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.
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.
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.
Stay up to date with the Harry Ransom Center’s latest news and information with eNews, the Center’s monthly email newsletter. Subscribe today.
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 ofGone 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.
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. Donationswill 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.
Casey McKittrick is an Associate Professor of English at Western Michigan University. He spent June and July of 2012 researching the David O. Selznick and Myron Selznick archives at the Harry Ransom Center. His work, which was funded by the Warren Skaaren Research Fellowship Endowment, produced the first chapter, and informed several others, of his forthcoming book Hitchcock’s Appetites: The Corpulent Plots of Desire and Dread.
When I learned of my Warren Skaaren fellowship from the Harry Ransom Center, I had just begun work on a book-length project examining how Alfred Hitchcock’s experiences as a fat man influenced his filmmaking and the path of his career. After reading that Hitchcock had undergone a 100-pound weight loss upon moving from London to Hollywood in the 1940s, I became convinced that his relationship with David O. Selznick, the Hollywood “super-producer” who provided him with a seven-year contract, must have been partly responsible for this radical body change. Thus, I approached the Selznick archive at the Ransom Center with the working hypothesis that Hitchcock lost weight under the auspices of Selznick (renowned for tightly controlling his employees) to conform to the rigid bodily standards that Hollywood visibility necessitated.
The archive told a completely different story. For five weeks, I not only revised my thinking, but through the marvelously kept records—memos, legal documents, publicity material, scripts-in-process—I developed a narrative about the Selznick-Hitchcock relationship that had never been addressed at length. To be sure, a lot of research has been done on this historically important and largely successful collaboration, but Hitchcock’s fatness had never been suggested as a meaningful factor in their negotiations or their relationship dynamics.
First of all, it became clear that Selznick marketed Hitchcock as Europe’s greatest export by focusing on his fatness. Selznick capitalized on Hitch’s enormity to build a literally larger-than-life profile of the director. He was proud that he had managed to enlist the “Master of Suspense” in the face of great studio competition, and he wanted to ensure that Americans could look to Hitch as a celebrity figure—one belonging to Selznick International Pictures (SIP). The publicity photos for Hitchcock’s first American film Rebecca revealed this reliance on making Hitchcock a spectacle. For example, in one photo, Hitchcock holds a fake barbell while yawning; the photo caption reads: “Heavyweight in light mood.” In four different pictures Hitch is captioned as either a “239-pound Englishman” or a “239 pound director,” and in yet another, the caption reads, “‘Hitch,’ who likes to talk about movies and himself, doesn’t mind allusions to his 239 pounds.” Thus, far from encouraging the director to lose weight, Selznick commodified his body and did so quite successfully. In fact, when Selznick heard of Hitchcock’s drastic weight loss, he became concerned and in a memo urged him to “Drink a Malted!”
Another guiding idea that I uncovered through careful examination of the archive was that Selznick and his cronies at SIP would often use Hitchcock’s size against him in a shaming capacity. For example, Dan O’ Shea, one of Selznick’s vice presidents, sent a scathing memo to Hitchcock that scolded him for his prima donna attitude, and he capped off the missive with the taunt, “How’s the metabolism?” In nearly every altercation between the director and producer, communications emerged that referred to Hitchcock’s greed, his “big appetite,” or the notion that he was getting “too big for his britches.” Even as Hitchcock complied with Selznick’s publicity strategies and realized that his popularity hinged on this kind of “body marketing,” he still retained a great deal of shame surrounding his size, and Selznick exploited this shame many times in an attempt to “manage” him—to control what cinematic projects he took on, how fast he completed them, his other collaborations, and what he said to the press.
My research in the Selznick archives generated the first chapter of my recently completed monograph Hitchcock’s Appetites: The Corpulent Plots of Desire and Dread, and the data I collected there is evident throughout the book. The book truly could not have been completed without this research. I look forward to using materials from the Center on future projects.
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.