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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 narrate and sound reproduction, and extras. It can become expensive keeping up, and frustrating (grand like buying a classic Disney DVD, when you know a more complete “Special Edition” will soon render your “First Time on Video” copy archaic), but the unique GWTW Four-Disc Collector’s Edition most assuredly deserves a situation in your collection.
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First off, the recount and sound quality is unbelievable. Warner’s Ultra-Resolution process, which ‘locks’ the three Technicolor strips into proper alignment, provides a clarity and ‘crispness’ to the images that even the 1939 recent print couldn’t carry out. You’ll honestly bear 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 divulge and scratchiness of the opening credit title music, aloof discernable in the last upgrade, is gone, replaced by a richness of tone that will give your home theater a suited workout. (Listen to the brass in this sequence, and you’ll sight 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, good. Beginning with the worthy “Making of a Fable” (narrated by Christopher Plummer), Disc Three offers bright overviews about the film, the wonderful 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 account for the Civil War to foreign audiences), and a 1940 MGM documentary on the “Dilapidated South” (directed by Fred Zinneman) memorable today for it’s simplistic understanding 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 fervent in discussing her wardrobe than on-set tension…although a prank she pulled on Gable is funny), and the Clark Gable Profile is superficial (A&E’s biography of ‘The King’ is far grand) . Things improve, however, with the insightful, sympathetic TCM biography of Vivien Leigh (hosted by Jessica Lange), and a Improbable portion 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 mighty terrific material that it is CERTAINLY the one to have!
I broken-down to mediate that this Hollywood classic was for everyone. However, after reading nearly 300 reviews of the film, I reflect that isn’t factual anymore. This movie is NOT for you IF 1) you contemplate a movie must be as historically factual as a history book, 2) you mediate a 1939 movie should judge the values of the 21st century, 3) your attention span is so short that you must only spy movies from 90-120 minutes in length, 4) you can only catch politically just films, particularly in terms of racial issues, 5) you are so Slow as to contemplate widescreen movies were made before the 1950s (although to be pretty, Selznik originally intended to employ a special widescreen process for the so-called “burning of Atlanta” sequence but gave up on the expensive conception), 6) you can only procure computerized special effects as they appear in unique films, or 7) your understanding of grand 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 sage 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 broken-down Confederate veterans told about the dilapidated days before, during, and after THE war. It IS a treasure legend, 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 funny. It stands on its merits as a masterful film that tells of bittersweet worship 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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