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Gone with the Wind - 70th Anniversary Edition (1939)

Posted By: edi1967
Gone with the Wind - 70th Anniversary Edition (1939)

Gone with the Wind - 70th Anniversary Edition (1939)
BluRay Full 1:1 | m2ts | VC-1 | 1920x1080 | 18399 Kbps | 23.976 fps | 16:9 | 03:53:14 | 5% Recovery | 44.4 GB
Audio: English Dolby TrueHD Audio 5.1 @ 1251 Kbps; French, Italian, German, Spanish Dolby Digital Audio 5.1 @ 384 Kbps;
English Dolby Digital Audio 2.0 @ 192 Kbps; English, Japanese, Portuguese, Spanish Dolby Digital Audio 1.0 @ 192 Kbps
Subtitle: English, Italian, Spanish, German, Danish, Dutch, Finnish, Norwegian, Swedish, Japanese, Portuguese
Genre: Drama, War, Romance | Won 8 Oscars, 7 Wins , 5 Nominations

Scarlett is a woman who can deal with a nation at war, Atlanta burning, the Union Army carrying off everything from her beloved Tara, the carpetbaggers who arrive after the war. Scarlett is beautiful. She has vitality. But Ashley, the man she has wanted for so long, is going to marry his placid cousin, Melanie. Mammy warns Scarlett to behave herself at the party at Twelve Oaks. There is a new man there that day, the day the Civil War begins. Rhett Butler. Scarlett does not know he is in the room when she pleads with Ashley to choose her instead of Melanie.

Gone with the Wind - 70th Anniversary Edition (1939)

My introduction to this epochal motion picture was in one of the early 1970's 70mm stereophonic re-releases. My mother was a huge GWTW fan, and by that I mean both the original novel, which she typically reread once every couple of years or so (one of her proudest book possessions was a pristine first edition of the tome, something I've heard is pretty rare nowadays), as well as the film. When this particular re-release was announced, she simply informed me I was going to go with her and my father. Need I tell you that Gone With the Wind was not exactly at the top of a very young boy's "must see" list? And yet, I was transfixed by this film from the first frame (I was too young to know or care about the butchering the image received by being blown up and rematted to approximate the 70mm format). I still remember sitting with my jaw agape during the famous crane shot of Scarlett O'Hara (Vivien Leigh) walking amidst the wounded and dead Confederate soldiers. Even at that young, extremely innocent age, I knew that that shot at least was something spectacular. I also fell in love with Max Steiner's incredible score, and in fact I was soon pounding away on the solo piano version of "My Own True Love." I was also schooled by my mom in the many differences between the original novel and the film, as she went into minute, almost page by page, detail of how the film altered and reordered the events in Margaret Mitchell's best seller.

Gone with the Wind - 70th Anniversary Edition (1939)

In fact adapting the novel was one of the biggest nightmares of David O. Selznick's famously obsessive compulsive career. If you've ever read Rudy Behlmer's absolutely fascinating book Memo from David O. Selznick (and you should if you haven't), you're well aware of the micromanaging to which Selznick subjected his underlings (Behlmer in fact contributes the exhaustive commentary to the film, doing his typically excellent job). Selznick was nowhere more putatively in control than during Gone With the Wind, a film he was proud to have optioned from under the noses of all the majors (including of course his father-in-law), and he knew, perhaps instinctively, that this was the film on which his entire reputation would rise or fall. Large swaths of the novel fell by the wayside under the repeated attempts of a truckload of scenarists (including Selznick himself), resulting in what could have been a hodgepodge of styles and approaches. Amazingly, though, the basic premise of the novel, a portrait of that most petulant of Southern Belles, Miss Scarlett O'Hara of the plantation Tara, and her ill advised love affair with dashing ne'er-do-well Rhett Butler (Clark Gable, in a role he was seemingly predestined to play), remained front and center in the final screenplay (credited to Sidney Howard, though a who's who of other screenwriting legends contributed), even while a slew of the novel's supporting characters (including two additional children for Miss Scarlett) never made it to the screen. Howard wisely streamlines the novel's labyrinthine subplots and melts them down into what basically amounts to a quartet of starcrossed relationships.

