The Making of a Legend: Gone with the Wind

Selznick himself would have given his highest rating of approval to this fascinating documentary which traces the birth of the Margaret Mitchell novel through its publication and on to Hollywood, where it became a major chore for David O. Selznick to wittle the 1,000 page novel into a workable screenplay. Selznick's work habits are examined at length and the kind of stress his perfectionist behavior gave everyone around him is understandable. But his persistence paid off and, of course, the end result was all anyone could hope for.

Having read many books on this subject, I can assure you this is a project that is well worth viewing for anyone who has more than a passing interest in the making of the film. There are some interesting and revealing comments by George Cukor, the original director on the film who was fired after a few weeks of filming but still remained on good terms with Selznick after Victor Fleming took over.

Most interesting aspect are a series of tests made by various actors and actresses under consideration for roles--most of whom were highly unsuitable if the tests are to be taken seriously.

Missing among the cast members who speak about the film is Olivia de Havilland, who was probably too heavily involved in personal matters at the time this was being put together and could not find time to make her contribution--which would have been a significant one. Fortunately, she turned up for last year's DVD release of the film in a segment called "Melanie Remembers". But Evelyn Keyes and Ann Rutherford do a nice job of describing some behind-the-scenes events as well as the initial premiere of the film in Keyes' home town of Atlanta. Butterfly McQueen recalls what it was like to play Prissy.

Excellent commentary by Christopher Plummer is a definite plus, and the well written script gives the viewer a complete feeling of what it was like for everyone involved in the making of this great classic. By the time it reaches the film's world premiere reaction, you will be thoroughly involved and entertained by the interesting presentation of facts. As an added bonus, much of the documentary is accompanied by selections from Max Steiner's massive score.

Summing up: A documentary you can't afford to miss.

Outstanding documentary dealing with the trials and tribulations of making this 1939 monumental pictures.

There were plenty of problems in production, casting,etc. Who knew that Paulette Goddard came so close to playing Scarlett O'Hara or that Jeffrey Lynn was so inadequate in the role of Ashley Wilkes?

Made at the time that Hitler and Mussolini were menacing Europe, there is plenty of backstage gossip.

David O. Selznick was a brilliant producer. His on screen disagreements with famed director George Cukor led to the latter leaving the film.

The writing of Margaret Mitchell's classic book for motion picture viewing was memorably discussed.

It was wonderful seeing many of the cast members participate in this wonderful documentary.

Hattie McDaniel's supporting Oscar's acceptance speech must serve as an inspiration to us all. Like so many in the memorable cast, she left us way too young.

David O. Selznik, one of the most successful producers in the Hollywood of the 1930s, probably never considered what he was getting into, when he decided to bring Margaret Mitchell's massive novel, "Gone with the Wind", to the movies. The monumental task to recreate the book, which was a favorite among the American public of the era, was not an easy, or a happy undertaking by Mr. Selznik, or the people that were involved in the project.

David Hinton's documentary, which was shown by TCM recently, is a gem of a film because it gives a fantastic account of all that went on to make the film. "Gone with the Wind" stories have been told forever, or so it seems, yet, in the documentary they are examined thoroughly again by a lot of Mr. Selznik's collaborators who were still around in 1989 to tell the story.

The best thing in "Making of a Legend: Gone with the Wind" is the footage where many stars were tested for the leading roles. The characters of the book were coveted by most of the actors of the time because they realized the importance about appearing in it would mean to their careers. We see actors of the stature of Jean Arthur, Joan Bennett, Tallulah Bankhead, among the ones that wanted to contribute to the movie, yet, they were not chosen.

David O. Selznik comes across as a disorganized genius who had no idea about what he was doing. His memos to the cast and crew were something not to be believed. Some people resented this way of communication. His battle with George Cukor is also told and how Victor Fleming, who by all accounts was not the perfect candidate, came to be the one that was able to complete the picture.

There are some excellent comments, especially from Ann Rutherford and Evelyn Keyes, who explain what they saw while the film was in production. Some others also come on to tell us their view about what the film changed their lives and the experience of having worked with a mad man who was so intent in getting the movie done. It's a good thing this film was done during the 1930s because it would probably had cost more than 200 million in today's dollars! Thanks to director David Hinton this epic movie is examined and put in its proper context to help the viewer understand the way Hollywood worked during the time it decided to convert the book into a movie.

Good documentary about the perils and rewards of film making. I like how it puts the true auteur of this famous, if controversial, work, producer David O Selznick, at the center of the story. It shows that the guy possessed the three qualities that all great producers must have, namely boundless energy and determination and an ability, shared by successful baseball managers and high school principals, to properly evaluate one's personnel. For example, a lesser producer would have gone with the proven, safe choices of either Joan Bennett or Paulette Godard as Scarlett and they would have been fine and the film most likely would have done quite well. But it wouldn't have been an iconic performance as is Ms. Leigh's and the film would have been merely good rather than great which, despite its mirroring noxious mid century racial attitudes, it is, largely owing to Ms. Leigh's matchless ability to inhabit the body, mind and soul of one of the most fascinatingly ambiguous characters in Hollywood film history.

A couple caveats. Like an earlier reviewer I found Christopher Plummer's narration borderline annoying; needlessly cheeky and at times mumblingly unintelligible. A more serious criticism is that for a documentary about the making of GWTW made in 1988 director David Hinton and writer David Thomson puzzlingly neglect the importance of Hattie McDaniel's pathbreaking and magnificent performance as a counterweight to the offensive prejudices that are, regrettably, central to this work.

Bottom line: Doesn't make me want to watch the movie again but it drove me to google Selznick. Give it a B plus.

Whatever your opinion of the 1939 classic, 'Gone With The Wind' (and I happen to think it is the best film ever made), this documentary will have something to interest you. Whether it be the headache of securing expensive film rights to an 'impossible' bestseller and then wondering how to recoup your investment; or the power struggles between producer, director(s) and writers; or the studio shenanigans to ensure the best possible cast; or the celebration of a job well done, it is all here.

Surviving cast members Evelyn Keyes, Ann Rutherford, and Butterfly McQueen (but curiously not Olivia de Havilland) contribute alongside Selznick colleagues and archive footage/reconstructed interviews with participants now dead. We see the story of GWTW from the first low-key appearance of Margaret Mitchell's soapy book, the fever as a nation sent it up the bestseller lists, and the struggle to condense its 1000 plus pages into a manageable film.

We see the screen tests of failed Scarletts, Melanies, and Ashleys (although there was only ever one man really in the frame for Rhett - the wonderful Clark Gable). We hear the romanticised story of how Vivien Leigh won the part of Scarlett. Finally, we hear about the film's preview and the rapturous reception it received before its glitzy premiere in - where else? - Atlanta, Georgia.

A worthy companion to a fabulous Follywood film. GWTW, all sprawling four hours of it, has no equal in the golden days of Tinseltown, and this documentary gives you just a few reasons why.