That it succeeds so well is a tribute to the actors and filmmakers of over sixty years ago.


"And you, miss, are no lady!"   November 18, 2009
William Sommerwerck (Renton, WA USA)
70 out of 72 found this review helpful

As with the "Wizard of OZ" BD set, the GWTW set is elaborated -- and made "spendier" -- with the addition of material that might not be absolutely necessary for one's enjoyment. The box is covered in red velvet flocking (green would have been more appropriate and amusing -- qv, Carol Burnett). There's a CD "sampler" of Max Steiner's score, running a measly 45 minutes. Given that Max took excessive scoring to the max (Bette Davis had some pointedly unkind things to say about it), a "sampler" could have filled two CDs, and still not have exhausted the music (though the music might exhaust you). *

As with "OZ", there's a 52-page hard-backed book that's largely content-free, plus reproductions of some of the watercolor set-design paintings (in their own little envelope), and various memoranda sent to and from David O. Selznick. I was expecting a reproduction of Gerald O'Hara's pocket watch, but it likely would have been of even poorer quality than the kiddie watch in the "OZ" box.

The best bonus is a reproduction of the 25-cent (expensive in 1939) souvenir booklet. It includes pieces by the principals, notably one from Clark Gable telling how badly he wanted to play Rhett Butler and much he enjoyed every minute of making the film. (He didn't want to appear in "costume" films (having had bad luck in a film about Irish revolutionaries), was afraid to take on a role the public had such definite ideas about, and got along poorly with the first director, George Cukor.)

As I write this, I haven't viewed all the supplemental material on the second disk. (There's a lot.) The third disk duplicates the "When the Lion Roars" feature included in the "OZ" box -- though the package labeling suggests it's unique to GWTW.

GWTW was always unsharp and muddy-looking -- until the Ultra Resolution transfer of the original three-strip negatives a few years ago. It was a major improvement, and the DVDs showed the film as it had never been seen.

This edition apparently uses a new Ultra Resolution transfer, at twice the resolution (8k versus 4k) of the previous. Some scenes -- such as Ashley escorting Melanie to the balcony of Twin Oaks -- are breathtaking, far superior to what the DVD offered (and /that/ wasn't exactly chopped liver). The best Technicolor films, properly transferred, push HD to its limit.

What most surprised me, though, was the awareness of how the film's color balance is adjusted to produce specific effects. Many scenes have an appropriately warm, "burnished" coloration that /does not/ carry over to the scene's subtle colors. For example, at the fund-raising bazaar, there's a bottle of pastel-colored candies (which you'll probably never notice in the SD edition) that retain their correct colors, "unromantized" by the rest of the image's warmth. Similarly, in the scene outside the hospital where Belle Watling makes a donation, her costume is vividly colored (there's no question about her profession!), even though everything else is drab.

Several sequences are outstanding, particularly the one where Scarlett returns to Aunt Pittypat's home to tend to Melanie. It's a model of Technicolor photography, one that any cinematographer would be proud of -- as good as anything being done today. In earlier transfers of poorer prints, this sequence is flat and two-dimensional. You can't see how magnificently lit and photographed it is.

At its best, the Technicolor resembles large-format, ultra-sharp Polacolor. That's a compliment! If you're fortunate enough to have a large display, you'll gasp at some of the images.

One of the most-startling moments occurs when Scarlett goes to the train station to look for Dr Meade, one of the most-famous scenes in movie history. Hundreds, if not thousands of injured men lie on the ground, waiting for medical attention that will likely never come. There weren't enough extras, so dummies were used. And for the first time, you can actually /see/ which of the "extras" are dummies! You can probably tell better than the camera operator!

In short... The BD edition is a major improvement over the excellent DVD edition. It gives the impression that the movie makers were able to manipulate Technicolor to get specific aesthetic effects. ** And it shows just how /beautifully photographed/ this film is, something even the original Technicolor prints never fully revealed. The DVD probably captured most of this (I no longer have it for comparison), but you'll never see it in standard definition on a "small" screen. Looking at excerpts in the supplmentary material /not/ taken from the Ultra Resolution transfer is a reminder of just how "messy"-looking the original GWTW was. It no longer is. I've never enjoyed watching it so much.