Gone with the Wind - 70th Anniversary Edition (1939)

Scarlett pines for Ashley Wilkes (Leslie Howard), who marries his beatific cousin, Melanie (Olivia de Havilland). Perhaps in spite, mixed with just the right amount of naked lust, Scarlett, after a brief but tragic dalliance with Melanie's brother, enters into a tempestuous affair, and ultimately an equally tempestuous marriage, with Rhett. Have I forgotten to mention this all plays out against the South's entrance into the Civil War, with the devastating personal and societal repercussions that brought, at least for the white folks. Some historical apologists have in fact accused Gone With the Wind, in both novel and film form, for adhering to, if not outright promoting, racial stereotypes, but I would argue that the film is actually somewhat forward looking in presenting Scarlett's slave maid, Mammy (the resplendent Hattie McDaniel), as a woman with a mind (and voice) or her own, not afraid to put her charge in her place if circumstances warrant. And really how can a film dealing with the end of the horrific slave era not indulge in some racial profiling, as it were, at least to some degree? While the film certainly doesn't really ever take a more politically correct stance abhorring slavery, I think it's unfair to say it glorifies the practice, other than giving it the glossy studio system patina that virtually every major film from that era displays.

Gone with the Wind - 70th Anniversary Edition (1939)

This is a film in which virtually everything works, from the magnificent performances to the seamless direction of George Cukor and his replacement Victor Fleming (as well as contributor Sam Wood), to the amazing production design, the impeccable Technicolor cinematography and the unmatched magnificence of Max Steiner's score. It was a foregone conclusion that Clark Gable would play Rhett, and he famously actually didn't want the role as he feared he would never be able to rise to his public's preconceived notions of what it should be. He needn't have been concerned. Playing Rhett with just the right amount of rogueish wit, mixed with a surprisingly menacing undercurrent of bitterness and even menace, this is a textbook example of an actor overcoming his "star" image to actually inhabit the role. Vivien Leigh, of course, was largely unknown stateside at the time of her casting, and therefore had only the novel readers' own mental images of Scarlett to compete with, instead of her own starry façade. She is simply perfection in this role, a scheming coquette with a steel will and flashes of temper that can take a first time viewer's breath away.

Gone with the Wind - 70th Anniversary Edition (1939)

The supporting cast is similarly wonderful, with Howard's Ashley Wilkes a study in noble self denial and tormented passions, and McDaniel's superb Mammy both the comedy relief and, perhaps surprisingly, often the emotional anchor of much of the film. But the two standout acting honors must ultimately go to de Havilland, able to invest a pretty treacly character like Melanie with some grit and nuance, and the incredible Thomas Mitchell as Gerald O'Hara, Scarlett's father, a proud southern plantation owner who pays the ultimate mental price for the south's downfall. But really, one could pretty much single out any supporting actor in this piece and heap praises upon them; this is a film where even bit parts were cast with care and craftiness, offering a superb palette that only proves how deep the "back bench" of Hollywood was in those days. You'll see a truly unmatched panoply of actors in various roles here, from Jane Darwell to future Superman George Reeves to Eddie "Rochester" Anderson to Butterfly McQueen, and they are all brilliant, sometimes in roles that only grant them mere seconds of screentime.

Gone with the Wind - 70th Anniversary Edition (1939)

But the performances are only one part of Gone With the Wind's enduring magic. This is a film which virtually defines the epic, at least as it was at the acme of Hollywood's Golden Era that most heralded year of 1939. Ernest Haller and Lee Garmes brought new splendor to the then still relatively untested medium of three strip Technicolor, offering an eye-popping array of colors that are only more impressive in this new Blu-ray presentation. The legendary William Cameron Menzies was on hand as overall production designer, and along with William Plunkett's impeccable costume designs, the viewer is whisked by their mastery into the Antebellum South as in perhaps no other film. When one considers that this film begins at the height of the south's prestige and extravagance, and then devolves into the horrors and degradations the Civil War brought home to bear, it's an all the more remarkable achievement. Anyone who has seen this film's depiction of Tara pre- and post- battle will know exactly to what I refer.

