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Thanks to “The Making of Gone With The Wind” Members’ Preview participants

By Christine Lee

The Harry Ransom Center thanks our generous sponsors who helped make Friday’s The Making of Gone with the Wind event a success. Guests enjoyed a preview of the Center’s The Making of Gone with the Wind exhibition with barbeque sandwiches from Freedmen’s. Walton’s Fancy and Staple added a sweet touch with their southern-themed desserts.

 

The Ransom Center’s theater presented screentests of actresses auditioning for the role of Scarlett O’Hara, footage from the Atlanta premier, and clips from the 1939 Academy Awards. Guests posed for photos in front of Tara and entered to win two prize packages. The “Lucky Eight” prize package featured local treats, including a stay at Hotel San Jose, gift cards for Spider House and Freedmen’s, horseback lessons at Bel Canto Farms, a selection of books and subscription to Texas Monthly, champagne from Austin Wine Merchant, and film-themed surprises, including a membership at Austin Film Society, one year of rentals at I Luv Video, and tickets and drink vouchers at Alamo Drafthouse.

 

Premier exhibition sponsor Turner Classic Movies donated a robust prize package with DVDs and movie night essentials.

 

The Ransom Center would also like to thank the Cain Foundation, Capital Metro, and HEB for their generous exhibition support.

 

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Image: Guests enjoy the members’ preview event for The Making of Gone With The Wind.

#Franklymydear, we want your best line

By Alicia Dietrich

“Frankly, my dear, I don’t give a damn.”

 

The iconic last words of Rhett Butler in Gone With The Wind almost weren’t, because use of the word “damn” in films was expressly prohibited in the Production Code. Anticipating objections by the Hays Office (the entity that governed moral code in film), producer David O. Selznick asked his story editor, Val Lewton, to compile a list of uses of the word “damn” in print media and, if possible, cinema.

 

A list of alternate lines was also compiled, including such gems as:

 

“Frankly, my dear, nothing could interest me less.”

 

“Frankly, my dear, I don’t give a hoot!”

 

“Frankly, my dear, my indifference is boundless.”

 

“Frankly, my dear, the whole thing is a stench in my nostrils.”

 

Selznick knew that the Code would have to be changed for him to be able to keep Rhett Butler’s final line, a change that could only be approved by the board of directors. Leading up to a decisive October 27, 1939, meeting, Selznick and business partner Jock Whitney lobbied board members to change the Code. Although deliberations were described as “very stormy,” Selznick prevailed, and the Production Code was amended to make future use of the word “damn” discretionary.

 

Although Selznick promised to “put up a strong fight for the line,” he took Lewton’s precautionary advice to film the scene twice, once as written, and a second time substituting “Frankly, my dear, I don’t care.”

 

What would you have suggested as an alternate line? Give us your best family- and censor-friendly versions of the line in the comments below or via Facebook, Twitter, Instagram, or Tumblr using the hashtag #franklymydear.

 

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Read Turner Classic Movie Host Robert Osborne’s introduction to the book “The Making of Gone With The Wind”

By Alicia Dietrich

A fully illustrated catalog by Ransom Center Curator of Film Steve Wilson has been co-published by the Ransom Center and University of Texas Press to complement the exhibition The Making of Gone With The Wind.

 

Featuring more than 600 images from the Ransom Center’s archives of David O. Selznick, the film’s producer, and his business partner John Hay “Jock” Whitney, The Making of Gone With The Wind offers fans and film historians alike a must-have behind-the-camera view of the production of this classic film.

 

Read the foreword of the book by Robert Osborne, film historian and host of Turner Classic Movies (TCM), where he notes that Gone With The Wind was the first film aired when TCM launched in 1994.

 

Join the conversation about the exhibition online with the hashtag #makinggwtw. Stay up to date with the Harry Ransom Center’s latest news and information with eNews, the Center’s monthly email newsletter. Subscribe today.

 

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Database of fan mail documents emotional response from “Gone With The Wind” fans, detractors

By Alicia Dietrich

As part of the recently launched web exhibition Producing Gone With The Wind, the Ransom Center has launched a new database of fan mail from the David O. Selznick collection.   Researchers now have the opportunity to explore a selection of letters sent to Selznick International Pictures in the 1930s through this database of fan mail correspondence, preview questionnaires, and protest letters. Letters in the database demonstrate the public’s engagement with the film production of Margaret Mitchell’s novel, Gone With The Wind. Emotions ranging from enthusiasm and sorrow to optimism and disdain surface from individuals who wrote in to solicit auditions, submit opinions, and, in some instances, protest the film’s production.   Visitors to the site can browse the database by type of mail and search by name of correspondent to see if relatives’ letters are within the database.   Join the conversation about the exhibition online with the hashtag #makinggwtw. Stay up to date with the Harry Ransom Center’s latest news and information with eNews, the Center’s monthly email newsletter. Subscribe today.   Please click on the thumbnails below to view larger images.

