Gone with the Wind (1939)

The critic praises the film as a handsome, scrupulous and unstinting version of the novel that matches it almost scene for scene. He singles out the brilliant casting and performances, especially Vivien Leigh as Scarlett and the overall fidelity to Margaret Mitchell's story.

The critic calls it one of the truly great films destined for record-breaking business, praising the lavish production, cast, and technical excellence. He singles out the faithful adaptation of the novel and Vivien Leigh's memorable performance as Scarlett while noting the overlong running time as a minor flaw.

The film is an impeccably well-made epic delivered by producer David O. Selznick, with most truly great scenes in the first half under George Cukor and soapier stretches by Victor Fleming. Gorgeous Technicolor, a thunderous Max Steiner score and sheer visual splendour make it essential viewing for anyone interested in romance or movies, even if it centres on a selfish character.

The review notes the wince-inducing stereotypes of happy slaves but argues no one watches for historical accuracy. It praises the four-hour epic romance in gorgeous Technicolor as what keeps audiences returning, with Scarlett and Rhett as the main event.

The critic finds sense in the production's immensity once the panoramic Atlanta scenes appear and praises the Technicolor as a triumph that contributes to the action. He singles out Clark Gable as perfectly suited to Rhett Butler while noting Vivien Leigh is somewhat commonplace as Scarlett.

The critic praises the film's breathtaking settings and restrained Technicolor photography that evokes a vanished era. They regret its focus on the life-story of a 'hussy' but commend the skilled direction, de-glamorized war scenes, and well-chosen cast including Vivien Leigh as Scarlett.

The critic calls it one of the most spectacular and indulgent romantic melodramas in cinema history, praising its epic ambition, strong performances (especially Vivien Leigh embracing Scarlett's artificiality) and considerable power despite its length. She notes the romanticisation of slavery and problematic approach to rape as reasons it cannot be taken entirely seriously but still finds it smouldering effectively and worth seeing on the big screen.