Gone with the Wind - 70th Anniversary Edition (1939)

Against all odds the screenplay also offers a compelling through line, though truth be told many find the second half of the film less riveting than the first. There are so many classic moments in this film one almost seems boorish to pull out a few for the purposes of a review. Rhett and Scarlett's first meeting, with their hilarious epithets tossed at each other, setting up their relationship in two brief lines of dialogue, is a perfect example of precise and concise screenwriting. The absolutely legendary burning of Atlanta segment remains one of the most jaw dropping spectacles ever committed to film. Scarlett's anguished cry to the heavens that she'll never be hungry again as the film builds towards its incredible intermission is indelibly imprinted on virtually every Gone With the Wind viewers' mind. Of course the famous crane shot to which I referred earlier still remains one of the most impressive technical achievements of all cinema, especially with the technology available to the filmmakers of that day. Emotionally devastating moments like Scarlett's shooting of the Union soldier in the denuded Tara are as gut wrenching on the fiftieth viewing as they are on the first. All of these moments and more simply go to prove why Gone With the Wind is the enduring masterpiece it is; it's a film whose freshness never seems to wilt despite how iconic its images have become. You can laugh yourself silly at the famous Carol Burnett parody Went With the Wind, especially with its classic "drape dress" gag, but then you can return to the original and be just as emotionally involved as you ever were by Scarlett's shenanigans to impress Rhett. It's a rare film that can retain this visceral level after so long, and after having been seen so often and just as often satirized and parodied through the years.

Gone with the Wind - 70th Anniversary Edition (1939)

Finally, one must properly acknowledge the unobtrusive yet brilliant direction, largely by Fleming, but with several key scenes helmed by either Cukor or Wood. Obviously the tonally perfect performances are a credit to these directors' mastery, but the epic sweep of this film must really be attributed squarely to their quiet professionalism. In an era when directors love to call attention to their own manic camera work, it's notable to see how thrilling Gone With the Wind is with largely static, or at least non-showy, shots. Fleming simply plants his camera down and lets the actors and the images tell the story. That means when there is some camera movement, as in the famous crane shot, it becomes all the more thrilling and riveting. A lot of younger directors could, in my not so humble opinion, learn a lot from this modus operandi, a component of the director's craft that has, sadly, disappeared a la this particular film's title.

The Antebellum South may indeed have perished with the winds of time, but there's little doubt Gone With the Wind will forever retain its status as one of the greatest films, if not the greatest film, ever made.

Gone with the Wind - 70th Anniversary Edition (1939)

Gone with the Wind Blu-ray, Video Quality
Warner has taken its catalog titles more seriously than perhaps any other major studio currently releasing its classics on Blu-ray. If they haven't always hit things completely out of the ballpark (How the West Was Won, a triple play but just shy of a home run), they're out there swinging for the fences and more often than not connecting big time and providing film lovers repeated reason to celebrate. The recent Blu-ray upgrade of The Wizard of Oz in its Collector's Edition is just the latest example of Warner going the extra mile in their restoration efforts, and Gone With the Wind stands proudly next to Oz as one of the sharpest looking high definition images of a classic film title yet delivered to the public. Encoded via VC-1, Gone With the Wind's original 1.37:1 image is a marvel to behold, with a beautifully rich and complex lifelike film texture that has noticeable but never overwhelming grain. Colors are astoundingly brilliant throughout this film, with gorgeous saturation and at times breathtaking hues. Scarlett's scandalous red dress has never been more crimson, and Leigh's eyes sparkle and shine with depth and luster as never before. I will say that some videophiles may find the Technicolor registration just a tad on the yellow side, which is noticeable mostly in the skin tones. But just take a gander at the deeply saturated Technicolor reds in some of the screenshots I've provided and you have a good indication of how spot on the bulk of this film's color is. As mentioned below, this film underwent one major scrubbing a few years ago for its 4 disc DVD release, and the new 8K re-do for this release is simply amazing. Depth of field reveals a level of detail in backgrounds and matte paintings as never before, and items at the forefront of the image simply are astoundingly well detailed. Warner has done itself proud with this release and I doubt there will be any major complaints from even the most demanding viewers.