It's becoming apparent that an HD transfer, shown on a big display, is not the best way to watch a movie at home, but the best way to watch a movie, period.

The sound is so-so, of limited range and not particularly clean. (Disney does a much better job cleaning up the audio of its classic films.) The reviewer who said it filled the room as well as any modern soundtrack most own Bose 901s. It would sound better in a theater, with big horn speakers that started rolling off above 5kHz. If GWTW was recorded in RCA multi-track, the stems don't appear to have survived. (Those for "OZ" exist and have been used, though not, apparently in the Blu-ray.) Music and dialog are mono throughout, but individual sound effects (particulary explosions) are panned to the side or rear when appropriate. The music sometimes seems too loud for the dialog, and the overall level is by far the lowest of any Blu-ray I've yet auditioned. I had to really crank up the volume, far, far beyond 11.

This is an expensive set, but it represents such a significant improvement over the last DVD edition (as good as it was) that it's worth seriously considering. Even if your BD player has a good scaler, the DVD won't look anywhere nearly this good on your HD monitor. Highly recommended.

PS: Just because a film is a classic doesn't mean it's suitable for everyone in your family. The G rating is ridiculous. GWTW is at least PG, containing, as it does, women of questionable virtue, a fair amount of violence (including a scene in which Scarlett is attacked, and another in which she shoots a Yankee, practically blowing off his face), and Rhett dragging Scarlett up the stairs to "molest" her. The MPAA ratings board is nothing if not inconsistent.

PPS: Though Vivian Leigh and Hattie McDaniel received Oscars, I consider Butterfly McQueen's performance as Prissy the best in the film. Though she hated the role (it's too easy to interpret Prissy as representing slaves in general, rather than one in particular), she showed great courage in taking it, and delivers a finely nuanced performance.

* Max Steiner wrote the first great film score for a talky - "King Kong". It epitomizes his style -- "Mickey-Mousing" almost every screen action, and the heavy use of Leitmotivs for characters and events. (Note how Melanie's motive appears every time she does, and how Rhett's is played -- breaking the scene's mood -- when he leaves Scarlett for the last time.) He was also the first sound-film composer to underscore almost the entire length of a film -- this is not a recent development. It's worth noting that GWTW, despite some memorable music, did not win "Best Score" for 1939 -- Herbert Stothart's for "Wizard of OZ" did. I find it considerably more imaginative and appealing.

** The Technicolor print uses dye transfer, in which each color is layed down separately from its own gelatin matrix. This allows a great deal of flexibility in controlling the contrast and color balance -- if you're willing to put out the time and money. According to the supplementary material, the color balance /was/ adjusted on scene-by-scene basis for GWTW, just as it is for modern films - that's what the "color timer" person does. A high-quality print from 1939 was found, and guided the restorers in adjusting color balance.


Technical Consideration for "Bewildered in Iowa"   November 30, 2004
D. Paul Dalton (Dallas, TX USA)
140 out of 158 found this review helpful

I do hope you'll return and revise your rating to a '5' once you digest this information:

Gone With the Wind was never released in a Widescreen version on DVD because it was never released in a Widescreen version on film. In fact, when it was released (1939), there were NO "Widescreen" movies at all -- becaues no one had yet thought about formatting movies in that way.

Through the 1940s and into the 1950s, essentially ALL movies were in the 3:4 format that we now consider to be "regular". My understanding is that those proportions originally were adopted by the film industry to roughly correspond with the proportions of viewable area for the "live" theaters extant when the film industry started. Similarly, when television arrived in the late 40s/early 50s, its screen format was determined by copying the 3:4 screen proportions of films made up to that time. By the mid-1950s, the film industry became concerned about losing its audience to TV, so various WIDESCREEN formats (CinemaScope was one; I think there was another called VistaVision; I can't remember the others offhand) were conceived by the film industry in the 1950s as a way in which the film industry could distinguish its film products from what could efficiently be shown on television screens. This was the film industry's attempt to keep audiences coming to theaters to see their movies, rather than just waiting to see movie productions on home televisions; by coming to the theater, the audience could experience something different that what television could offer.

