Noivado na Guerra

Interesting seeing the 25 year old Robert Cummings acting alongside Randolph Scott. I didn't believe his Southern accent, but he demonstrated that he could ride a horse. I don't think Westerns are his forte. Scott, however, put in a good performance. It really does depend on who is directing him which determines what performance you get. Sometimes he's wooden and bland. Other times he can be dark and deep. His best performances is when he is an antagonist or displaying a bit of menace. Margaret Sullavan may have been popular in the 30s and good friends with James Stewart, but she doesn't stand the test of time like Maureen O'Sullivan. She doesn't add much to this film, and the film itself is a bit weak. However, it does give a voice and screen-time to African- American characters and actors.

I saw this film on television (channel 21 I believe) back in the 1980s. It was okay, and (given the standards of racial stereotypes in 1935)actually ahead of its time in one scene. Otherwise, it is a pale sketch for Gone With The Wind. I think the reason is that whatever failings on racial grounds haunt us regarding Margaret Mitchell's novel, Miss Mitchell created memorable characters in Scarlett O'Hara and Rhett Butler (and yes, even in Mammy)while the screenplay writers and the novelist who wrote SO RED THE ROSE did not do so. Also, the disasters facing Margaret Sullivan's world (while ruinous) are not as visually nightmarish to us as Scarlet's finding her father insane and her mother dead, or of seeing Atlanta burn. There are moments in SO RED that subtly show the size of the disaster - the death of the weakened defeated Walter Conolly, as he returns home in his carriage, for example. But while sad, it just does not hold a candle to the collapse of the ante-bellum Atlanta in GWTW.

The one moment that does stand out (and stands out against the normal racist rubbish of the 1930s) was when Sullivan confronts her slaves, who have heard the Yankee troops are approaching and they may be free. She tries to control them with reminders of how good her family was to them (although - tellingly - she slaps one who dare suggests its wasn't all that great). But further bad news reaches her, and she collapses. The slaves look at her - and walk away to desert the plantation. No scene like that is in GWTW, but I suspect it happened far more frequently than Margaret Mitchell would have preferred to have know of.

Those of you, like me, who think Randolph Scott should have been cast in Gone With the Wind, need to check out So Red the Rose. It's so similar to Margaret Mitchell's work, it's a wonder someone didn't sue for plagiarism. Margaret Sullavan plays the flirty Southern belle without substance. She has a huge crush on classy, upstanding Randolph Scott. Her father, Walter Connolly, is larger than life and prizes their land and plantation. When the Civil War starts, she learns about life and survival, what's really important, and who she really loves. Sound familiar?

No, this movie isn't in Technicolor, there's no tearjerker theme, and the running time is half that of the famous epic, but it's still very similar. I'm not a Margaret Sullavan fan, but she's just fine in this role. Randolph Scott is, of course, perfect. Walter Connolly, a highly underrated actor with too brief a career, added to the believability of the film. If you love Gone With the Wind, I really wouldn't recommend renting this version. It won't change your mind, since it's obviously a lesser quality movie. But if you always feel frustrated every time you hear Clark Gable speak without a Southern accent, this movie will help vindicate you.

This movie seems to end just when it should begin. This story of the old South cannot fail to be compared with "Gone With the Wind", as it tells the story of a Southern family just before, during and just after the Civil War. The house even looks like Tara. But "So Red the Rose" finishes way too early and with an awful abruptness. Vidor has just begun to explore the ambiguities of the Civil War when the music swells and it's all over. With his characteristic humanism he looks at the conflict amongst the newly freed slaves - what do they do with this freedom? How will they eat? And must they now hate their former masters even those they once loved? And there are conflicts amongst the white folks too - especially when an innocent young Yankee asks the family for help. Can they allow this boy to be hanged? Is he not just like the son they lost? But before Vidor can really explore these issues the film is over.

Strong performances from Margaret Sullavan, Walter Connolly, Elizabeth Patterson and especially Janet Beecher give the film a solid base - and Vidor's technical skill and Victor Milner's cinematography give the film beauty. But it is Vidor's humanism that gives it heart. He was a remarkable artist - much over-looked by film historians. "So Red the Rose" is not a great film, but it is a remarkable one.

I have wanted to see this film since I was a teenager. It took twenty years to see it and it was not worth the wait. The plot lacked depth and there was not any real character development. The best thing about the movie was Margaret Sullivan. She put in a good performance on something that was dry and lacked life. Despite saying this, the film deserves to be available to audiences through VHS or DVD or late night TV viewing. All classics should be there for the public to enjoy or hate. It seems to have remained a film almost no one has seen due to the racial images and messages portrayed in the film. However, many viewers are adults and know they are watching a film from the 1930s.