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It seems like a ‘new, improved’ edition of “Gone With the Wind” has appeared every couple of years, offering the ‘ultimate’ in report and sound reproduction, and extras. It can become expensive keeping up, and frustrating (remarkable like buying a classic Disney DVD, when you know a more complete “Special Edition” will soon render your “First Time on Video” copy conventional), but the novel GWTW Four-Disc Collector’s Edition most assuredly deserves a situation in your collection.
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First off, the characterize and sound quality is wonderful. Warner’s Ultra-Resolution process, which ‘locks’ the three Technicolor strips into valid alignment, provides a clarity and ‘crispness’ to the images that even the 1939 unusual print couldn’t effect. You’ll honestly occupy your TV is picking up HD, whether you’re HD-ready, or not! This carries over to the Dolby Digital-remastered sound, as well. All of the tell-tale order and scratchiness of the opening credit title music, serene discernable in the last upgrade, is gone, replaced by a richness of tone that will give your home theater a beneficial workout. (Listen to the brass in this sequence, and you’ll perceive what I’m talking about…)
The biggest selling point of this edition is, of course, the two discs of additional features offered, and these are, in general, apt. Beginning with the great “Making of a Epic” (narrated by Christopher Plummer), Disc Three offers piquant overviews about the film, the fantastic restoration, footage from the 1939 Premiere (and the bittersweet 1961 Civil War Centennial reunion of Selznick, Leigh, and de Havilland), glimpses of Gable and Leigh with dubbed voices for the foreign-language versions, the international Prologue (tacked on to interpret the Civil War to foreign audiences), and a 1940 MGM documentary on the “Old-fashioned South” (directed by Fred Zinneman) memorable today for it’s simplistic belief of the time, and stereotypical portrayal of blacks.
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Disc Four is a mixed bag; the long-awaited reminiscences of Olivia de Havilland are more chatty than informative (with the 90-year-old actress more enthusiastic in discussing her wardrobe than on-set tension…although a prank she pulled on Gable is laughable), and the Clark Gable Profile is superficial (A&E’s biography of ‘The King’ is far wonderful) . Things improve, however, with the insightful, sympathetic TCM biography of Vivien Leigh (hosted by Jessica Lange), and a Astounding part devoted to brief bios of many of the GWTW supporting cast, narrated, again, by Christopher Plummer (although I wish the filmmakers would have included bios for Ward Bond, Victor Jory, Fred Crane, and George ‘Superman’ Reeves) .
All in all, the GWTW Four-Disc Collector’s Edition isn’t perfect, but offers so distinguished terrific material that it is CERTAINLY the one to gain!
I weak to deem that this Hollywood classic was for everyone. However, after reading nearly 300 reviews of the film, I mediate that isn’t accurate anymore. This movie is NOT for you IF 1) you consider a movie must be as historically true as a history book, 2) you consider a 1939 movie should judge the values of the 21st century, 3) your attention span is so short that you must only stare movies from 90-120 minutes in length, 4) you can only catch politically upright films, particularly in terms of racial issues, 5) you are so Tiring, as to believe widescreen movies were made before the 1950s (although to be heavenly, Selznik originally intended to exhaust a special widescreen process for the so-called “burning of Atlanta” sequence but gave up on the expensive plan), 6) you can only score computerized special effects as they appear in recent films, or 7) your thought of stout acting is to be found in slasher or teen films being made these days.
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GWTW is NOT a documentary on the Civil War period. It is NOT a history of slavery in America. It is NOT a fable of perfect people behaving perfectly at all times.
It IS an adaptation of a new written by a Southern woman who, as a child, sat and listened to the stories the traditional Confederate veterans told about the feeble days before, during, and after THE war. It IS a savor myth, probably about the novelist’s grandmother, which reflects the attitudes left over from that long-ago time.
To criticize this film for so many unrelated issues is amusing. It stands on its merits as a masterful film that tells of bittersweet care for and lost fantasy. That it succeeds so well is a tribute to the actors and filmmakers of over sixty years ago.
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