Other "ideas" in this effort against TV included attempts to interest audiences in 3D films, as well as enhancing film audio, both by greatly improving sound range and fidelity and later by adding stereo, at a time when TVs had only a single, inexpensive speaker that didn't sound all that "hot." In fact, the creation/addition of 5.1 audio (Surround Sound) was yet another film industry effort to distinguish itself from what then was available for use in homes.

Anyway, if someone now wants to issue a "Widescreen" version of GWTW, the only way to do it (without distorting the content) would be to cut off the top and/or bottom of every frame all the way through -- just think about how THAT would look . . .


Southern Mythology at its Most Memorable   December 12, 2002
Gary F. Taylor (Biloxi, MS USA)
257 out of 307 found this review helpful

In the years since it debuted, GONE WITH THE WIND has taken a beating from film critics and historians alike. The characters are often described as cardboard-ish; portions of the film are described as excessively melodramatic; some of the special effects (most notably the film's occasional use of rear-view projections) have dated. There is some truth to all of these comments, but by far the most serious accusation hurled at the film is that it is racist.

One's perception of the film as racist rather depends on whether you look at the film within the context of its era or from a purely modern standpoint. At the time, GONE WITH THE WIND was a major advance in the portrayal of blacks on screen, for the two major black characters--Mammy and Prissy--are a far cry from the obnoxious "Stepin Fetchit" stereotypes so common in the 1930s. In later years, both Hattie McDaniel and Butterfly McQueen would be derrided for their participation in the film and accused of perpetuating stereotypes, but in fact their performances were anything but stereotypical at the time--indeed, their very power led Hollywood into a repetition of similar characters, and it was that repetition that later caused the originals to read as cliched.

The real problem with GONE WITH THE WIND is that it, like the novel on which it is based, buys into the myth of great plantations, lovely Southern belles, gallant gentlemen, and a paternalistic form of slavery. These concepts have some basis in fact, but the vast majority of southern whites did not own plantations, much less own slaves, and those who did rarely practiced "paternalistic" slavery by any stretch of the imagination. But GONE WITH THE WIND is the myth, not the fact--and once we accept it as a highly romanticized vision of the South as it never really was, the film becomes incredibly entertaining and can still cast its spell upon the modern viewer.

The most powerful thing about the film is that it moves. Over the course of its very long run, the episodic story of the beautiful and willful Scarlett O'Hara and her rapacious drive to insulate herself from the hardships of the war never significantly drags. And the cast, from the leads to the bit players, is superior.

Margaret Michell might have created Rhett Butler with Clark Gable in mind; Vivien Leigh, a remarkable beauty and a very fine actress, was scarcely known outside England--but amazingly, when one considers the tremendous anticipation surrounding the casting of the role, she plays Scarlett with incredible success. Granted that the characters of Melanie and Ashley are rather unbelievable, but both Olivia de Havilland and Leslie Howard carry them off with conviction. And although they have already been mentioned, Hattie McDaniel's formidable Mammy and Butterfly McQueen's passive-aggressive and frequently hysterical Prissy are brilliant creations and more than worthy of a second mention.

True, advances in cinema technique have made some of the special effects seem dated, but the production values and art design are brilliant from throughout, and the film offers a multitude of iconographic moments: Rhett standing at the bottom of the staircase at Twelve Oaks; Scarlett caught up in a the panic during the seige of Atlanta; the tattered flag waving above the fallen troops at the train yard; the kiss between Rhett and Scarlett after the fall of Atlanta--these, yes, and many, many more.

GONE WITH THE WIND will no doubt become increasingly controversial as attitudes continue to change re race, slavery, and the Civil War--but in terms of pure cinema it is a remarkable achievement for all involved and it remains a landmark to this day. The DVD currently available offers a pristine picture and high quality sound, but I must note that the DVD has no great advantage over the current VHS release; a trailer aside, there are no bonus materials of any kind, and both are of equal quality. Strongly recommended, but with a warning: do not mistake it for fact. As I noted earlier, this is a South that never was, built on a form of slavery far removed from the slavery that actually existed. Enjoy it as a beautifully made and epic romance with a host of powerful performances--but not as history.