Vinyl 1 text Selznick International Pictures In late spring 1936, when David O. Selznick first learned of Margaret Mitchell's novel, Gone with the Wind, his new production company, Selznick International Pictures (SIP), was not quite a year old. He had started his own company on his departure from Metro-Goldwyn-Mayer (MGM) as one of its most successful producers. There, he had made a name for himself by producing "prestige pictures," films with high production values, often adapted from literary classics like Anna Karenina, David Copperfield, and A Tale of Two Cities. He had also met and married Irene Mayer, daughter of Louis B. Mayer, the head of MGM. Their son, Jeffrey, was four years old. A second son, Daniel, had just been born. David O. Selznick was 34 years old and the most exciting and promising producer in Hollywood. Selznick had formed SIP with his close friend John Hay "Jock" Whitney, founder of Pioneer Pictures, which was established to make films using the new improved Technicolor Process No. 4, or "three-strip Technicolor." SIP and Pioneer would eventually merge, and many of their films would be made in color. It was a risky strategy. Color was widely regarded at the time as nothing more than a gimmick. 1 Clarence Sinclair Bull David O. Selznick with a portrait of his father, film pioneer Lewis J. Selznick Digital reproduction of gelatin silver original 5 Leo Lieb for The Daily Mirror Katharine (Kay) Brown and John Hay (Jock) Whitney in New York, published May 21, 1937 Digital reproduction of gelatin silver original

Kay Brown was a petite woman in her mid-thirties who had valuable connections in the New York publishing and theater worlds. Selznick had worked with her at RKO, but now she split her time between Selznick International Productions (SIP) and Pioneer, identifying and signing story properties and talent for the two companies. It was Brown who first told Selznick about Mitchell’s Gone with the Wind. 782 (framed) Selznick International Pictures Val Lewton, not dated Digital reproduction of original negative Much of Selznick’s studio staff consisted of people he had worked with at RKO and MGM. Val Lewton, Franclien Macconnel, and Barbara Keon signed on to SIP’s story department. Hal Kern would become Selznick’s head of film editing, and William Wright joined as an associate producer. Besides finding and developing story ideas for SIP, Lewton also served as liaison with the Hays Office, the film industry’s censor. 2 Associated Press Ring Lardner, Jr. and Silvia Schulman Gelatin silver print Selznick’s executive assistant at this time was Silvia Schulman, an aspiring writer. Her romance with Ring Lardner, Jr., who worked in SIP’s publicity department, would remain a secret for months. While at SIP, however, Schulman was the main conduit between Selznick and his staff. Upon her departure she was replaced by Marcella Rabwin. 422 Selznick International Pictures Merian Cooper, John Hay “Jock” Whitney, and David O. Selznick, the executives in charge of Selznick International Pictures, ca. 1936

Gelatin silver print 481 Unidentified photographer George Cukor, ca. 1936 Digital reproduction of original gelatin silver print Director George Cukor, Selznick’s longtime friend and collaborator, had begun his career in the theater and made the move to Hollywood with the advent of talkies. He quickly became one of the most sought-after directors for his ability to elicit strong performances from his actors, women in particular. Working with Selznick, Cukor made such films as A Bill of Divorcement (1932), Dinner at Eight (1933), Little Women (1933), and David Copperfield (1935) before he was appointed to direct Gone With The Wind. 866 Selznick International Pictures Marcella Bannett Rabwin, not dated Gelatin silver print Marcella Rabwin took over as Selznick’s executive assistant upon Silvia Schulman’s marriage to Ring Lardner, Jr. She was present during many of the major events surrounding the production of Gone With The Wind. 729 Unidentified photographer The main office building of Selznick International Pictures, not dated Digital reproduction from original negative Selznick’s onscreen logo began with a sign reading “Selznick International Pictures” then tilted down to a shot of this building. The studio had been built by film pioneer Thomas Ince. After Ince’s death, Cecil B. DeMille took

over, and in the 1930s RKO moved in. Selznick leased a section of the lot from RKO. 730 Lyle Wheeler’s rendering of Selznick’s office, not dated Many of Selznick’s decisions about Gone With The Wind and his other film productions were made in this office. TP1 The Book Deal Summer 1936 When Katharine (Kay) Brown’s teletype about Gone With The Wind arrived in David O. Selznick’s office on May 20, 1936, it had an urgency not typical of her other communications about story properties. In quick, broad strokes, she suggested an epic story set against the Civil War that featured a woman as the main character. The first two actresses to come to her mind, Miriam Hopkins and Margaret Sullavan, were immensely popular and known for portraying strong women. Brown also pointed to the promise of strong sales of the book due to its pre-selection by the Book of the Month Club and tried to pique Selznick’s interest by suggesting that he was already late to the game, saying that all the other film companies were already aware of the story and that one had even made an offer. The situation would turn out to be more complicated than she realized. 7 Teletype from Katharine Brown to David O. Selznick, May 20, 1936, alerting Selznick to a promising story property, Gone with the Wind. TP2 [a separate, Book Deal text panel]

Selznick stalled on buying the story for more than a month. The asking price of more than $50,000 was too high, and he couldn’t settle on a cast that would justify that cost. Selznick initially thought to cast Ronald Colman (under contract to Selznick) in the role of Rhett Butler, but Colman did not seem right for the part. Moreover, he was unenthusiastic about the role. Selznick said that if he were still working at MGM he would buy the story for Clark Gable and Joan Crawford. Selznick and his staff also discussed Bette Davis, Tallulah Bankhead, and Jean Arthur, all of whom would play a part in the drama surrounding the production of Gone With The Wind. Kay Brown had been negotiating with Annie Laurie Williams, Margaret Mitchell’s agent, and got on well with her. Williams was committed to getting the best price she could for her client, but all things being equal, she would rather Selznick win the bidding. He had a reputation for faithful adaptations and quality productions, something she felt would be important to her client. Negotiations came to a head on July 7, 1936. It was a day of high drama as Brown maneuvered Williams in and out of her office, plying her with food and drinks, and trying desperately to keep her away from other studio executives as she waited for Selznick’s authorization to close the deal. Early in the afternoon California time, but well after five o'clock New York time, Selznick finally replied, authorizing Brown to close the deal for $50,000. Brown was delirious with joy. But as the events of the day sunk in, she asked Silvia Schulman, Selznick’s secretary, “You are sure there is no mistake in my authorization to close? There is no reason for you to baby me and say hoop la and no reason to telephone me if you are sure everything is alright." Brown said she was taking her secretary, Harriett Flagg, out to get drunk and celebrate. “I still say hoop la,” Schulman replied, “and have a drink for me.” 421 Telegram from Katharine Brown to David O. Selznick, July 7, 1936 Brown’s telegram to Selznick would have reached his home on Summit Drive in Los Angeles before sunrise. She wanted Selznick to understand that