Gone with the Wind - 70th Anniversary Edition (1939)

Gone with the Wind Blu-ray, Audio Quality
Gone With the Wind offers both the original mono track as well as a repurposed Dolby TrueHD 5.1 mix, which is rather conservative in its surround ambitions, but which cleans and clarifies the source material rather dramatically at times. A lot of purists decry these surround reimaginings, but I have a hunch few will argue about the propriety of this particular renovation. Dialogue is almost inescapably in the front center channel. Surround channels kick in where you'd expect them to, in such bombastic segment as the Civil War battles. Steiner's score typically also fills all the channels. I was rather impressed with the opening up of the sound itself. Too often Dolby tracks, even lossless high def iterations, sound to me like they're overly compressed, especially on the high end. You'll notice quite a bit more hiss on the mono track, but that noise reduction in the TrueHD track does not mean a loss of the high end, which is to be lauded. This is a subtly repurposed 5.1 mix that preserves the front and center soundfield of the original soundtrack while gently nudging it into the surround channels at appropriate times. While even the TrueHD re-do can't completely overcome the technical limitations of the original recordings (you'll hear this in the somewhat boxy sound of the music mostly), this is really quite an excellent upgrade that should delight even the most discriminating listener.

Gone with the Wind Blu-ray, Overall Score and Recommendation
Frankly, dear, you will give a damn about this excellent Blu-ray release. A classic film has been done proud by Warner, and once again Gone With the Wind is set to captivate audiences worldwide in an impressively upgraded version.


Synopsis in others languages included in BluRay
Via Col Vento - Synopsis
Autant en emporte le vent - Synopsis
Lo que el viento se llevó - Synopsis
Vom Winde verweht - Synopsis
E Tudo o Vento Levou - Synopsis
風と共に去りぬ - Synopsis


Disc Title: Via col Vento.brFull.edi
Disc Size: 44.970.009.511 bytes
Protection: AACS
BD-Java: No
BDInfo: 0.5.6


********************
PLAYLIST: 00000.MPLS
********************
Total Video
Title Codec Length Movie Size Disc Size Bitrate Bitrate Main Audio Track Secondary Audio Track
––- ––– –––- ––––––– ––––––– –––- –––- ––––––––– ––––––––––-
00000.MPLS VC-1 3:53:14 44.401.987.584 44.970.009.511 25,38 18,40 Dolby TrueHD 5.1 1251Kbps (48kHz/16-bit) DD AC3 1.0 192Kbps

DISC INFO:

Disc Title: Via col Vento.brFull.edi
Disc Size: 44.970.009.511 bytes
Protection: AACS
BD-Java: No
BDInfo: 0.5.6

PLAYLIST REPORT:

Name: 00000.MPLS
Length: 3:53:14 (h:m:s)
Size: 44.401.987.584 bytes
Total Bitrate: 25,38 Mbps

VIDEO:

Codec Bitrate Description
––- –––- –––––-
VC-1 Video 18399 kbps 1080p / 23,976 fps / 16:9 / Advanced Profile 3

AUDIO:

Codec Language Bitrate Description
––- –––– –––- –––––-
Dolby TrueHD Audio English 1251 kbps 5.1 / 48 kHz / 1251 kbps / 16-bit (AC3 Embedded: 5.1 / 48 kHz / 640 kbps / DN -4dB)
Dolby Digital Audio French 384 kbps 5.1 / 48 kHz / 384 kbps / DN -4dB
Dolby Digital Audio German 384 kbps 5.1 / 48 kHz / 384 kbps / DN -4dB
Dolby Digital Audio Italian 384 kbps 5.1 / 48 kHz / 384 kbps / DN -4dB
Dolby Digital Audio Spanish 384 kbps 5.1 / 48 kHz / 384 kbps / DN -4dB
Dolby Digital Audio English 192 kbps 2.0 / 48 kHz / 192 kbps / DN -4dB / Dolby Surround
Dolby Digital Audio English 192 kbps 1.0 / 48 kHz / 192 kbps / DN -4dB
* Dolby Digital Audio Japanese 192 kbps 1.0 / 48 kHz / 192 kbps / DN -4dB
Dolby Digital Audio Portuguese 192 kbps 1.0 / 48 kHz / 192 kbps / DN -4dB
Dolby Digital Audio Spanish 192 kbps 1.0 / 48 kHz / 192 kbps / DN -4dB

SUBTITLES:

