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STYLE #246—A garland of imported roses adorn the STYLE #298—A tremendous sweep of peau de soie neckline and apron front of skirt on this dress of acetate trimmed with huge roses that peek through the ruffled
peau de soie with ruffled petticoat of nylon net. petticoat of the dress.
Lend authenticity to your GONE WITH THE WIND activities by utilizing the many elements that contribute to the charm of the “Old South’. Arrangements have been made with the manufacturer of evening gowns. Your premiere will surely be enhanced by the presence of attractive models in the Romantic Era dresses shown on this page. You may purchase these dresses directly at the nominal cost of $28.00 each. This includes both the dress and hoop skirt. We recommend the following colors: Light Blue, Pink, Pale Yellow, and White. Sizes range from 3-17 Junior and 4-20 Misses. Deliveries will be made two weeks following receipt of your order. All orders should be directed to: MR. EARL BIGBEE MIKE BENET FORMALS P.O. Drawer 43 ¢ Pittsburg, Texas 75686 Telephone: Area Code 214 UN 4-3648
STYLE #208—A fabulous ball gown with the look of pure silk, in softly shirred rayon habutae—traditionally “Old South”.
USE RADIO TO SPUR YOUR BOXOFFICE SALES!
A motion picture of the stature and fame of GONE WITH THE WIND especially lends itself to the use of radio which is uniquely equipped to convey the picture’s greatness and scope. Below are spots which combine these ingredients:
60-SECOND LIVE ANNOUNCEMENT SPOT Now Metro-Goldwyn-Mayer presents the most honored motion picture of all time — GONE WITH THE WIND. The American Civil War provides a vast background for one of the world’s great love stories — Margaret Mitchell’s immortal classic--GONE WITH THE WIND. See the unsurpassed spectacle that has been acclaimed by millions throughout the world. Clark Gable, Vivien Leigh, Leslie Howard and Olivia de Havilland star in David O. Selznick’s production — GONE WITH THE WIND. Now in wide screen, stereophonic sound and Metrocolor: starting c akan o2 Pheatre:
60-SECOND LIVE ANNOUNCEMENT SPOT Against the background of the American Civil War— the memorable love story of Rhett Butler and Scarlett O’Hara — Margaret Mitchell’s classic of the Old South— GONE WITH THE WIND. See David O. Selznick’s overwhelming spectacle of Atlanta in flames . . . the epic clash of armies . . . and the tender romance of GONE WITH THE WIND — starring Clark Gable, Vivien Leigh, Leslie Howard and Olivia de Havilland in wide screen projection, stereophonic sound and Metrocolor opening .... at... . Theatre.
30-SECOND LIVE ANNOUNCEMENT SPOT The American Civil War provides the vast background for one of the world’s great love stories — Margaret Mitchell’s immortal classic GONE WITH THE WIND. Now Metro-GoldwynMayer presents the most honored motion picture of all time in Metrocolor. Clark Gable, Vivien Leigh, Leslie Howard and Olivia de Havilland star in the David O. Selznick production of GONE WITH THE WIND starting .... at... . Theatre.
30-SECOND LIVE ANNOUNCEMENT SPOT GONE WITH THE WIND —Never in the history of motion pictures has a film been so honored for its human drama . . . so acclaimed for its spectacle . . . so cherished by audiences in every corner of the world. Now Metro-Goldwyn Mayer presents the most famous motion picture of all time, the David O. Selznick production — GONE WITH THE WIND — starring Clark Gable, Vivien Leigh, Leslie Howard and Olivia de Havilland — in Metrocolor opetiiig is at's . .6 Teale:
THEATRICAL TRAILER —vtilizing “Tara’s Theme” as background music, this
versatile trailer will alert your audiences to the momentus occasion when GONE WITH THE WIND begins its exclusive engagement in your theatre. Order from National Screen Service.
R ADIO ET’S—Four spots, two 60 second and two 30 second announcements that sell the scope ~ and splendor of GONE WITH THE WIND. Available from your Metro-Goldwyn-Mayer Field Press Representative.
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~ COMPOSER’S CORNER INTERVIEW RECORD_a specially recorded interview with composer Max Steiner
has been made by Dick Strout. This is a full one-hour program which includes excerpts from MGM’s “GONE WITH THE WIND” Sound Track Album. It is aimed at FM Stations and AM Stations which feature “good music.” Over 200 stations have already requested it for programming purposes. Contact your local station and request that they use it in conjunction with the opening of the picture, Copies of Composers Corner featuring GONE WITH THE WIND are available from your local MGM Press Representative.
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Below is a feature story concerning the creator of GONE WITH THE WIND costumes. It is quite interesting and should have great appeal to your women’s
page or fashion editors.