they must close the deal for the motion picture rights to Gone with the Wind that day or lose the chance forever. 416, 417, 418, 419 Teletype exchange between Katharine Brown in New York and Selznick’s secretary, Silvia Schulman, in Los Angeles, July 7, 1936 Brown was desperate to keep Annie Laurie Williams, Margaret Mitchell’s agent, from communicating with other studios. She suspected Warner Brothers was trying to reach Williams with an offer, and she was determined to hang on to her until she heard from Selznick. However, it was Doris Warner, wife of top MGM director Mervyn LeRoy, who had contacted Williams earlier with an offer. Brown wanted Williams protected from embarrassment and asked Selznick to keep the details of the deal confidential. The final price of $50,000 was the highest paid for a story property up to that time. TP3 Bestseller July 1936 One of Selznick’s chief concerns about purchasing the motion picture rights to Gone With The Wind was the robustness of book sales. Kay Brown had told him the novel would be the next Book of the Month Club selection, a good indicator of future sales, and that the book was getting very favorable reviews by the likes of Stephen Vincent Benet. Selznick felt he needed either prodigious sales of the book or star power to drive movie ticket sales and justify the high price he paid for the rights to the novel. As sales of the book quickly climbed to record heights, both in the United States and abroad, Selznick’s thoughts about his motion picture adaptation evolved.

423 Memo from Katharine Brown to David O. Selznick with a clipping of best seller lists from July 1936 Wall B TP4 Who Should Play Scarlett? September 20, 1936 News that Selznick International Pictures planned a film adaptation of Gone With The Wind followed the book’s release by days. Consequently, everyone reading the book was aware of the upcoming film, and speculation over who would play Rhett Butler and Scarlett O’Hara became a national obsession. By the end of 1936, Selznick’s head of publicity, Russell Birdwell, had received more than 75,000 letters suggesting possible cast members. Selznick assigned secretaries Lydia Schiller and Dorothy Carter to keep a tally of the votes for the various stars. This report was issued every month until filming began and Selznick watched it closely. Miriam Hopkins and Joan Crawford, both known for playing strong female characters, were early favorites for the part of Scarlett, and from the beginning, Clark Gable was the clear favorite for the part of Rhett. 9 Frank Daniel’s “Who Should Play Scarlett?” from The Atlanta Constitution, September 20, 1936 Digital reproduction from original “Who Should Play Scarlett?” was the first newspaper story to speculate about who would play the part of Scarlett O’Hara. The article also highlighted concern about the southern accent, a sensitive subject in the South. Many were offended by the exaggerated southern accents in Hollywood films and were apprehensive about how southerners would be

portrayed in a film in which they were taking an increasing amount of “proprietary pride.” TP5 With New People or With Stars? September 1936 To guarantee ticket sales, Selznick was first inclined to cast established stars in the principal roles. However, in response to popular interest and the novel’s sustained sales, he decided to look for new talent, especially for the role of Scarlett O’Hara. The public’s fervor guaranteed that the woman cast as Scarlett would be propelled to instant stardom, and Selznick wanted that new star to be under contract to his company. Selznick had successfully sought out new talent before and was in the process of looking for unknowns to play Tom and Huck in a film of Tom Sawyer. But before he embarked on such a venture for Gone With The Wind, he turned to his New York story editor and talent scout, Kay Brown, whose first suggestion was a talented and temperamental young actress, Louise Platt. Platt became the first to film a screentest for the role of Scarlett. 14 Teletype from David O. Selznick to Katharine Brown and John Wharton, September 25, 1936 While Gone with the Wind was an immediate bestseller in the United States, Selznick’s casting decisions would depend on whether the all-important foreign markets would have the same enthusiasm for a Civil War story that U.S. audiences did. 439 Memo from Katharine Brown to David O. Selznick, September 8, 1936

Louise Platt had a long career in theater but made only a few films in the late 1930s and early 1940s. She is best known for her role in Stagecoach (1939). Platt filmed her screentest for the role of Scarlett on September 28, 1936. 437 United Artists Louise Platt (left) and Vivienne Osborne in Captain Caution (1940) Gelatin silver print TP6 Tallulah Bankhead Fall 1936 Tallulah Bankhead was the first established actress to make a serious effort to win the role of Scarlett O’Hara. More successful in the New York theater world, Bankhead wanted the part badly, and the intrigued Selznick encouraged her. The 34-year old actress and Alabama-native prepared for the screentest for three months. In order to prove that she could look young enough in the early part of the film, she had her teeth capped, went for regular Elizabeth Arden facial treatments, adopted a strict diet, and quit drinking. Selznick and Kay Brown encouraged her, giving her time to prepare and securing the best available hair, makeup, and wardrobe artists to assist her with her screentest. By the end of the year, Bankhead was becoming impatient for a decision. As a professional actor, she needed to know if she would get the job. If not, she would pursue other acting jobs. Selznick wrote to Bankhead that despite promising screentests, he was “still worried about the first part of the story” adding, “frankly if I had to give you an answer now it would be no,” though she remained “a strong possibility.” Bankhead replied on Christmas Day, “As I see it, your wire to me means one thing—that if no one better comes along, I’ll do.”

12 Unidentified photographer Tallulah Bankhead, ca. 1936 Gelatin silver print 13 Memo from Katharine Brown to David O. Selznick, September 23, 1936 Selznick’s concern about casting Tallulah Bankhead as Scarlett centered on how the 34-year-old actress would look in the early parts of the film. Selznick, Brown, and director George Cukor took her quite seriously and encouraged her preparations for the test. But they did not want the notoriously hot tempered actress to know that Louise Platt and others were also being considered for the part. 428 Teletype from David O. Selznick to Jock Whitney, December 24, 1936 As the year wore on, Bankhead began pressuring Selznick to make a decision about casting her in Gone With The Wind. She was a professional actor and needed to know whether she had the job. Here, Selznick tells her that he is still worried about how she will appear in the early part of the film and declines to give her a firm answer. 429 a, b Letter from Tallulah Bankhead to David O. Selznick, December 25, 1936 Responding to Selznick’s teletype of the day before, Bankhead informs him that she is withdrawing from consideration for the role of Scarlett O’Hara. Obviously disappointed, she is nevertheless gracious and offers hope that a “miracle happens and that you find your ideal Scarlett because I am as sentimental and rabid on the subject as all the others.”

