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Epic though it may be, this motion picture could never have been made today—not in the same era,
, for example, as “Django Unchained” or “The Help.” In 1939, when “Gone With The Wind” was unveiled in Atlanta with Confederate regalia and unrestrained wistfulness,
[/url], it was still socially acceptable to portray, and it was even understood,[url=http://ivanovocat.ru/bitrix/rk.php?goto=http://www.backhaulbuddy.com/forum/profile.php?id=49]adidas nmd r1
, that black people were to be in bondage to white Americans.
“Gone With The Wind” was unveiled in Atlanta with Confederate regalia and unrestrained wistfulness.
And there was even an amiable appropriateness to their obsequiousness. The movie successfully conveys an actual nostalgia for the Old South, even as it trivializes the dehumanization of black children and adults while failing to illustrate a single instance of lynching, raping, and the tearing apart of families that were at the core of the American slave culture.
Everyone who suffers, is killed or wounded, or falls in and out of love, or receives medical care, or for whom money is raised,
[/url], is white. The black women are servile, to say the least, and hideously objectified; the black men are emasculated, without a trace of rebelliousness, and they even take pride in helping fortify Atlanta against “them Yankees.”
When I happened upon a Turner Movie Channel showing of the 1939 classic the other night, I found myself embarrassed that I had not recognized these literary atrocities decades ago, when I first saw this movie and acceded to its trance. It was an amazing technological achievement at the time of its creation and Margaret Mitchell’s book is a classic of love and loss—as such themes pertain to racist white people living in a world that has nothing to do with human rights.
The real-life situation related to the Clark Gable-Vivien Leigh classic did do some justice to the historical truths. Hattie McDaniel,[url=http://www.booherdirect.com/cgi-bin/commerce.cgi]article171http://www.infosdes
, who played “Mammy,
,” became the first African American to win an Academy Award. But she never accepted the stereotypical roles to which black actors were confined; she appeared in some 300 movies but was only credited in about 80.
It’s important to record that she broke the Oscar color barrier but just as important to note that the NAACP objected to the movie and that many black Americans found the production less than charming. Also worth noting is that in the same year, 1939, Adolf Hitler launched the greatest racial conflagration in the history of this planet. Black Americans fought bravely (in segregated units) and many died in World War II and then the survivors came home to the same Jim Crow laws that formed the backbone of "Gone With The Wind."
But we need to know that both the movie and the book are about white illusions and completely patronize black realities. Better we should watch the other epic hit of 1939, “The Wizard of Oz.” At least everyone knows that’s a fantasy.
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