Web exhibition “Producing Gone With The Wind” launches today

By Alicia Dietrich

The Harry Ransom Center launches Producing Gone With The Wind, an updated web exhibition, in conjunction with the exhibition The Making of Gone With The Wind.

 

The web exhibition explores the purchase of the rights to Margaret Mitchell’s novel Gone With The Wind; the casting of the star actress, Vivien Leigh, as Scarlett O’Hara; and the research-intensive aesthetic work in the film related to costumes, hair, and makeup.

 

The exhibition also gives online visitors and researchers an opportunity to search through a selection of more than 3,000 letters from the David O. Selznick collection, by individuals who sought auditions, solicited employment, and protested the production.

 

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Image: Concept painting of Scarlett O’Hara at Tara in Gone With The Wind.

Opening tomorrow: “The Making of Gone With The Wind”

By Alicia Dietrich

The Making of Gone With The Wind opens tomorrow, September 9, and offers a behind-the-scenes view of one of the classic films of Hollywood’s Golden Age. Featuring more than 300 rarely seen and some never-before-exhibited materials, the exhibition is drawn entirely from the Ransom Center’s collections and includes on-set photographs, storyboards, correspondence and fan mail, production records, makeup stills, concept art, costume sketches, audition footage, and producer David O. Selznick’s memos. The green curtain dress and other gowns worn by Vivien Leigh are displayed together for the first time in more than 25 years.

 

Before a single frame of film was shot, Gone With The Wind was embroiled in controversy. Selznick struggled to balance his desire for authenticity with audience expectations of spectacle. Americans debated who should be cast as Rhett and Scarlett. There were serious concerns about how the 1939 film, based on the 1936 novel by Margaret Mitchell, would depict race, sex, and violence in the South during the U.S. Civil War and Reconstruction.

 

This insider view reveals why Gone With The Wind remains influential and controversial 75 years after it was released.

 

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Ransom Center exhibits “Gone With The Wind” materials at TCM Classic Film Festival

By Jennifer Tisdale

Turner Classic Movies (TCM), premier sponsor for the Harry Ransom Center’s upcoming exhibition The Making of Gone With The Wind, hosts its fifth annual TCM Classic Film Festival in Hollywood April 10–13.

 

Within Club TCM, the gathering point for festival passholders in the Hollywood Roosevelt Hotel, the Ransom Center will exhibit a selection of Gone With The Wind storyboards and concept art from the Center’s David O. Selznick archive.

 

Also at the festival, TCM will commemorate the 75th anniversary of Gone With The Wind (1939) with a screening of a recent restoration of the film in collaboration with Warner Bros. Studios.

 

Beginning September 9 at the Ransom Center, more than 300 original items from Gone With The Wind will be on display in the exhibition The Making of Gone With The Wind, including behind-the-scenes photographs, storyboards, correspondence, production records, audition footage, fan mail, and costumes worn by Vivien Leigh. Drawing from its extensive archive of the film’s producer, David O. Selznick, the Ransom Center is in a unique position to tell, and share, the story of the making of this epic film.

 

Image: Dorothea Holt’s concept painting of Scarlett at the Butler House in Gone With The Wind.

75 Days. 75 Years: Actresses who had screen tests for role of Scarlett O’Hara

By Jennifer Tisdale

For 75 days, the Harry Ransom Center is raising funds for its 2014 exhibition The Making of Gone With The Wind. Opening on September 9, 2014, The Making of Gone With The Wind will reveal stories about the making of this quintessential film from Hollywood’s Golden Age and illustrate why it remains influential and controversial 75 years after it was released. Items from film producer David O. Selznick’s archive provide a behind-the-scenes look into the making of the film.  Donations will help support outreach, additional exhibition tours, a published exhibition catalog, and complimentary programming and presentations.

 

David O. Selznick, the film producer of Gone With The Wind (1939), mounted a nationwide search for a woman to play the role of Scarlett O’Hara. Scores of women read for the part, but only the women listed here, some talented amateurs and some experienced actors, actually sat for filmed screen tests.