WALL C TP7 Sidney Howard Fall 1936 At the same time Selznick was struggling with casting decisions, he had the daunting task of preparing a screenplay for Gone With The Wind. The novel was over 1,000 pages long, was epic in scope, and was set against a backdrop of the nation’s bloodiest and most divisive conflict. Despite being asked repeatedly, Margaret Mitchell refused to do the adaptation. Selznick fired his initial choice for screenwriter, Jane Murfin, in favor of Pulitzer Prize–winning playwright and noted Hollywood screenwriter Sidney Howard. Nevertheless, developing the right screenplay—the foundation and blueprint of the entire project—proved to be an enormously difficult task, one that would vex Selznick throughout the production. 20 Teletype from David O. Selznick to Katharine Brown, ca. 1936 When Kay Brown told Selznick that Sidney Howard was available for screenwriting assignments, Selznick said he wanted Howard for an original story, “Man with a Young Wife,” but a week later, when Brown mentioned Howard’s interest in Gone With The Wind, Selznick jumped at the chance to hire him for the project. 19 George Brown for the New York Journal-American Sidney Howard, February, 1936 Digital reproduction from original gelatin silver print TP8

“Stop Planting Stories About Hepburn” October 9, 1936 By the end of 1936, Selznick realized that he was going to need more time and money to make Gone With The Wind. Worried that the public would lose interest, Selznick authorized various activities to keep awareness of the film production high. He tried unsuccessfully to acquire rights to serialize the novel in a magazine and allowed Sears, Roebuck and Co. to sponsor a radio drama based on a chapter of the novel. In addition, Selznick’s head of publicity, Russell Birdwell, began planting press stories about Katharine Hepburn’s interest in the part of Scarlett. Public interest in who would play the part was so intense by this point, however, that such stories became a nuisance. 24 Cross reference sheet regarding a telegram from Silvia Schulman to David O. Selznick, August 7, 1936 Katharine Hepburn was the first of many established actors to express interest in the role of Scarlett O’Hara. 21 Memo from Silvia Schulman to Russell Birdwell, October 9, 1936 Birdwell, Selznick’s head of publicity, was planting stories in the press to maintain the public’s interest in Gone With The Wind, but the effort proved unnecessary. 23 Unidentified photographer Katharine Hepburn, ca. 1936 Gelatin silver print

TP9 “Honey Chile” October 13, 1936 Kay Brown had seen “bits and pieces of publicity” about a woman named Betty Timmons being touted as the perfect Scarlett. After a flurry of teletypes and letters from Selznick and others, Kay Brown began to grow suspicious. “Being an old hand at this racket,” Brown surmised that Timmons had managed to plant the stories in the press as part of a campaign to win the part. After reading Brown’s dismissive report on Timmons, everyone in Selznick’s Hollywood office began referring to her as “Honey Chile.” Despite Brown’s report, however, George Cukor consented to auditioning Timmons in January 1937. Brown reported that Timmons “behaved beautifully which was a disappointment for me. She’ll probably end up as Scarlett.” While Betty Timmons waged one of the most aggressive campaigns for the part, she was certainly not alone. As Selznick made it known across the country that he was looking for an “unknown” for the role of Scarlett, many other women decided to make a play for the part.

783, 778 Associated Press Wire Photo Betty Timmons, not dated Gelatin silver print Memo from Katharine Brown to David O. Selznick, October 13, 1936 Brown’s report on meeting Betty Timmons was a source of great amusement in Selznick’s Hollywood office. Timmons went so far as to contact Margaret Mitchell. Initially friendly, Mitchell soon issued a statement denying they had ever met. WALL D TP10 The Invasion of the South November–December 1936 Despite being asked repeatedly, Margaret Mitchell refused to help with the screenplay of Gone With The Wind. She was quite happy, however, to meet and talk with the director, writer, and anyone else from Selznick’s company. Selznick planned to send George Cukor and Sidney Howard to Atlanta to meet Mitchell, scout locations, and conduct auditions. Kay Brown was to organize and supervise the entire enterprise, one she facetiously called “the Invasion of the South.” Her plan was to contact college drama departments, Junior Leagues, and Little Theater groups. Along with Anton Bundsmann and her secretary, Harriett Flagg, Brown would select the most promising candidates to meet with Cukor. Unfortunately, Cukor was ultimately unable to join the trio. The response to the call for auditions was overwhelming. Where Brown thought a dozen or so would show up to audition, hundreds would descend. For many it was an event, a chance to be a part of the story that had taken the country by storm. For Kay Brown it was a disappointment. Almost no one she met on this expedition had either training as an actor or any natural talent.

457 Winn for the Atlanta Journal Photo of Brown, Bundsmann, and Flagg in Atlanta, December 2, 1936 Digital reproduction Kay Brown and her secretary, Harriett Flagg, handled the logistics of the open auditions in the South while Anton Bundsmann rehearsed with the actors and directed their performances. Publicity for the talent search was intended to attract suitable talent and promote interest in the film production, but the public’s response overwhelmed the three talent scouts. Anton Bundsmann later changed his name to Anthony Mann and became one of Hollywood’s top directors. 456 Memo from Katharine Brown to David O. Selznick, November 11, 1936 Brown thought “the pilgrimage to the south sounds as though it will be terrific work but enormous fun.” Her plan was to focus her talent search on colleges in Georgia and neighboring states and on Little Theater groups. 27 Kay Brown’s character description of Scarlett O’Hara Brown crafted descriptions of Scarlett and other important characters in the novel, sending them to every agent in New York and passing them out at the open auditions in the South. 26 Teletype from Katharine Brown to Silvia Schulman, December 2, 1936

Brown’s report on the auditions in Charleston begins with an explanation that her messages must be sent by secure teletype because telephone operators were listening in on her telephone conversations and everything she says is “broadcast to the winds and published post haste.” The report goes on to suggest the chaos of the open auditions and mentions Alicia Rhett as a standout. She ends the report by noting that Margaret Mitchell intends to put on a disguise and attend the Friday auditions and that Mitchell has provided some whiskey for the talent scouts to help calm their nerves. 448, 25 Memo from Katharine Brown to David O. Selznick, December 14, 1936 Unidentified photographer Alicia Rhett, ca. 1939 Gelatin silver print Alicia Rhett, Susan Falligant, and Louisa Robert were standouts during the open auditions in the South. Rhett, in particular, made an impression on the talent scouts who thought she showed promise for the role of Melanie. She was ultimately cast as Ashley’s sister, India. 449 a,b Memo from Katharine Brown to David O. Selznick, December 5, 1936 In her final report to Selznick on the southern talent search, Brown makes a key point. Because the vast majority of people they met had neither training nor natural talent, it would be a waste of time and money to look anywhere else but Little Theater groups or colleges and universities with drama departments. Selznick felt that Brown’s idea that they cast young women from each southern state in the “barbeque” scene would be good for publicity. TP11

The “Creole Girl” Winter 1936 Kay Brown decided open auditions were a waste of time and focused on finding talent within university drama departments and Little Theater groups. At the end of their southern talent search, Brown, Bundsmann, and Flagg visited the Vieux Carré Theater in New Orleans. There they found a young woman who, more than any other amateur actress they had auditioned, made them think of Scarlett O’Hara. Her name was Adele “Billie” Longmire, referred to as the “Creole Girl” in company communications. Selznick, Whitney, and Cukor were intrigued, and for months Kay Brown tried to arrange a trip for Longmire to New York or Los Angeles for a screentest. Her parents opposed the trip, however, objecting primarily to the long-term contract Selznick required, an obstacle to signing for many of the amateur actors Selznick’s scouts found in the South. Ultimately, Longmire opted for a career in the theater rather than in film. 459 Teletype from Katharine Brown to David O. Selznick, December 9, 1936 Brown’s report on the visit to New Orleans mentions that she “believe[s] Creole Girls a find.” 30 Teletype from Harriett Flagg to Katharine Brown, February 15, 1937 Adele Longmire’s parents objected to the long-term contract, which they felt gave almost unlimited power to the producer and none to the actor. Many other amateur actors discovered during the talent search voiced the same concerns. 28