Codec Language Bitrate Description
––- –––– –––- –––––-
Presentation Graphics English 39,090 kbps
Presentation Graphics Danish 28,308 kbps
Presentation Graphics Dutch 29,566 kbps
Presentation Graphics Finnish 27,165 kbps
Presentation Graphics French 26,327 kbps
Presentation Graphics German 40,542 kbps
Presentation Graphics Italian 34,809 kbps
Presentation Graphics Italian 36,298 kbps
* Presentation Graphics Japanese 36,787 kbps
* Presentation Graphics Japanese 0,421 kbps
* Presentation Graphics Japanese 41,460 kbps
Presentation Graphics Norwegian 27,032 kbps
Presentation Graphics Portuguese 31,965 kbps
Presentation Graphics Spanish 31,877 kbps
Presentation Graphics Spanish 31,615 kbps
Presentation Graphics Swedish 27,430 kbps

QUICK SUMMARY:

Disc Title: Via col Vento.brFull.edi
Disc Size: 44.970.009.511 bytes
Protection: AACS
BD-Java: No
Playlist: 00000.MPLS
Size: 44.401.987.584 bytes
Length: 3:53:14
Total Bitrate: 25,38 Mbps
Video: VC-1 Video / 18399 kbps / 1080p / 23,976 fps / 16:9 / Advanced Profile 3
Audio: English / Dolby TrueHD Audio / 5.1 / 48 kHz / 1251 kbps / 16-bit (AC3 Embedded: 5.1 / 48 kHz / 640 kbps / DN -4dB)
Audio: French / Dolby Digital Audio / 5.1 / 48 kHz / 384 kbps / DN -4dB
Audio: German / Dolby Digital Audio / 5.1 / 48 kHz / 384 kbps / DN -4dB
Audio: Italian / Dolby Digital Audio / 5.1 / 48 kHz / 384 kbps / DN -4dB
Audio: Spanish / Dolby Digital Audio / 5.1 / 48 kHz / 384 kbps / DN -4dB
Audio: English / Dolby Digital Audio / 2.0 / 48 kHz / 192 kbps / DN -4dB / Dolby Surround
Audio: English / Dolby Digital Audio / 1.0 / 48 kHz / 192 kbps / DN -4dB
* Audio: Japanese / Dolby Digital Audio / 1.0 / 48 kHz / 192 kbps / DN -4dB
Audio: Portuguese / Dolby Digital Audio / 1.0 / 48 kHz / 192 kbps / DN -4dB
Audio: Spanish / Dolby Digital Audio / 1.0 / 48 kHz / 192 kbps / DN -4dB
Subtitle: English / 39,090 kbps
Subtitle: Danish / 28,308 kbps
Subtitle: Dutch / 29,566 kbps
Subtitle: Finnish / 27,165 kbps
Subtitle: French / 26,327 kbps
Subtitle: German / 40,542 kbps
Subtitle: Italian / 34,809 kbps
Subtitle: Italian / 36,298 kbps
* Subtitle: Japanese / 36,787 kbps
* Subtitle: Japanese / 0,421 kbps
* Subtitle: Japanese / 41,460 kbps
Subtitle: Norwegian / 27,032 kbps
Subtitle: Portuguese / 31,965 kbps
Subtitle: Spanish / 31,877 kbps
Subtitle: Spanish / 31,615 kbps
Subtitle: Swedish / 27,430 kbps





IMDB Rating: 8.2/10

TITOLO ORIGINALE: Gone with The Wind
USCITA CINEMA: 03/11/1951
REGIA: Victor Fleming, George Cukor, Sam Wood
SCENEGGIATURA: Sidney Howard, Ben Hecht, John Van Druten, David O. Selznick, Jo Swerling
ATTORI: Clark Gable, Vivien Leigh, Leslie Howard, Olivia de Havilland, Thomas Mitchell, Hattie McDaniel, Laura Hope Crews, Evelyn Keyes, Ann Rutherford, Butterfly McQueen, Harry Davenport, Leona Roberts, Jane Darwell, Ward Bond, Yakima Canutt, Ona Munson, Victor Jory, Barbara O'Neil
Ruoli ed Interpreti

