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Whistle Stopper - Gone with the Wind (Two-Disc Edition)
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List Price: $19.98
Our Price: $22.82
Your Save: $ ( % )
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Manufacturer: Warner Home Video
Starring: Everett Brown, Fred Crane, Clark Gable, Howard C. Hickman, Leslie Howard
Directed By: Cukor, George, Fleming, Victor
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Average Customer Rating:  
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Aspect Ratio: 1.33:1
Audience Rating: G (General Audience)
Binding: DVD
EAN: 9781419827396
Format: Closed-captioned
ISBN: 1419827391
Label: Warner Home Video
Manufacturer: Warner Home Video
Number Of Items: 2
Publisher: Warner Home Video
Region Code: 1
Release Date: 2006-01-31
Running Time: 238
Studio: Warner Home Video
Theatrical Release Date: 1941-01-17
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Spotlight customer reviews:
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Customer Rating:
Summary: The best movie ever produced, in human history
Comment: I saw this movie, here in Brazil.Being released in 1939, after almost 70 years later, this movie remains, the best movie ever produced in human history.Great art doesn't gets older.And this movie is great, in all ways of this word.Long, with almost four hours long, but no other movie could be better.You lives just one time;then you must see this movie, at least one time, in your life.
Customer Rating:
Summary: delightful
Comment: this purchsae was a gift for my wife, she was just please to get the movie, but when she found out that she got all of the extras too, she was overjoyed. i would reccomend this as a must have for all gone with the wind enthusiasts.
Customer Rating:
Summary: Enhanced film classic
Comment: Previous DVDs of GWTW have lacked the clear colors and enhanced redition of this movie classic. Highly recommended for the movie enthusiast.
Customer Rating: 
Summary: Great entertainment--if you can overlook the rancid racism
Comment: I thoroughly enjoyed Gone with the Wind as entertainment and spectacle. The epic romance, even if it is about two rather shallow people (but what hilariously shallow people!). The lavish sets and sweep of the story are both to be commended. I can see why this movie is so remembered.
However, I am not African American, and I try to imagine what it would be like to see it through their eyes. The movie glorifies the slave-holding South ("the land of plenty and grace"!), and every black person--except the uppity black carpetbagger--is docile, happy-go-lucky, and stupid. Yes, stupid. The movie shares its era's perception that blacks aren't genetically up there with the white folks and runs with this idea for all it's worth. Crissy, especially, is the personification of every racist stereotype imaginable: brain-dead, cowardly, hysterical, likes to sing, etc. Incredibly, the movie even thinks giving black Americans the right to vote is a mistake since they are easily misled by Yankees--as shown in that "You'll vote for your friends" scene. And, of course, the Klan is glorified as a means of taking back Southern pride from uppity blacks and Yankees as shown by Ashley and Scarlett's second husband going after the people in the "shanty town." And truly, do we really need to worry about the spoiled desires of two white people when millions of blacks were suffering through the worst humiliation and pain in the history of this country? Excusing the blatant racism in this movie as "it's a product of its time" will only get you so far.
So, yes, this is a good movie--but you might as well make an epic romance about the marital problems of two spoiled German Protestants during, say, the Holocaust. And only because the people suffering here are black and not white can this movie get away with it.
Customer Rating:
Summary: Yep, that's four hours of my life gone with the wind, all right.
Comment: Gone with the Wind (Victor Fleming, 1939)
I have hated Gone with the Wind for decades based on little snatches of it that I've seen here and there over a long period of time. I thought that, perhaps, I might be giving it short shrift, so a few nights ago, I sat down to watch the entire four-hour extravaganza from beginning to end. It somehow doesn't surprise me that I now hate the film in an entirely new, more passionate, more comprehensive way than I did previously.
My main bone of contention is not that the film is far, far too long for the skimpy subject matter it explores-- an hour and a half running time might have helped immensely-- but that Scarlett O'Hara and Rhett Butler, in the final ninety minutes of the film, break the cardinal rule-- they manage to screw everything up by simply not talking. These are incredibly stupid, shallow people. Why have generations wasted four hours on this twaddle? And why do some do it every year? I've heard many people refer to it as a great romance; maybe this is a good portion of what's wrong with America today. If this is your idea of a great romance, folks, then perhaps you need to go back to the well and think a little more about what constitutes a great romance. I'm pretty sure that philandering, jealousy, all the character depth of a piece of onionskin, and a decided lack of intelligence should not be contributing factors.
While the visual spectacle of the thing is inarguable, everything else about it-- the pace, the characterization, the script, all of it-- are just plain awful. And the romance? There is none. *
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Editorial Reviews:
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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
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