“Hollywood Glamour Fails to Blind Her, New Orleans States,” April 2, 1937 Less than two weeks after this newspaper story appeared, George Cukor travelled to New Orleans to interview Adele Longmire. Although she was ambivalent about acting in films, she eventually moved to New York to pursue a career on the stage. 29 Teletype from Katharine Brown to David O. Selznick, April 14, 1937 After Cukor’s meeting with Adele Longmire, Selznick and Brown tried for months to sign her to a long-term contract. Bernard Szold, the director of the Vieux Carré theater in New Orleans, tried to interest MGM in her as well. TP12 The First Protest Winter 1936 In late October 1936, Selznick began receiving letters of protest against the filming of Gone With The Wind. A summary report outlines opposition “on the grounds that it is un-American, anti-Semitic, anti-Negro, Reactionary, pro-Ku Klux Klan, pro-Nazi and Fascist.” Selznick was advised by his staff to ignore the situation, but as more cards and letters arrived, some including “threats of definite and specific action,” Selznick decided they should “get up a form letter (separately typed because a printed or mimeographed letter might be a confession of the number of letters we have received) stating that we think complaints against the picture, in advance of the production, are unfair and that they may be sure we feel as keenly as they do about picture material that would carry with it any propaganda of antagonism and that the negro [sic] will be treated with the greatest respect in the picture.” 31 Cards protesting the production of Gone With The Wind, October 1936

The first cards and letters protesting the production of Gone With The Wind were sent from Brooklyn in late 1936. The writers were concerned that the characterization of African Americans in the novel would be amplified in the mass medium of film. TP13 Through Scarlett’s Eyes December 1936 Margaret Mitchell’s comment that Gone With The Wind was “projected through Scarlett’s eyes” and Kay Brown’s observation that southerners wanted their region depicted as beautiful and genteel greatly influenced Selznick’s conception of the film, as did the many letters and comments urging him to be historically accurate and to present a “true picture of the South.” Indeed, the conflict between beauty and historical accuracy would come up constantly throughout the production. 32 Excerpt of a memo from Katharine Brown to David O. Selznick, December 11, 1936 While Selznick wanted Gone With The Wind to be completely authentic, he was also a showman who looked for every opportunity to depict beauty and create spectacle. The question of how much artistic license he should take with the story would come up repeatedly as the production progressed. 443, 33 Unidentified photographers Images of southern mansions from Selznick’s Research Department Gelatin silver print and clipping from National Geographic, issue 3, 1926. Lillian Deighton, the head of Selznick’s research department, compiled volumes of photographs and accounts of events for use by the production

team. Ultimately, the mansions in the film were modeled after those in Louisiana and Mississippi, not ones in Georgia. TP14 First Draft Fall 1936 Sidney Howard delivered his 50-page “Preliminary Notes on a Screen Treatment of Gone With The Wind” on December 14, 1936. Although Selznick agreed with most of Howard’s thoughts on how to shape the story into a manageable screenplay, he replied on January 6, 1937, with eight pages of his own notes. Selznick regarded the process as an “enormously difficult editing job” that involved decisions about what parts of the story could be cut and what parts combined. Howard was happy to go along with Selznick’s idea to cut out the Ku Klux Klan entirely, for example, but other cuts and changes would prove to be much more difficult. With Selznick’s notes in hand, Howard began work on the final screenplay. He felt strongly that he needed face-to-face meetings with Selznick and Cukor to work out some of the more difficult parts of the story, but these meetings proved difficult to schedule. Howard’s first draft, delivered on February 12, 1937, was 250 pages long, twice the length of a standard screenplay. 35 Letter from Sidney Howard to David O. Selznick, January 11, 1937 In this letter, Howard mentions Selznick’s reaction to his “Preliminary Notes on a Screen Treatment.” Selznick had suggested, among other things, eliminating all mention of the Ku Klux Klan, adding that he had “no desire to make an anti-Negro film.” Howard agreed, but other cuts and transitions between plot points would be much more difficult. Selznick, Howard, and many other screenwriters would struggle with this problem throughout the production.

TP15 Selznick’s Theory of Adaptation January 1937 Selznick’s reputation as a filmmaker was built on successful film adaptations of classic novels, such as David Copperfield (1935) and A Tale of Two Cities (1935). In the course of making these films, he developed his “Theory of Adaptation.” Selznick’s memo to his publicity men, Russell Birdwell and Ring Lardner, Jr., regarding an upcoming radio broadcast succinctly explains this theory. Selznick thought that the key to a successful screen adaptation was to stay faithful to the source material, making “no attempt to correct seeming faults in a successful novel but to include these seeming faults of the novel with its seeming successes.” Selznick’s determination to follow this system would create conflicts throughout the production of Gone With The Wind. 36 Memo from David O. Selznick to Ring Lardner, Jr., and Russell Birdwell, January 7, 1937 Selznick developed his “Theory of Adaptation,” briefly described here, in the course of adapting many classic novels into film. He insisted on applying his theory to Gone With The Wind.

WALL E TP16 Cukor’s Trip South Spring 1937 George Cukor was unable to join Kay Brown on the “Invasion of the South” trip as originally planned. After many schedule changes, he finally arrived in New York on March 15, 1937. There he met and auditioned the three young women Brown discovered on the talent search. Of the three, only Alicia Rhett impressed him. He felt she had “a fine quality” but worried that the role of Melanie might be beyond her abilities. Cukor had read Brown’s reports and was reluctant to visit Atlanta. Sidney Howard argued that the studio would be vulnerable to criticism if the director of the film did not make a public visit to the city where the story takes place. Margaret Mitchell agreed. Kay Brown reluctantly agreed to accompany Cukor but wanted it “clearly and distinctly understood that I am being a complete martyr and that nobody shall say I am doing this because it will be fun to be there.” Cukor and Brown’s visit went well. Mitchell toured the area with them and arranged a press gathering where she introduced Cukor to two people who would become consultants on the film, Wilbur Kurtz, a noted Civil War historian, and Susan Myrick, a newspaper reporter and old friend of Mitchell’s. 464 Memo from Silvia Schulman to Katharine Brown, February 2, 1937 George Cukor had read Kay Brown’s accounts of the open auditions in the South and worried he might be mobbed when he traveled there. 462 Letter from Margaret Mitchell to Katharine Brown, March 8, 1937