INTERVIEW WITH THE CREATOR OF GONE WITH THE WIND COSTUMES
In 1940 the Academy of Motion Picture Arts and Sciences awarded GONE WITH THE
WIND ten Oscars.
Had there been a category for “best costume design” the total would have been 11... and the winner, Walter Plunkett, one of Holly
wood’s foremost designers.
GONE WITH THE WIND, the David O. Selznick classic production now on view again on the nation’s screens, has taken its place as one of the great motion pictures of all time, and Plunkett’s masterful designs for the costumes helped make it the masterpiece it
turned out to be.
“It was almost a sacred obligation,” Plunkett said. “The book was so great, nothing but the ultimate in time, research, designs and complete authenticity could possibly be accept
The designer (who at last count had 86 major Hollywood productions to his credit, 72 for MGM), approached this assignment with all of the meticulous care of a space scientist
mapping a moon shot.
Plunkett flew to New Jersey and spent hours and days going through the swatches. It was here that he found the green-sprigged muslin as well as a number of other old patterns used for clothing the extras. The only change he made in the muslin was to enlarge the sprigs for photographic purposes.
“The major story point of the ‘drapery’ dress made it a real challenge,” Plunkett said. “It, of all the costumes, had to be completely ‘right.’ Because of this they permitted me to design the outfit first . : . then they made the draperies to correspond. In other words .. . the drapes had to be equipped with the proper tie-back cords and tassels to form the trim on the dress.
“Strangely enough, few people noticed the hat. Look closely and you'll see it was trimmed with chicken feathers and gilded chicken feet.” According to the designer, GONE WITH THE WIND posed many an unusual problem for those concerned with costuming.
“Take Scarlett’s first wedding dress for example,” he said. “This was a hasty, wartime marriage. Scarlett’s dress was the one that had been worn by her mother. To get an authentic ‘taken in’ look we actually made the dress on the dressmaker’s form of Barbara O’Neill, who played her mother in the film. The design was also twenty years before the date of the story.”
“T read the book twice.” he recalled. “The As something to watch for in the new MGM first time just for the pure enjoyment of the release of the film Plunkett points to the scene story ... the second time, with pencil in hand, in which Scarlett returns to Tara.
making notations of every line and passage
containing a reference to clothes or related “You will notice she is wearing remnants of subjects. Then my secretary read the book the lovely clothes she wore earlier,” he said. to catch any items I might have missed. Since Returning to his experiences while researchmany of the references were strictly colloquial ing costumes in Atlanta, Plunkett recalled one there was nothing for me to do but travel to slightly harrowing adventure.
Atlanta and confer with authoress Margaret
Mitchell . . . “one of the most charming women ee, ee ee ee ee
”»> T ever met. woman who, during the years, had saved in
numerable hoops, different types of underwear
The trip, according to Plunkett, was a memand corsets. Believe it or not, these items are orable one. Miss Mitchell not only went over difficult to find even in the most complete the designer’s notes from the book, but intromuseums,” he said.
duced him to friends and acquaintances work
ing i i har] Atlant d Se sci reecer “T finally found the house and rang the door
bell. Someone peeked through the curtain and motioned me to wait. I did . . . almost ten minutes. Finally the door was opened by a little old lady, I’m sure well up in her seventies. She apologized for the delay and then explained why. She had to put her mother in another room in the house . . . and lock the door . . . all because I was wearing a blue suit. Mother, it seems, thought I was a Yankee and was about to grab her rifle!”
“One woman in Charleston actually took handmade dresses that had been made during the blockade days and snipped pieces from the seams so that I could have the fabrics reproduced when I returned to Hollywood,” Plunkett said. ‘And another sent her children out to gather a box full of thorns from a tree native to the area. It seems that during this period there were no metal pins. Clothing was held together by these thorns.”
Of the hundreds of dresses designed and made A talented painter as well as a costume defor the production, Plunkett admits to having signer, Plunkett recently has been devoting his favorites. These are the green-sprigged his time to touring Europe in a trailer . . . and
muslin, worn by Vivien Leigh in the early stopping to record on canvas in oil the subjects sequences of the film . ... and the famous that strike his interest. “drapery” dresses.
Will he return to Hollywood to resume his
“I was naturally on the lookout for period career?
fabrics and patterns,” Plunkett recalled, when
speaking of the sprigged muslin. “Quite by Perhaps. His works of art are rapidly becomaccident I heard of a factory in New Jersey ing collector’s items but then if a film comes that had been putting out fabrics for years. along that really intrigues him . . . who knows? Even more important they had kept books on Certainly, not even the most optimistic hold
the various designs.” out for another GONE WITH THE WIND.