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THE PLAYERS
(in order of their appearance)
AT TARA, THE O’HARA PLANTATION IN GEORGIA:
BRENT“ EAREE TON ttt eee ae Fred Crane STU AE. Pa is A a George Reeves SCABUB TT AP TARA Ah 4. Ba ee Vivien Leigh IVICASIVIINT Nacht Se so treet rece 2s ae RE Hattie McDaniel BTC: Sasi Gee terete hel geen ee Oc Everett Brown BDA ene a ce a Oo che arte ee Zack Williams GERATD: OO HAR AG nt ee Thomas Mitchell PORK ee eee es Oscar Polk EEEEN-O;BRAR AN 220 ek ee eee ee Barbara O’Neil
JONAS WELK ERSGON 86 ae ee Victor Jory
SUELTEN GO) aa oh 6 os ate an Evelyn Keyes CARRERE (OO TIARA (30625 ee Ann Rutherford PRISGE ee, 650, RO Oe ee Butterfield McQueen
AT TWELVE OAKS, THE NEARBY WILKES PLANTATION:
JOHN WHUKES) 293 20 ee ee Howard Hickman IND EAC WAKE Si ee Re ee Alicia Rhett PD a es ees os Re Leslie Howard MELANIE HAMILTON .........................--. Olivia de Havilland GCHAREES EVAIWMIE TON: 55,0 see es Rand Brooks FRADE AIRU NINN eR he Rioed et Carroll Nye CATHEREN: GAT VERT: 35360 ot Marcella Martin RHETT BUTLER® 42 ee Clark Gable e e e AT THE BAZAAR IN ATLANTA: AUNT “PITTYPAT” HAMILTON .............. Laura Hope Crews PCM Ce RANE I RAS eadacoon ad Harry Davenport IVER Gee AUD ey ee ee Te ee te Leona Roberts Dis: MPR PH Sg ee Jane Darwell RENE RIG&ARD? se ee 2 See oe Albert Morin MAYBELLE MERRIWETHER .......................... Mary Anderson Te a hE ais ech cola ca WS ae oe .... Terry Shero OLDS oe i ee eae William McClain © @ e IN AUNT “PITTYPAT’S” HOME WINGER BESRE DER 3 Seo re eee Eddie Anderson oe © e OUTSIDE THE EXAMINER OFFICE: eee ee Fata. oR ee Jackie Moran * © e AT THE HOSPITAL: REMENISCENT SOLIMER 0050. . 2h Gk Aye oe h Cliff Edwards BEETE. WARTING= = 35200 rk 5. Ae ee Ona Munson THES SERGEANT eter sede. jars. Rar ae. pee aeeite Ed Chandler A WOUNDED SOLDIER IN PAIN ............ George Hackathorne A CONVALESCENT SOLDIER ........400..0.5.8! Roscoe Ates AN. AMPUTATION (ASE. ..25555:..... 0 Ase eee Eric Linden AVEC SGN 52a bncdais «tao ee John Arledge e e e DURING THE EVACUATION: A COMMANDING OFFICER °) 0.0.0 a aoe eae Tom Tyler e e e DURING THE SIEGE:
A MGGNTEDR OFFICER... ee William Bakewell FR TAN os secs ts. dics: Bscorigs. Sere ee Lee Phelps e e e GEORGIA AFTER SHERMAN:
AYANKEE; DESERTER Sicig. soos encanto Paul Hurst THE CARPETBAGGER’S FRIEND .................. Ernest Whitman A RETURNING VETERAN 3.000.000. osciee. eee William Stelling A TIONGCRY SOLO A ae Louis Jean Heydt E,RERS ret es ae Isabel Jewell e e e DURING RECONSTRUCTION:
THE YANKEEUMWA JOR ee eee Robert Elliott His POKER PLAYING CAPTAINS George Meeker, Wallis Clark "THE CORPORAL — 243) 45 eee eons Dene Irving Bacon A CARPETBAGGER ORATOR ...................0.02000Adrian Morris JGHNNY GALTHGHER oo OURS J. M. Kerrigan A YANKEE BUSINESS MAN ............................ Olin Howland AGHIEN DG@AD Es... fee. feet a ie Ay ee Yakima Canutt His). GONMPANION? 2020 eee. Blue Washington Tem, AU ANKEE CAPTAIN os occ... 0 es Ward Bond DGtie OEE PUTER 60h soil evens Cammie King eS ho caked. Ton aan Satis saab, saees Mickey Kuhn BONWTE'S: NURSE oes ia ce Lillian Kemble Cooper
CREDITS
IN METROCOLOR. PRODUCED BY DAVID O. SELZNICK. DIRECTED BY VICTOR FLEMING. BASED ON MARGARET MITCHELL’S NOVEL, “GONE WITH THE WIND.” SCREEN PLAY BY SIDNEY HOWARD. PRODUCTION DESIGNED BY WILLIAM CAMERON MENZIES. ART DIRECTION BY LYLE WHEELER. PHOTOGRAPHED BY ERNEST HALLER, A.S.C. MUSICAL SCORE BY MAX STEINER. COSTUMES DESIGNED BY WALTER PLUNKETT. A SELZNICK INTERNATIONAL PICTURE. AN MGM RE-RELEASE.