Mitchell agreed with Sidney Howard that Atlanta’s citizens and press would be offended if George Cukor attempted an incognito visit and offered to help make his trip comfortable. 38 “Gone With Wind” Director Really Seeking Atmosphere, Atlanta Journal, March 29, 1937 Digital reproduction from original George Cukor and art director Hobe Erwin came to Atlanta to research southern culture and architecture. Margaret Mitchell gave the pair a tour of Atlanta, including a trip along the road that Scarlett took to Jonesboro and Tara. 37 “Sylvia Sidney’s Rivals for Film Role,” New York American, March 15, 1937 460 Memo from David O. Selznick to Katharine Brown, March 20, 1937 Louisa Robert, Susan Falligant, and Alicia Rhett were discovered by Kay Brown during her “Invasion of the South” talent search. Cukor met and auditioned them in New York. Of the three, only Rhett impressed him. 40, 484 [combined label] Memo from George Cukor to David O. Selznick, March 29, 1937 Unidentified photographer Wilbur Kurtz (cutting cake) and Susan Myrick (looking over Kurtz’s shoulder) at Kurtz’s birthday party, not dated

Gelatin silver print Cukor’s report to Selznick on his trip south focuses on Margaret Mitchell and their research. He also mentions Wilbur Kurtz and Susan Myrick, both of whom would serve as historical and cultural advisors on the film. TP17 The Invitation Spring 1937 During George Cukor’s trip to the South, the mayor of Atlanta, William B. Hartsfield, wrote to Selznick with the suggestion that the world premiere of the film be held in Atlanta. Although Selznick thought it was a great idea, his reply was noncommittal. None of the principal parts were cast, and he had no idea when he would begin filming. Two years later, when the press announced that filming had begun on Gone With The Wind, Mayor Hartsfield again invited Selznick to hold the film’s premiere in Atlanta. 41 Letter from Atlanta mayor William B. Hartsfield to David O. Selznick, March 19, 1937 WALL F TP18 Norma Shearer Spring 1937 On March 21, 1937, Walter Winchell, the American newspaper and radio gossip commentator, reported that Selznick was desperately trying to get Norma Shearer to play Scarlett O’Hara. The public response was overwhelmingly against casting Shearer in the part—as Melanie, perhaps, but not as Scarlett.

Shearer was one of the top stars at MGM. Her late husband, Irving Thalberg, had been head of production at MGM, and the couple had been the first to invest in Selznick’s new production company. Selznick had been talking to MGM about casting Clark Gable as Rhett Butler. With Gable as Rhett, Shearer would seem a natural for Scarlett, as they had been paired in two films already and were planning a third. Selznick told the Hollywood Reporter that his “conversations with Miss Shearer have been most informal,” adding that he intended to cast an unknown as Scarlett. A week later, Selznick and Shearer issued a joint denial of Winchell’s announcement. 42 Teletype from Russell Birdwell to Lowell Calvert, March 30, 1937 The public’s reaction to Walter Winchell’s gossip column announcing Norma Shearer for the part of Scarlett was so overwhelmingly negative that Selznick persuaded Shearer to join him in issuing this joint statement denying the story. 43 Attributed to Clarence Sinclair Bull Norma Shearer, ca. 1937 Gelatin silver print TP19 Paulette Goddard Spring 1937 Paulette Goddard was a former Ziegfeld Girl who played uncredited bit parts in films until Charlie Chaplin cast her in Modern Times (1936). Goddard, under contract with Chaplin, was romantically linked to him as well. Concerns about how the public might respond to her cohabitation with Chaplin and her difficult and demanding behavior toward Selznick’s staff

would work against her as she aggressively pursued the part of Scarlett O’Hara. Selznick and Chaplin were partners in United Artists, which was the likely distributor of Gone With The Wind. Goddard made more screentests for the role of Scarlett than anyone else and eventually signed an option agreement with Selznick in anticipation of getting the part. 45 Teletype from David O. Selznick to Daniel O’Shea, May 10, 1937 Selznick made more screentests of Paulette Goddard as Scarlett than of any other actress considered for the role. Her complicated romantic and business relationship with Charlie Chaplin prevented Selznick from giving her the part. 44 Selznick International Pictures Makeup still of Paulette Goddard as Leslie Saunders in The Young in Heart (1938) Gelatin silver print 410 Telegram from David O. Selznick to Dr. Samuel Hirshfeld, May 15, 1937 Benzedrine—a type of amphetamine originally developed to dilate bronchial passages—was popular in Hollywood for its energy enhancing and appetite suppressing effects. David O. Selznick reportedly swallowed the pills “like popcorn” and emptied entire bottles into his jacket pocket, taking them as needed and offering them to others on the production. It was not until after World War II, when many returning soldiers complained of Benzedrine habits, that the medical establishment began looking into the growing problem.

Hirshfeld, a well-known Hollywood medical figure, was Selznick’s physician at the time. TP21 The Bigelow Twins Summer 1937 The parts of the Tarleton twins proved particularly difficult to cast. Selznick simply could not find any twins who could also act. Several people suggested the twins be changed to brothers, but Selznick insisted on remaining faithful to the novel. Hugh and Albert “Bert” Bigelow, twin brothers from a prominent Massachusetts family, were front runners for the parts. Anton Bundsmann thought their “conglomeration of Harvard and Southern accents” was “quite charming.” But scheduling and contract negotiations proved difficult. In earlier versions of the script, the Tarleton twins appeared in several scenes over the course of the story. Scheduling the filming of these scenes close enough together to mitigate the cost of carrying two bit players proved impossible. Selznick considered using one actor and a double exposure special effect, but his production staff talked him out of it. So he began cutting the twins’ scenes and considered cutting their parts altogether. 47 Teletype from John Darrow to George Cukor, June 2, 1937 John Darrow was a former actor turned casting agent who took over the southern talent search after Cukor’s trip to Atlanta. He was primarily looking for Scarlett candidates but was trying to cast other roles as well. 46 DeBarron Hugh and Albert Bigelow, ca. 1937

Gelatin silver print Wall G TP22 Casting African Americans 1937–1939 On June 21, 1937, the Cotton Club of Birmingham, Alabama, offered to host a contest for “the best Negro performer and actor” and pay the winner’s expenses to travel to New York for a screentest. Selznick told them he did not want to participate, partly because he did not know the starting date for filming but also because he felt that if he did not cast the winner of the contest, he risked alienating everyone involved. Selznick did not need contests to generate interest in the African American roles. In New York, Kay Brown and Anton Bundsmann were auditioning African American actors daily. One standout was Rex Ingram. He was the favorite for Big Sam but opted to take the part of Jim, opposite Mickey Rooney in The Adventures of Huckleberry Finn (1939), instead. Georgette Harvey, who had appeared in the original Broadway cast of Porgy and Bess, was seriously considered for the part of Mammy. Elizabeth McDuffie, Eleanor Roosevelt’s maid, asked to be considered for that part as well. She was given serious consideration, but Selznick ultimately instructed Kay Brown to let her down “diplomatically.” 48 Letter from Martel Brett to David O. Selznick, June 21, 1937 Brett was the president of the Cotton Club in Birmingham, Alabama. Kay Brown replied on behalf of Selznick on June 25, 1937, writing, “Due to the fact that at the present time we have no definite starting date on the production of Gone With The Wind, we feel it inadvisable at the present time to have any contests for screen roles.” 693

