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Last week, the American Film Institute relead its list of the 100 best American films of all time. No t surprisingly, Gone with the Wind placed in the Top 10(#4, in fact). However, although this epic romantic melodrama is undoubtedly one of the most popular and beloved motion pictures ever to gr ace the silver screen, it is also arguably the most overrated. Gone with the Wind is a very good movie, perhaps bordering on being great, but its subject matter and running time(which is easily 60 minutes too long) argue against its status as a masterpiece. As for its high placing on the AFI's list.. it isn't the only travesty on that roster, but it is one of the most obvious.
小孩报英语班Gone with the Wind is, simply put,a tale of two halves. The movie is divided by an intermission into a pair of roughly-equal gments. The first, which is brilliant and consistently captivating, covers th e time period of the Civil War, beginning shortly after the election of Abraham Lincoln, and ending during Sherman's march through Atlanta. The post-intermission half, which dishes out the suds, pic ks up at the end of the Civil Wa
r and concludes about eight years later. This portion of Gone with t he Wind, while still retaining a degree of appeal and narrative interest, spins its wheels frequently.
Nevertheless, viewing Gone with the Wind on television pales in comparison to eing it projected on a motion picture screen. New Line Cinema has chon to re-relea the film(which is now in its sixth major revival) for its 59th anniversary.(Why not wait a year for the 60th?) Anyone who loves movies but has only en this one on TV or video is heartily encouraged to visit the nearest participating venue. Theatrically, Gone with the Wind is an entirely different experience from its small-scree n counterpart; some of the cond-half narrative tedium is effaced by the glorious visuals. With a re stored three-strip Technicolor print that prerves all of the original's deep, vibrant colors and digit ally-enhanced sound, this picture has never looked or sounded better.
refu的用法Gone with the Wind has one of the best-known story lines of any film, due in large part to the popularity of the source material, Margaret Mitchell's best-lling 1936 book. It's esntially a sumptuous soap opera t around Civil War times in the deep South. The m
ain character is Scarlett O' Hara(Vivien Leigh), the spoiled, manipulative daughter of an lrish immigrant plantation owner(Thomas Mitchell, who would later play Uncle Billy in Frank Capra's It's a Wonderful Life). Scarlett has two sister s, but she is by far the most spirited of the three O' Hara girls, and her father, eing her as his successor, teaches her lessons about the importance of the land."It's the only thing that lasts.. the only thing worth fighting for,"he comments in the face of war.
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Scarlett is cretly in love with Ashley Wilkes(Leslie Howard), who is about to marry the gentle, demure Melanie Hamilton (Olivia De Havilland). When Scarlett confess her love to Ashley, he admits his feelings for her, but notes that Melanie will make a much better wife. Immediately after this meeting, Scarlett has her first encounter with the irrepressible Rhett Butler (Clark Gable), the cynical,s mart hero who eventually falls in love with her. They are two headstrong likes who simultaneously repel and attract one another. When Scarlett remarks,"You, Sir, are no gentleman,"Rhett's smiling, easy respon is,"And you' re no lady."
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The bulk of the film follows a romantic quadrangle as it unfolds against the backdrop of war and reconstruction in and around Atlanta and the O' Hara plantation, Tara. Scarlett is in love with Ashley, or thinks she is, but he won't leave his wife. Melanie loves both her husband and Scarlett, who improbably becomes her best friend. Rhett is smitten with Scarlett, and she is clearly interested in him, but the real question is how long it will take for her to recognize the depth of her feelings. Ultimately, when Rhett has finally had enough, he walks out of her life after answering "Frankly, my dear,I don't give a damn"to her plaintive query about what she's suppod to do without him.
The pre-intermission portion of Gone with the Wind, which runs about 115 minutes, is glorious fro m both a visual and an emotional standpoint. It's a grand tale of love and loss in the midst of this country's most bitter war. Most importantly, it shows Scarlett's development from a vain, spoiled bra t into a hardened, determined young woman. Her relationship with Rhett is there, but kept carefully in the background. There is sadness, humor, and a number of breathtaking shots of Scarlett silhouetted against a reddish sunt or the backdrop of Atlanta in flames. The film's most lingering image-that of thousa
nds of Confederate wounded paving an Atlanta street--occurs during this part of the movie.
The cond half, with its repetitive concentration on Scarlett's back-and-forth, do-l-love-him-or-not relationship with Rhett, is less successful. This stuff is real soap opera material, and, even as well-acted and well-prented as the narrative is, there's no mistaking it for anything el. If it didn't run on for so long, it would be a lot more bearable, but Gone with the Wind threatens to wear out its welcome long before the end title appears. The problem is that the bulk of the story is really told in t he first half, so there's a lot of filler in the post-intermission material.
Gone with the Wind stands as a romantic monument to the Old South--an homage to an era and a lifestyle long gone. The opening title states:"There was a land of Cavaliers and Cotton Fields called the Old South. Here in this pretty world, Gallantry took its last bow. Here was the last ever to be en of Knights and their Ladies Fair, of Master and of Slave. Look for it only in books, for it is no mo re than a dream remembered,a Civilization 小飞侠乐队
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gone with the wind."This clearly illustrates where the film's sympathies lies, and it isn't with the often-grim plight of the slaves(in fact, slavery is largely treated as a neutral, or even benevolent, institution).
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simonOne of the tests of the lasting impact of any film is determining whether it's still effective decades after its initial relea. Gone with the Wind looks so good that it is surprising to consider its actual age. It's hard to believe that many of the people involved with this film have long since died. Of cour, period pieces should not be constrained by the era in which they' re made, only by the one in who was "discovered"almost by accident after an exhaustive casting period; he was an established id ol. They fit together perfectly, and, while their chemistry isn't as overwhelming as that of Bogart an d Bergman, it's pretty clo. As with all couples, their glances and body language say as much or m ore than their words, and, especially in Scarlett's ca, are always more truthful. The characters are fascinating, both on their own and in their interaction with each other. Scarlett is a devious manipulator with a dangerous charm (beware her when she bats her eyelashes); Rhett es through her ate very turn, but, even as smart as he is, he can't help falling for
her.