 

 Selznick found Lana Turner “completely inadequate, too young to have a grasp of the part.” Until Vivien Leigh’s arrival, Paulette Goddard was Selznick’s first choice. Goddard made more screentests for the role than any other established actress and eventually signed an option agreement with Selznick in anticipation of getting the part.

 

The four finalists for the role of Scarlett were Goddard, Jean Arthur, Joan Bennett, and Leigh.

 

The exhibition will highlight over 300 original items from Selznick’s archive housed at the Ransom Center, including photographs, storyboards, correspondence, production records, audition footage, and fan mail. The exhibition will also feature gowns worn by Leigh as the beautiful and ambitious Scarlett O’Hara. The newly conserved costumes will be displayed together for the first time in more than 25 years.

 

Please click on thumbnails to view larger images.

 

 

Image: Memo to David O. Selznick regarding “Girls tested for the role of Scarlett,” ca. 1938.

75 Days. 75 Years: How one of Hollywood’s most famous lines was retained

By Jennifer Tisdale

For 75 days, the Harry Ransom Center is raising funds for its 2014 exhibition The Making of Gone With The Wind. Opening on September 9, 2014, The Making of Gone With The Wind will reveal stories about the making of this quintessential film from Hollywood’s Golden Age and illustrate why it remains influential and controversial 75 years after it was released.

 

Items from film producer David O. Selznick’s archive provide a behind-the-scenes look into the making of the film.  Donations will help support outreach, additional exhibition tours, a published exhibition catalog, and complimentary programming and presentations.

 

Film producer David O. Selznick’s 1939 epic film Gone With The Wind was embroiled in controversy before a single frame was shot. There were a range of issues on and off the set, including Selznick’s battle with the Hays Office, which was the Motion Picture Producers and Distributors of America’s office charged with production code. Selznick’s 1939 memo reveals his effort to retain the famous line in the film, “Frankly my dear, I don’t give a damn.”

 

Selznick states that the omission of the line “spoils the punch at the end of the picture, and on our very fade-out gives an impression of unfaithfulness after three hours and forty-five minutes of extreme fidelity to Miss Mitchell’s work.”

 

He notes that preview audiences are also stumped at the line’s omission, one that “forever establishes the future relationship between Scarlett and Rhett.”

 

The Making of Gone With The Wind will include over 300 original items from the Selznick archive housed at the Ransom Center, including photographs, storyboards, correspondence, production records, audition footage, and fan mail. The exhibition will also feature gowns worn by Vivien Leigh as the beautiful and ambitious Scarlett O’Hara. The newly conserved costumes will be displayed together for the first time in more than 25 years.

 

Click on thumbnails to view larger images.

 

 

 

75 Days. 75 Years: Costume designer created more than 5,000 separate items of clothing

By Jennifer Tisdale

For 75 days, the Harry Ransom Center is raising funds for its 2014 exhibition The Making of Gone With The Wind. Opening on September 9, 2014, The Making of Gone With The Wind will reveal stories about the making of this quintessential film from Hollywood’s Golden Age and illustrate why it remains influential and controversial 75 years after it was released. Items from film producer David O. Selznick’s archive provide a behind-the-scenes look into the making of the film. Donations will help support outreach, additional exhibition tours, a published exhibition catalog, and complimentary programming and presentations.

 

Gone With The Wind (1939) costume designer Walter Plunkett was one of the first designers to work on the film. He began his work long before the parts were cast or the screenplay written, so he relied on descriptions of the characters from the novel for cues for the costume designs.

 

Plunkett began with detailed sketches. His wardrobe team then created patterns, made the garments, did fittings and alterations, and made changes as necessary after watching filmed tests.

 

During the production, Plunkett had to contend with producer David O. Selznick, changes in directors, and Technicolor advisors. Plunkett created more than 5,000 separate items of clothing for more than 50 major characters and thousands of extras.

 

In 1939, there was no costume design category at the Academy Awards. Selznick himself said that if there were, Plunkett would have won it for Gone With The Wind. Plunkett would go on to be nominated for an Academy Award ten times. In 1951, he was recognized by the Academy for An American in Paris. He shared the award with Orry-Kelly and Irene Sharaff.

 

The Making of Gone With The Wind will include over 300 original items from Selznick’s archive housed at the Ransom Center, including photographs, storyboards, correspondence, production records, audition footage, and fan mail. The exhibition will also feature gowns worn by Vivien Leigh as the beautiful and ambitious Scarlett O’Hara. The newly conserved costumes will be displayed together for the first time in more than 25 years.

 

Image: Walter Plunkett’s costume design for the character India Wilkes in Gone With The Wind, 1939.