--- title: "Gone with the Wind: the reviews" canonical: "https://film.one/film/gone-with-the-wind/reviews" title_page: "https://film.one/film/gone-with-the-wind" critics_score: 81 critics_reviews: 6 licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Gone with the Wind (1939): what the critics said Critics' score 81 from 6 reviews: 6 positive, 0 mixed, 0 negative. The reviews are consistently favourable, with praise clustering around the scale of the production, the Technicolor photography and the cast. Several critics admire the adaptation’s fidelity to Margaret Mitchell’s novel, while others find the romance between Scarlett and Rhett more compelling than its historical setting. Vivien Leigh receives particular praise for her Scarlett, and the panoramic Atlanta scenes, settings and use of colour repeatedly earn attention as more than decoration. The differences concern which flaws matter most, rather than whether the film succeeds. Length and soapier stretches trouble some critics; later reviews also confront its romanticisation of slavery, with Eye for Film additionally questioning its treatment of rape. The New Yorker offers a notable dissent on Leigh, finding her comparatively ordinary while praising Clark Gable’s suitability for Rhett. The spread remains broadly positive, though that agreement accommodates sharply different levels of discomfort with the story and its central character. ## The New York Times — Frank S. Nugent Fi1m's normalised score 90/100 (inferred from the text). 20 December 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. [Read the review](https://www.nytimes.com/1939/12/20/archives/the-screen-in-review-david-selznicks-gone-with-the-wind-has-its.html) ## Variety — John C. Flinn Sr. Fi1m's normalised score 85/100 (inferred from the text). 19 December 1939. 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. [Read the review](https://variety.com/1939/film/reviews/gone-with-the-wind-2-1200412649/) ## Empire — Kim Newman Fi1m's normalised score 80/100 (inferred from the text). 1 January 2000. 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. [Read the review](https://www.empireonline.com/movies/reviews/gone-wind-review/) ## Time Out — Cath Clarke Rating 4/5. 19 November 2013. 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. [Read the review](https://www.timeout.com/movies/gone-with-the-wind) ## The New Yorker — John C. Mosher Fi1m's normalised score 75/100 (inferred from the text). 23 December 1939. 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. [Read the review](https://www.newyorker.com/magazine/1939/12/30/1939-12-30-051-tny-cards-000002119) ## Sight and Sound 1 April 1940. 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. [Read the review](http://old.bfi.org.uk/features/ultimatefilm/chart/details.php?ranking=1) ## Eye for Film — Jennie Kermode Fi1m's normalised score 70/100 (inferred from the text). 15 November 2013. 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. [Read the review](https://www.eyeforfilm.co.uk/review/gone-with-the-wind-film-review-by-jennie-kermode) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Our review: https://film.one/film/gone-with-the-wind.md