Hollywood was abuzz and aglitter with Oscar fever on February 29, 1940, at the Cocoanut Grove of the Ambassador Hotel in Los Angeles. The 8:30 p.m. event was the twelfth annual awards presentation of the Academy of Motion Picture Arts and Sciences. As was the custom,...
Gone With the Wind fans can’t wait to celebrate the film’s 84th anniversary on Friday, December 15, 2023, during 1939’s twin year. Here are 8.4 ways to mark this cinematic and calendrical milestone: Watch Gone With the Wind. If you have the 75th anniversary DVD, pop...
The summer of 1939 consumed David O. Selznick with work and worry. The producer, his film editor Hal Kern and associate film editor James Newcom spent July and August screening the existing film footage, selecting takes of scenes and assembling a rough cut of the film...
On Thursday, January 26, 1939, George Cukor called “Action,” and Gone With the Wind’s principal photography began. Vivien Leigh in her green sprig silk muslin dress warned the Tarleton boys that one more mention of war would send her right into the house. But when the...
In the novel, a tearful Scarlett wails, “If you go, where shall I go, what shall I do?” And Rhett exits with the memorable words: “My dear, I don’t give a damn.” At the outset, Selznick knew he would have problems with that darn word “damn.” The Motion Picture...
On Wednesday, May 24, 1939, Victor Fleming directed Vivien Leigh and Leslie Howard in the pivotal paddock scene also known as the “Orchard Love Scene.” To recap: Needing $300 to pay the taxes on Tara, Scarlett seeks advice from Ashley, whom she finds splitting rails...
On Saturday, May 6, 1939, Sam Wood directed Vivien Leigh in “Scarlett’s Return to Tara.” Realizing that her mother is dead, Scarlett screams her shock and grief and collapses at Ellen O’Hara’s bier. A parallel to this heartbreaking scene...
In April 1939, producer David O. Selznick recognized that the grueling pace of filming Gone With the Wind was taking a toll on his cast and crew, especially director Victor Fleming. On April 14, Selznick confided in a memo to executive staff that Fleming “is so...
Clark Gable had finally had it with the Gone With the Wind wardrobe made for him by the Selznick International costume department. The shirt collars choked him, and the suits and cravats were ill fitting. He complained to producer Selznick, who, in turn, spoke to...
On March 13, 1939, David O. Selznick wrote a memo to Production Manager Raymond A. Klune concerning the dramatic use of color in Gone With the Wind’s costumes. The producer impressed upon Klune that the costumes should symbolize “the changing...
