Gone with the Wind
I wish to report editorial pressure on me to review the film version of “Gone with the Wind,” from which I have been shrinking ever since the first year of hot gossip over who was to play Clark Gable. The editors don’t really care whether it is a good thing for me to see or what line I take on it. What they want is an office guinea pig; they want someone to go sit through that four hours of four million dollars, to see what the shooting’s fer—as naturally no one as smart as an editor would subject himself to such a business without visual proof that it won’t kill you.
Irving Thalberg: Boy Wonder to Producer Prince By Mark A. Vieira (University of California Press, 504 pp., $34.95) There are times of such chaos and promise, danger and daydream, when all of us hope for a superb and flawless leader. If he can swing it, we are off the hook. But he need not be a hero who turns into a tyrant. He is not necessarily strong, fierce, and Herculean. Indeed, it may add to his charm, to his magic, if he is slight, youthful, on the pretty side, and--better still--dying.
Her name, O’Hara, is deliberately Irish. Her Irishness is to be associated with impetuosity, wild courage, low class and the ability to lie charmingly. All these Scarlett has and does, though not once in the movie does she refer to her Irish heritage. She pretends to no ancestry other than Tara. Her father, played by Thomas Mitchell, is the stock Irishman of the piece, speaking as no Irishman has ever spoken and showering himself in as many Irishisms as the plot allows. He dies mad, on his horse. We learn from his tombstone that he was born in County Wicklow, made famous by J.M.