Letter from Sol Lesser to George Cukor, November 10, 1936 Louise Beavers’s role as Delilah Johnson in Imitation of Life (1934) impressed Selznick. She was Selznick’s top choice for the role of Mammy in Gone With The Wind, and she appeared in his film Made for Each Other (1939). Yet there is not a clear record why she never made a screentest or why she was not cast for the role. 110 Selznick International Pictures Louise Beavers and Carole Lombard in Made for Each Other, 1939 Gelatin silver print 49 Memo from Anthony Bundsmann to George Cukor, April 27, 1937 Anthony Bundsmann’s report to George Cukor on the audition schedule for African American actors in New York includes actors with a wide range of experience. J. Louis Johnson, James H. Dunmore, and Richard Huey were seasoned New York actors. Huey formed the Richard Huey Players, which was active in Harlem in the 1930s. Ollie Burgoyne had a long career as a dancer, most notably with the New Negro Art Theater. Alec Lovejoy made several films with African American filmmaker Oscar Mischeaux. Rex Ingram had recently appeared in The Green Pastures, and Georgette Harvey originated the role of Maria in Porgy and Bess. 700 Memo from Katharine Brown to Marcella Rabwin, October 28, 1938 Born in St. Louis, Missouri, Georgette Harvey made a name for herself in New York and in Europe as a singer. She is best known today for portraying

the role of Maria in the original 1935 production of George Gershwin’s Porgy and Bess. 742 Georgette Harvey in a screentest for the role of Mammy with Margaret Tallichet playing Scarlett Frame enlargement 694 Memo from David O. Selznick to Russell Birdwell, August 23, 1937 Elizabeth McDuffie, often referred to in Selznick correspondence as “Whitehouse McDuffie,” was given serious consideration for the role out of respect for her employer, Eleanor Roosevelt. 695 Letter from Eleanor Roosevelt to Katharine Brown, April 22, 1937 Eleanor Roosevelt had read Gone with the Wind and supported her maid’s desire to play the part of Mammy. Despite her “histrionic ability,” McDuffie failed to impress Brown and Bundsmann. 741 Ebony, April 1952 Digital print from microfilm In 1952, Elizabeth McDuffie recounted her audition for the role of Mammy in Gone With The Wind for Ebony magazine. 698, 697

Memo from David O. Selznick to Max Arnow, November 21, 1938 Memo from Max Arnow to David O. Selznick, November 21, 1938 696 Unidentified photographer for the New York Journal-American Rex Ingram, Dr. Christian Reisner, and Oscar Polk, ca. 1937 Gelatin silver print Rex Ingram, who portrayed the Lord in The Green Pastures, and Oscar Polk, who played Gabriel, talk to Dr. Christian Reisner (center) about their experiences making the film. Selznick wanted Ingram for the role of Big Sam in Gone With The Wind, but Ingram chose instead to play Jim opposite Mickey Rooney in the 1939 film The Adventures of Huckleberry Finn. WALL H TP23 Technicolor Summer 1937 As the production of Gone With The Wind was growing in size and expense, Selznick floated the idea of making it as two pictures instead of one. United Artists, the probable distributor, was willing to consider this idea. Selznick also debated whether to make the film in black and white, the standard at the time, or in color under Pioneer’s contract with Technicolor. Jock Whitney and Selznick liked the idea of filming in color, but others argued against it. Color would add tremendously to the cost of making the film because of the need for special cameras, larger and brighter lights, and the electricity to power them. The cost of processing the film, cutting the negatives, and making projection prints was much higher than for black and white and had to be done at the Technicolor lab. Although Technicolor made concessions that helped justify the added expense, no one was sure if making Gone With The Wind in color would actually bring larger audiences to the theater.

53 Memo from David O. Selznick to Henry Ginsberg, August 26, 1937 Technicolor agreed to categorize Gone With The Wind as a “super picture.” This meant that it counted as two pictures, thus enabling Pioneer to complete its contract with Technicolor. TP24 Choosing Rhett Fall 1937 From the outset, Clark Gable was the overwhelming popular choice for the part of Rhett Butler. Gary Cooper was also a compelling option, but neither MGM nor Samuel Goldwyn was eager to loan their top male star. Warner Brothers was willing to loan Errol Flynn for the role, but Selznick was not sure he was right for the part. Selznick’s negotiations with the three companies would drag on for almost a year. 58 Memo from David O. Selznick to John Wharton, September 20, 1937 Selznick was just as concerned about casting the role of Rhett Butler as he was about casting Scarlett O’Hara. In this confidential memo to SIP’s vice president, John Wharton, Selznick explains his options. 54 Chart comparing possible deals with Warner Brothers and MGM Selznick’s objective was to cast Clark Gable, the public’s clear favorite for Rhett, but Selznick had to decide how much he was willing to give up to get him. Pencil notations are in Selznick’s hand.

55 Unidentified photographer Gary Cooper, ca. 1937 Gelatin silver print Gary Cooper, who had recently signed with Samuel Goldwyn, was Selznick’s top choice for the role of Rhett if he couldn’t get Clark Gable for the part. 57 Unidentified photographer Errol Flynn, ca. 1937 Gelatin silver print Errol Flynn made a name for himself at Warner Brothers in swashbuckling action films such as Captain Blood (1935) and The Adventures of Robin Hood (1938). Flynn was Selznick’s least favorite option on his short list for Rhett Butler. 56 Unidentified photographer Clark Gable, ca. 1937 Gelatin silver print Clark Gable was the public’s clear favorite for the role of Rhett Butler. TP25 Censorship Fall 1937

