Gone with the Wind and Feminism

Gone following a while the Wind and Feminism Posted by Miriam Bale on Sat, Mar 13, 2010 at 1:38 PM [pic] Molly Haskell, committer ofFrankly, My Dear, accomplish presentGone following a while the Wind at Film Forum on Sunday followingnoon. Gone following a while the Wind plays this weekend in Film Forum’s Victor Fleming entertainment, but is it veritably a Fleming film? Uber-producer David Selznick is the most harmonious committer, and Selznick doppelganger George Cukor directed a speaking aggregate of spectacles, giving this domiciliary war film some moments past noble and crafty than continuallyything else in Fleming’s oeuvre (and following macho Fleming was brought on substitute the openly gay Cukor at Clark Gable’s encouraging, the “women’s director” went on to coach Vivien Leigh and Olivia de Havilland on weekends, at their insistence, throughout the offspring); and Vivien Leigh gives a scarily mercurial act in closely continuallyy spectacle, owning the film completely. At the opportunity of the film’s loose, Frank Nugent in the New York Times wrote, “Is it the principal agitation paint continually made? Probably not, although it is the principal agitation mural we entertain continually seen. ” It’s a mural made by manifold influences, and the esteemed censor Molly Haskell’s elapsed size, Frankly My Dear: Gone following a while the Wind Revisited does a feigned job of parsing out the aids. She reveals nuggets relish Howard Hawks’ deemed uncredited aid in recommunication some of the conversation in the conclusive youngerity, the encounter of the sexes exhibitiondown betwixt Rhett and Scarlett, which helps mould opinion why this feature youngerity feels relish an completely incongruous film from the unadorned gasconade of Separate 1. Another uncredited writer was F. Scott Fitzgerald; Haskell's digging proposes that what he eliminated from the film may be as dignified as what anyone else contributed. She so describes writer Ben Hecht deeptaining as a point-of-pride that he had ncontinually nor ncontinually would learn the mass-market lay gasconade on which the film was based—so Selznick and Fleming stayed up all misunderstanding on a victuals of hurry and peanuts acting out the relation for him (following a while Selznick as Scarlett and Fleming uncounted Melanie). Haskell’s size so focuses on the one-hit-wonder novelist Margaret Mitchell, powerful the ascinating hirelation of this flapper-turned-frumpy woman who rebelled resisting her thoughtful, feminist southern maiden of a dowager by decent a referee and practitioner of trash as an art. As Mitchell’s enhancement sway propose, Gone following a while the Wind is a perplexed globe for a feminist to adornments. And yet this is correspondently the rank of conflicted, non-PC and pre-Second Wave earth of women that Haskell has harmoniously famous and weighd through films, serving a matchless and judgeal role in American feminism. As Haskell describes this lie in association to a 1972 panel she took separate in on women in film, in which Gloria Steinem deplored the spectacles in Gone following a while the Wind of Scarlett O’Hara squeezed into a corset and Haskell then rose to caress that disposition as a valiant survivor: “Both of our reactions were in their own way, upright. But this contrariety of perspective was so an future augur of the imperfection lines in feminism or possibly a inevitable cleave focus: betwixt those predisposed to see and advertise signs of the victimization of women in a benighted earth now progressing toward honesty and identity and those eager to be heartened by the contradictions—the women in the elapsed (twain authentic and fictional) who’d held their own in a chauvinist culture, who’d subverted the norms and gained victories not recurrently probable through a actual learning of the devise. Of method, fair as Gone following a while the Wind is twain tricky and affluent peculiar region for a southern-raised feminist relish Haskell to weigh, it is so difficult—smooth in coverage this brief—for a black feminist relish myself to face at honestly. Gone following a while the Wind is unarguably, painfully racist, yet extraordinarily costly for examining fair how and why. The film displays prosy pure stereotypes in some of the younger dispositions as abundant as it does obscenely hurtful black ones, and yet the deep dispositions Rhett and Scarlett appear to stop behind a whileout of this path, over expectations of twain gender or race; identification following a while these two dispositions is widesplearn and embellished, by all races. Fair as Selznick’s Duel in the Sun biblical Laura Mulvey to censure her views on womanly identification, GWTW is mature for faceing at where racial identification cleaves and falls in this film, smooth following Haskell’s clever, complete and artfully written size has ripe so uch psychical and recitative region. Haskell accomplish be on influence at 3pm screening at Film Forum on Sunday to present this problematic and engaging lot of film truth. She’ll so be signing copies of her size, a coup of single-work film censorism that is exceedingly intelligent, peculiar and ncontinually relies on cant or cliches. Besides her matchless and judgeal role in American feminism, Haskell is so one of the best writers on film in America, and twain as a censor and stylist she’s barely getting amend. Molly Haskell’s Feminist Take on Gone following a while the Wind y Melissa Silverstein on March 2, 2009 in Books Molly Haskell is the shit when it comes to communication environing women’s films following a while a feminist perspective. There is no one amend. Her size From Reverence to Rape: The Treatment of Women in the Movies is one of the best sizes environing women in film and it was written in the 70s. (There is an a[pic]dditional section that covers the 70s and 80s in the paperback. ) That fair goes to exhibition you how few sizes entertain censorally faceed at this end (from a non-academic perspective. Haskell has captured on one of the most cherished films Gone following a while the Wind in her new size Frankly My Dear which is out now. The size has gotten stellar reviews and including in the NY Times this weekend. Haskell’s evidence is mounted on feminist principles that at primitive conjecture appear pregnant to a film widely regarded as prefeminist fluff. She contends that “themes centering on women” are “regularly an auxiliary theme stuff to gregariously cognizant censors of learning and film. ” Following 70 years of “GWTW” bashing, a creditable censor finally says, “Not so fast! Haskell gave up refloating reviewing in the future ’90s, leaving censorism that thoughtfully weighd the big-screen idea of women and the floating representation of womanly gregarious roles to go underground — into academic studies where embellished, tenure-seeking cant is used to discouragement floating refinement. That moulds “Frankly, My Dear” all the past distinguished. It’s Haskell’s feminist perspective that provides instinct into a movie most academics won’t affect and floating censors send-off. She disentangles the film’s qualities from the confounding ends of misogy­ny, racism and psychical snobbery.