FOTOGRAFIA: Lee Garmes, Ernest Haller
MONTAGGIO: Hal C. Kern, James E. Newcom
MUSICHE: Heinz Roemheld, Max Steiner, Adolph Deutsch
PRODUZIONE: DAVID O.SELZNICK PER SELZNICK INTERNATIONAL PICTURES
DISTRIBUZIONE: CIC (1977) - MGM HOME ENTERTAINMENT, DE AGOSTINI (GLI SCUDI)
PAESE: USA 1939
GENERE: Drammatico, Guerra, Romantico
DURATA: 217 Min
FORMATO: Colore TECHNICOLOR
SOGGETTO:
romanzo omonimo di Margaret Mitchell
CRITICA:
"Inimitabile (anche per la lunghezza) e incredibilmente sempreverde film-monumento, il più famoso e il più amato melodramma di sempre, dove il romanticismo di fondo si mescola a un grandioso affresco di storia americana, con costumi, musiche e scenografie da incorniciare. Per tacere degli attori. La cascata di otto Oscar lasciò ingiustamente a secco solo quel simpatico mascalzone di Clark Gable". (Massimo Bertarelli, 'Il Giornale', 8 giugno 2001)
NOTE:
- 9 PREMI OSCAR: MIGLIOR FILM, REGIA, ATTRICE PROTAGONISTA (VIVIEN LEIGH), ATTRICE NON PROTAGONISTA (HATTIE MCDANIEL, LA GOVERNANTE DI COLORE, FU IL PRIMO OSCAR DATO A UN'ATTRICE NERA), SCENEGGIATURA NON ORIGINALE (SIDNEY HOWARD), FOTOGRAFIA, ARREDAMENTO (LYLE WHEELER), MONTAGGIO E UN OSCAR SPECIALE PER IL PARTICOLARE USO DEL COLORE A WILLIAM CAMERON MENZIES.-TRATTO DAL BEST-SELLER OMONIMO DI MARGARET MITCHELL "VIA COL VENTO" E' DIVENTATA LA STORIA D'AMORE PIÙ FAMOSA DEL CINEMA. IL TECHNICOLOR NON ERA MAI STATO PRIMA COSÌ SMAGLIANTE, LA LOCANDINA CON VIVEN LEIGHT E CLARK GABLE ABBRACCIATI SULLO SFONDO DI UN TRAMONTO DI FUOCO RESTA INDIMENTICABILE. IL COPIONE PASSO' TRA LE MANI DI SCOTT FITZGERALD E BEN HECH, COME LA REGIA CHE PASSO' DA GEORGE CUKOR A SAM WOOD PER FINIRE AL PIÙ MALLEABILE VICTOR FLEMING, PERCHE' IL VERO AUTORE DEL FILM FU IL PRODUTTORE DAVID O. SELZNICK CHE SAPEVA BENE QUELLO CHE VOLEVA E RISCHIO' NELL'OPERAZIONE 4 MILIONI DI DOLLARI, CIFRA IMPENSABILE A QUEI TEMPI.

Recovery Volumes (.rev)

Recovery volumes or .rev files are special files which can be created by WinRAR/RAR and allow you to reconstruct missing and damaged files in a volume set. They can
only be used with multi-volume archives.

This feature may be useful for backups or, for example, when you post a multivolume archive to a newsgroup and some of the subscribers did not receive some files. Reposting recovery volumes instead of usual volumes may reduce the total number of files to repost.

Each recovery volume is able to reconstruct one missing RAR volume. For example, if you have 30 volumes and 3 recovery volumes, you are able to reconstruct any 3 missing volumes. If the number of .rev files is less than a number of missing volumes, reconstructing is impossible. The total number of usual and recovery volumes must not exceed 255 and the number of recovery volumes must be less than the number of RAR volumes.

WinRAR reconstructs missing and damaged volumes either when clicking on .rev file, or when using rc command or automatically, if it cannot locate the next volume and finds the required number of .rev files when unpacking.

You may use the "Recovery volumes" option in the Archive name and parameters dialog or a similar option also appears in the Protect archive command to create recovery volumes. In the command line mode you may do it with -rv switch or rv command.

Original copies of damaged volumes are renamed to *.bad before reconstruction. For example, volname.part03.rar will be renamed to volname.part03.rar.bad.

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Gone with the Wind - 70th Anniversary Edition (1939)