NEWEST CINEMATOGRAPHY TECHNIQUES ENHANCE “GONE WITH THE WIND” SPLENDOR
IMAGE AREA SCANNING DEVICE .. . designed and developed by MGM Laboratory engineers to scan the image of each 35mm frame of “Gone With The Wind” on the old aspect ratio of 1.33 of 1, to select that portion to be enlarged to wide screen in the aspect ratio of modern projection screens. The operator controls the movement vertically of the frame or mask, electronically coding each movement to be matched in the optical printer when the new negative was being made.
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“Gone With the Wind” bigger, more spectacular and more exciting then ever. This is an accurate description of MGM’s release in wide screen and stereophonic sound of the famous David O. Selznick production. Through the miracle of modern technology it was printed from its original small screen 35mm Technicolor negative and placed on the newwide-screen ratio more familiar to modern motion picture audiences.
And the miracle doesn’t stop here. Because of this skillful transference, “Gone With the Wind” is now safe, free from fading, shrinking or breaking and insured for the viewing of generations to come.
It all started in 1965, shortly after the release of “Dr. Zhivago,” filmed in 35mm, from which the MGM Laboratory transferred to 65mm. The proposed re-release of “Gone With the Wind” was already in the air.
On one of his visits to Culver City and the studio, President Robert H. O’Brien brought up the question as to whether or not it would be possible to prepare “Gone With the Wind” for modern widescreen presentation.
Ray Klune, vice president and general manager of the studio, immediately discussed the possibility with Alan Jackson, head of the MGM Laboratory and Engineering Department. Jackson, together with Walter Eggers of MGM’s Research and Development and Ralph D. Whitmore, Chief Engineer of MGM Laboratories, Inc., went to work on the project.
Many months of tireless experiments and tests followed. At last it paid off and a test-reel was produced and dispatched to New York for viewing by President O’Brien and other top executives.
The result was sensational. O’Brien, delighted at the results, sent word to start work immediately, not only on the wide screen prints but also on electronically re-recording the original sound for stereophonic effects. This project was taken over by the MGM Sound Department, headed by Frank Milton.
Some twelve months later, the master print in wide screen and stereophonic sound was completed and heralded as one of the most remarkable technical achievements in the history of the industry.
““Gone With the Wind’ was photographed almost thirty years ago, using what at the time was
the most advanced color photography process,’ explained Walt Eggers who, together with Alan Jackson and Ralph D. Whitmore, spearheaded the complicated enlarging process.
“In this process, three black and white separation negatives were exposed simultaneously behind their respective red, green and blue filters,” he continued. “These negatives were used to derive matrices for producing dye-transfer type color release prints.”
MGM Laboratories designed a key piece of equipment to circumvent the above-mentioned hazards: “The Metro-movement.”’ This is a projector movement for an optical printing machine which can be adjusted to accommodate various degrees of shrinkage and is suitable for use in the so-called “wet gate’ technique previously perfected for printing ‘Doctor Zhivago.” Also, a method was devised for re-registering scenes that showed serious mis-registration. These developments led to the following techniques which are necessarily briefly described.
A specially designed 35mm projector with a movable mask at the screen indicating the 1:85-1 aspect ratio was used to “re-edit” the picture. Nine up-and-down positions of the movable mask were available to the operator. Any of these nine positions can be arrived at during a closed shutter cycle, or can be approached at one of two rates of speed. Thus it was possible to create what seems to be a new scene with a
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different camera angle, or simulate a camera’s up-and-down pan. The result of these manipulations is that the action and center of interest is not cut off by the incompatability of the original 1:33-1 ratio.
Converting “Gone With the Wind’s” original one-track sound to stereophonic was also a challenging electronic procedure.
“We started originally with a photographic or optical sound track which, by this time (even though it had been redone through the years ), had multiple scratches, plus direct and photographic noise,’ explained Frank Milton, head of the MGM Sound Department. “Little by little we worked this track over to eliminate all noise possible, thus recovering intelligibility in dialogue.
“Rather than stereophonic, as it is called, you can refer to our process as ‘electronically engineered for stereo reproduction,’ ”’ Milton continued. “In ‘utilizing this process to use multiple horns instead of one, we had to dissect the original single track composed of dialogue, music and effects, with no separation or elements to work from separately.”
And so today, “Gone With the Wind,” one of the great pictures of all time, is as modern in its presentation as though it had been filmed yesterday.
The motion picture industry has been loud in its praise of the MGM technicians who, through making this possible, have paved the way for even more technical achievements.
THREE OF THE MEN RESPONSIBLE FOR “GONE WITH THE WIND”... (left to right) Walter Eggers, Research and Development Director at MGM Laboratories; Alan Jackson, General Manager of MGM Laboratories; and Ernest Haller, Cinematographer. Haller won an Oscar when he photographed “Gone With The Wind” in 1938 in the old Technicolor three-strip process. Jackson and Eggers were in charge of the scientific work on enlarging ‘‘Gone
With The Wind” for its present release.
Still-5174 (GWTW)
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