'Gone With the Wind' is a representation of the worst myths America still holds about itself. The answer isn’t to sideline it. angelicabastien
Vivien Leigh and Hattie McDaniel in Gone With the Wind. Photo: Silver Screen Collection/Getty Images When I wrote this essay back in 2017 the world was in a markedly different place in terms of its relationship to notions of white supremacy and the horrors of anti-black racism. Now, we’re in the midst of a fiery reckoning, in which individuals and groups are examining their complicity in the structures that uphold horrifying inequalities.
Given its availability on any platform possible to watch a film, and its towering status, Gone With the Wind is under no threat of actual censorship, or of being wholly forgotten. But there is something gallingly dishonest about the current conversations surrounding the film, which mention it in the same breath as the Confederate monuments rightfully being torn down, and in some cases destroyed by citizens.
Despite all that, Gone With the Wind has had a curious place in my heart for years. It’s a film that brings me joy given its sheer beauty, craft, and towering place in film history. It has countless virtues, from the love story at its heart to its grand scope, which still remains specific in how it understands the emotional realities of its cast, and Clark Gable and Vivien Leigh at the height of their prowess.
So, what are we to make of Gone With the Wind and its blinkered perspective on history? How can we reckon with its failures as a historical document if America has yet to do the same with the poisonous roots that make such films possible in the first place? Some have suggested that Gone With the Wind screenings be accompanied by more evenhanded lectures that take its problems to task, which is a somewhat useful gesture.
“… film critics as different as those of the Times, the New York Post, and Hollywood Life felt they had to address the continued sway of Gone With the Wind in their raves of 12 Years a Slave. All offered some variation on the thesis that the movie was, at long last, an antidote to ‘all the fiddle-dee-dee’ of its nearly 75-year-old predecessor, the film that was supposed to have been trampled into the dust by Roots more than a generation ago.
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