William Harrison Hays was the first president of the Motion Picture Producers and Distributors of America. The organization was formed to clean up the image of the motion picture industry after a series of scandals in the 1920s. The “Production Code,” a self-imposed code of behavior for the motion picture industry, was nicknamed “the Hays Code.” In 1934, Joseph Breen took over the office that enforced the code. The Production Code of the late 1930s laid out broad principles governing what was and was not acceptable in motion pictures. In the interest of efficiency and economy, it was decided that producers would submit their screenplays to the Hays Office in advance of filming so that any objectionable material could be identified before it was committed to film. Val Lewton, the head of Selznick’s story department, was the chief liaison with the Hays Office and was kept in close contact as changes were made to the screenplay of Gone With The Wind. 59 Letter from Joseph Breen to David O. Selznick, October 14, 1937 The depiction of painful childbirth, intimations of rape, prostitution, gruesome wartime surgery, and strong language in Gone With The Wind provoked serious disagreements between Selznick and the Hays Office censors. TP26 Jezebel Winter 1937–1938 Selznick jealously guarded his ownership of the rights to Gone With The Wind and objected to any film production that appeared to capitalize on the public’s interest in the novel. Eddie Cantor wanted to present a spoof of the novel on his radio show, and Hal Roach registered the title “Gun With The Wind” for his Little Rascals. A short titled Gone With The Wind Country prompted legal action. But nothing got under Selznick’s skin like Warner Brothers’ film Jezebel, released in 1938. Not only did he feel the story about

a headstrong young woman set against the backdrop of the Civil War was too close to that of Gone With The Wind, he also thought Warner Brothers was capitalizing on the title of his film in their promotion and advertising. When Selznick filed a complaint with the Hays Office, Harry Warner denied any wrongdoing, and Hays decided the two films differed enough that the matter should be dropped. Although Selznick was annoyed at Warner Brothers for its handling of Jezebel, he did not want to antagonize the studio because he was still considering its star, Errol Flynn, for the lead in Gone With The Wind. 60 Warner Brothers Film still from Jezebel, 1938 Gelatin silver print Fiercely protective of his movie property, Selznick refused to consider Henry Fonda for Ashley because he starred in Jezebel. Selznick would later demand to know whether any actor considered for Gone With The Wind had appeared in Jezebel or any other southern-themed film. 61 Letter from David O. Selznick to Harry Warner, December 1, 1937 Although Selznick confronted Harry Warner about Warner Brothers’ production and promotion of Jezebel, Selznick did not want to antagonize him but rather tried “to enlist his friendly cooperation in avoiding a steal both as to the content of the picture and the publicity, which could only reflect on the industry as a whole and on Warner Brothers in particular.” WALL I TP27 William Cameron Menzies and Lyle Wheeler Winter 1937–1938

Selznick, always thinking that the start date for filming Gone With The Wind was imminent, planned and prepared accordingly. One of the most important personnel decisions Selznick made was to hire William Cameron Menzies, the renowned art director of such films as The Thief of Bagdad and Sadie Thompson. Selznick created the term “production designer” to describe the position he had in mind for Menzies. Specifically, he would be in charge of designing, coordinating, and supervising all the visual aspects of a film—sets, costumes, cinematography, and special effects. Lyle Wheeler had joined Selznick’s company early on, working as set decorator on The Garden of Allah (1936) and then as art director for all subsequent Selznick International films, supervising the design, building, and dressing of all sets. Menzies and Wheeler assembled their staff of designers and concept artists, which included J. McMillan “Mac” Johnson and Dorothea Holt. Most were architects or recent graduates from architecture school. Although the start date for filming Gone With The Wind would be pushed back again and again, the art department’s lengthy preparations would eventually pay off when filming began. 63 Selznick International Pictures William Cameron Menzies and Lyle Wheeler, ca. 1938 Digital reproduction from original Production designer William Cameron Menzies (left) and art director Lyle Wheeler are pictured with some of the hundreds of concept paintings prepared for Gone With The Wind. 585 Memo from Marcella Rabwin to Henry Ginsberg, December 6, 1937

The start date for filming was pushed back again and again. When production finally began in December 1938, the art department was well prepared. 786 Memo from David O. Selznick to John Hay Whitney and John Wharton, September 1, 1937 In the last few paragraphs of this otherwise matter-of-fact letter about the problems of running a film studio, producer David O. Selznick changed the way films are made by creating a new position. Selznick’s idea was to have one person, a production designer, be responsible for conceiving, planning, and supervising the visual design of a film. The production designer would work closely with the director and cinematographer and guide the art director, costume designer, special effects director, and others to develop a unified “look” for a film. Within a few years it was standard industry practice to have this person on the production team of every film. 62 Selznick International Pictures William Cameron Menzies with some of the concept paintings for Gone With The Wind, not dated Digital reproduction from original negative 346 William Cameron Menzies Concept painting for the scene in which Scarlett hides under a bridge to avoid Union troops, not dated Watercolor and gouache on board 784

William Cameron Menzies Concept painting of Scarlett at Tara, not dated Watercolor and gouache on board 64 Selznick International Pictures Lyle Wheeler with an unidentified assistant, ca. 1938 Digital reproduction from original gelatin silver print 701 Attributed to Lyle Wheeler Elevation drawing of Tara, ca. 1938 Pencil on paper 485 Selznick International Pictures J. McMillan “Mac” Johnson, ca. 1938 Digital reproduction from original negative Mac Johnson graduated in architecture from the University of Southern California. He joined SIP after working with architect and industrial designer Kem Weber. After Gone With The Wind, Johnson went on to a successful career as art director for such films as Rear Window (1954), Desire Under the Elms (1958), and Mutiny on the Bounty (1962). 436 J. McMillan “Mac” Johnson Concept painting of the construction of the Butler House, not dated Watercolor and gouache on board

486 Selznick International Pictures Dorothea Holt, ca. 1938 Digital reproduction from original negative Dorothea Holt studied architecture at the University of Southern California and illustration at the Art Center College of Design. After Gone With The Wind, Holt continued her career as a concept artist on The Best Years of Our Lives (1946), Road to Bali (1952), and The Man Who Knew Too Much (1956). 348 Dorothea Holt Concept painting of Scarlett at the top of the stairs in the Butler House, not dated Watercolor and gouache on board PW1 TP28 The Story Department Winter 1937–1938 The screenplay for Gone With The Wind came together fitfully following the submission of Sidney Howard’s February 1936 draft. Over the next two years, Selznick repeatedly postponed scheduled story conferences and had Howard work on other films. When Selznick did focus on the Gone With The Wind script, he critiqued Howard’s work against Production Code notes from the Hays Office and cutting notes from his editor Hal Kern. He also relied greatly on notes and analysis from Franclien Macconnel, one of the best readers in Val Lewton’s story department. Early on, Macconnel had become the resident expert on the novel, writing a synopsis, extensive reports on character relationships, costumes, and settings,

a “Topical Dialogue Breakdown According to Characters,” and reports comparing the evolving script to the novel. Consequently, Selznick came to rely on Macconnel’s evaluation of the script pages as they came in. “The ideal script,” Selznick wrote to Macconnel on December 5, 1938, “would be one that did not contain a single word of [our] original dialogue, and that was 100% Margaret Mitchell. . . . With this objective. . . in mind, call to my attention even individual lines that might be substituted for original lines that we have created.” 593 Memo from David O. Selznick to Franclien Macconnel, December 5, 1938 Franclien Macconnel had developed in-depth knowledge of the novel and the screenplay and kept track of the differences and similarities between the two during production. 898 Chart of the seasons, February 4, 1939 This chart helped the filmmakers track the timeline of the story. WALL T PLUS PW2 TP29 Don’t Give Up the Scarlett Hunt Winter 1937–1938 The coast-to-coast search for Scarlett intensified in winter 1937–1938 as Selznick sensed that the script, financing, and casting of other roles were starting to come together.

