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NEWSPAPER STORIES AND Blocks ©
—-ADVANCE AND CURRENT REVIEWS
Never before has there been so insistent a public demand for the return of a film as there
has been in the case of the epic ‘‘Gone With The Wind.”’
M-G-M is, therefore, re
presenting this masterpiece of the screen with Clark Gable and Vivien Leigh in the immortal roles of Rhett Butler and Scarlett O’Hara.
No. 304. Coarse screen block for newspaper use.
55 screen. Hire fee 8/6.
THE FILM EVERYONE WANTS TO SEE AGAIN!
M-G-M re-presents “Gone With The Wind”
Dayid O. Selznick’s Technicolor production “‘ Gone With The Wind,” is to be re-presented by M-G-M ............ th | st apa Bap ae 2 Theatre.
There are. so many _ superlatives about this picture which David O. Selznick so finely produced and Victor Fleming so humanly and amazingly directed, that one approaches the task of reporting the event of the picture’s re-showing with a fear that words are wholly inadequate and that the limitations of space prevent praise for everyone concerned.
“Gone With The Wind” is the most faithful filmization of a novel the screen has ever attempted. Every word, character and event in Margaret Mitchell’s dramatic story lives on the screen. It contains undoubtedly the most beautiful and breath-taking Technicolor photography conceivable.
Clark Gable is, naturally, a perfect Rhett Butler. That much was to be
_ expected and it’s one of the greatest
acting jobs he’s ever done. Vivien Leigh is wholly Scarlett. She won the 1939 Academy Award for her performance. The late Leslie Howard is outstanding and so is Olivia de Havilland. Those are the stars; for the others, one phrase will cover their performance—ideal casting and _ brilliant acting. Among the featured players who shine brilliantly are Thomas Mitchell, Hattie McDaniel, Barbara O’Neil, Ona Munson, Laura Hope Crews, Carroll Nye, Harry Davenport, Alicia Rhett, Rand Brooks, Evelyn Keyes, Ann Rutherford, Butterfly McQueen, Oscar Polk, Victor Jory and many others.
“Gone With The Wind” gave the screen a dignity it had never known before. ‘The picture will be remembered as long as men and women can still think and speak. It is the one film that everyone will want to see again and again.
Advan ce Story
CASTING ‘‘GONE WITH THE WIND”’
No more challenging assignment was ever set before a Hollywood studio than the task of transferring
“Gone With The Wind” from the
printed page, a medium in which it had set a new publishing record, to the motion picture screen. The worldfamous ‘Technicolor picture, now represented by M-G-M, will be shown Starting’ co stiveechecrs at the Theatre.
The manner in which the public had
taken the book to its heart, and the ©
intense amount of speculation as to who would play the leading roles, placed an unparalleled responsibility on the shoulders of the film producer.
David O. Selznick, who in July, 1936, bought the film rights to Margaret Mitchell’s absorbing story of the American Civil War and _ reconstruction days, made no attempt to dodge any of the million-and-one problems that were showered on him. He invited everyone who had read the book to contribute suggestion of favoured players for the leading characters ; he began intensive research in all. phases of life in the Georgia of that period ; and he launched a search of unprecedented scope to find the right actress for the role of Scarlett O'Hara.
No fictional characterisation of
' modern times had attracted so much
reader interest, and it was Mr. Selznick’s feeling from the start that it would be preferable to find an actress who was not identified in the public mind with too many earlier parts. ‘To find such a player for a role on which the spotlight of avid curiosity and criticism would be focused by ten million “Gone With The Wind” readers required great patience, rare discrimination, sanguine expectancy— and a bit of luck.
Qualifications of every eligible stage and screen player, as well as 1,400 “unknown ”’ aspirants for the part, were weighed and sifted. At the end
of two and a half years the role was still unfilled. With the camera grinding on the initial sequences of the story on a January day in 1939, there was still no Scarlett O’Hara. Then, as if by a belated intervention of Fate, came Vivien Leigh, whose family ancestry and physical appearance provided a startling counterpart of Miss Mitchell’s Civil War heroine. T'o add an ironic twist, she was introduced to Mr. Selznick by his brother Myron, a well-known agent who had been turning California upside-down for thirty months trying unsuccessfully to help solve the family dilemma. Miss Leigh Was given a screen test shortly after Mr. Selznick had met her, and the results definitely assured her of the most eagerly contested role of the decade. She gave a personal tour-de-force in the role and won the 1939 Academy © Award for her performance.
An overwhelming public demand had reinforced Mr. Selznick’s confidence that Clark Gable was the ideal choice for the part of Rhett Butler. Ever since publication of the novel, a steadily rising stream of letters had been finding their way to Hollywood, suggesting, pleading, and insisting that Gable be given the part of the irresponsible, dashing, __ irresistible Georgian who scorned the conventions of his era. So arrangements were
_ worked out with M-G-M, the company
to which Gable was—and still is— under contract, for him to play this role.
_ The late Leslie Howard was selected for the part of Ashley Wilkes, and Olivia de Havilland to play the role of Melanie Hamilton, while thirty-six other featured players were handpicked from Hollywood and New York casting files. Extensive character tests in costume were required before filling each of these keenly etched supplementary roles.
It was the producer’s professed aspiration to preserve the spirit and flavour of the novel in every detail.
THE PRAISE OF THE PRESS FOR “G.W.T.W.”
Daily Herald: ‘In many ways the most stupendous film yet made.”
Daily Mirror: “ This is the greatest film ever. Vivien Leigh achieving the most sensational success in screen history as Scarlett O’Hara.”
Daily Sketch: “ It was an experience I shall never forget. For 220 minutes I
Evening Standard: “It’s terrific. It’s devastating. It’s not so much an entertain
ment as an emotional upheaval.
(Brief excerpts from a few of the reviews hailing “‘G.W.T.W.’s” initial presentation)
As the author imagined, so the film lives.”
_ Daily Express: ‘‘ ‘Gone With The Wind’ is the perfect emotional drama. It is
Sunday Graphic: ‘‘ One of the best films ever made. being a masterpiece. Above all, it has Vivien Leigh. I have three hats and one cap.
I raise them all to her.” ;
the story the writers have been searching for since Salome danced before Herod for a head on a lordly dish. This is the lordly dish.”
In short, it is by way of
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