While Kay Brown and associate Anton Bundsmann expanded the East Coast search to include fashion models, radio personalities, and stage actors, on the West Coast young casting directors Max Arnow and Will Price were interviewing ingénues and stock company players. John Darrow, a former actor turned talent scout, continued to travel through the South, focusing on colleges and Little Theater groups. And the general public enthusiastically responded to advertisements and media stories inviting them to apply for the role. 71 Memo from David O. Selznick to Katharine Brown, December 18, 1937 In late December 1937, Selznick was certain he would be able to start filming Gone With The Wind in a few weeks. Little did he know that his search for Scarlett O’Hara would go on a year longer. 433 Memo from John Darrow to David O. Selznick, July 16, 1937 John Darrow continued the talent search through the South begun in the fall of 1936 by Kay Brown and Anton Bundsmann. Like them, he focused on Little Theater groups and universities with drama departments. Although Darrow encountered a number of talented individuals, few were ready for a career in Hollywood. 70 Attributed to John Darrow Dorothy Shapard of New Orleans, Louisiana, not dated Gelatin silver print 68 Attributed to John Darrow

Kate Galbreath of Memphis, Tennessee, not dated Gelatin silver print 69 Attributed to John Darrow Ann Smith of Louisville, Kentucky, not dated Gelatin silver print 432 Memo from Katharine Brown to David O. Selznick, August 18, 1937 Like many amateur actors found during the casting search, Em Bowles Locker was less interested in pursuing a film career than in securing a onetime role in Gone With The Wind. This was a problem for Selznick. He knew that whoever starred in the film would become an instant high-value star, and he wanted that star to be under contract to his company. Yet the contract offered by Selznick, which gave almost unlimited power to the studio and very little to the actor, was unappealing. Still, Locker very much wanted to play the part of Scarlett and filmed a screentest for the role on February 15, 1938. 755 Wendell B. Powell, Richmond, Virginia Em Bowles Locker, ca. 1945 Gelatin silver print 774 Agreement between Em Bowles Locker and Selznick International Pictures, Inc., February 15, 1938 72

Selznick International Pictures Bebe Anderson, not dated Gelatin silver print 743 Letter from M. S. Suggs to Katharine Brown, March 10, 1937 Bebe Anderson was recommended by Mr. Suggs of the Alabama Theater in Birmingham, Alabama. Brown was impressed with the photos and arranged for an interview during her trip to Atlanta with George Cukor. Anderson signed an option agreement with the Selznick studio on May 20, 1937, and waited. Almost two years later, she was suddenly summoned to California, having been cast as Maybelle Merriwether. 73 Selznick International Pictures Margaret Tallichet, not dated Gelatin silver print Selznick cast Tallichet in small parts in A Star is Born (1937) and The Prisoner of Zenda (1937) and tested her four times for the part of Scarlett. After marrying director William Wyler in October, 1938, Tallichet left the acting profession. 870 Memo from Katharine Brown to David O. Selznick, September 29, 1937 Margaret Tallichet was groomed for stardom by Selznick. The Dallas native found work in Hollywood as a typist at Paramount Pictures where she was discovered by Carole Lombard. For more than a year, Kay Brown arranged for acting lessons and jobs in summer stock companies.

745 Tear sheet of Margaret Tallichet promotional layout in Vogue, 1937 In addition to bit parts and summer stock jobs, Selznick kept Margaret Tallichet in the public eye with photo layouts in national magazines. For this one, Edward Steichen photographed Tallichet wearing a costume from The Prisoner of Zenda (1937). 74, 690 Maurice Seymour Mercedes McCambridge, ca. 1937 Gelatin silver print Telegram from Turner to David O. Selznick, September 20, 1937 McCambridge was a 20-year-old senior at Mundelein College in Chicago when she auditioned for Gone With The Wind in September 1937. At the time, she was working her way through college as a radio actor on the NBC network, appearing in Dan Harding’s Wife and Timothy Makepeace. Although she was not cast in Gone With The Wind, McCambridge enjoyed a long career in film and television and continued her radio career through the 1950s. 751, 758 International News Photo Mary Elisabeth “Liz” Whitney, April 1940 Gelatin silver print Wire copy from David O. Selznick to George Cukor, March 29, 1937 Even Selznick’s partners at SIP got caught up in the mania surrounding the search for a new Scarlett. Dorothy Jordan, who was married to SIP partner Merian C. Cooper, was briefly considered for Scarlett but tested several times for the part of Melanie. Jock Whitney’s wife, Liz, decided in March

1937 that she wanted to shoot a screentest for the part of Scarlett as well, placing Selznick in an awkward position. 75, 691 Walter Thornton Agency Model composite photo of Edythe Marriner, ca. 1938 Gelatin silver print Memo from Katharine Brown to David O. Selznick, November 6, 1937 Edythe Marriner was working as a fashion model in New York City when she auditioned for Gone With The Wind. Because she had just turned 20, her mother co-signed her option agreement, which paid $200 a week and included a chaperoned trip to Hollywood for a screentest. Selznick liked her and used her in a number of tests with other actors but felt she was not right for the film. When her option ran out at the end of December, Selznick extended it on a week-to-week basis and, in early February 1938, learned that Marriner had signed with Warner Brothers and would soon change her name to Susan Hayward. 78, 754 Unidentified photographer Marcella Martin, 1939 Gelatin silver print Memo from Katharine Brown to Max Arnow, November 30, 1938 Max Arnow discovered Marcella Martin at the Little Theater in Shreveport, Louisiana. He noted, “This girl is quite good-looking, has a nice figure, and is a grand actress. Without doubt she is the best bet of the hundreds of people that I interviewed during my trip.” Kay Brown liked her, too. After seeing Martin’s screen test, she wrote to Arnow, “in both Alicia Rhett’s and Marcella Martin’s tests, a woman viewing them gets a feeling of reality, authenticity and gentility.” She added, “Incidentally, I got a great kick out of Tony’s sexy modern close-up of her. We think she out-Hedys Hedy [Lamarr].”

Martin was cast as Cathleen Calvert in Gone With The Wind. PW3 PLUS WALL U TP30 The Gable Deal Summer 1938 In the summer of 1938, after months of negotiations, Selznick finally secured Clark Gable as the male lead for Gone With The Wind. It was a handshake deal with Louis B. Mayer (Selznick’s father-in-law) and Nick Schenck, the principle executives in charge of MGM. In return for Gable, MGM would become the film’s distributor. One major factor that still had to be determined was whether Selznick International Pictures (SIP) would sell Gone With The Wind to MGM outright or attempt to make the film on its own with financing help from MGM. Either way, Selznick would produce. Ultimately, Selznick and MGM agreed that SIP would produce the film. MGM would provide Clark Gable, half the budget up to $1,250,000, and access to resources such as its stock company, equipment, and costumes. In return, they would receive half the profits from the distribution of the film for seven years and 25 percent thereafter. 79 Memo from David O. Selznick to John Hay “Jock” Whitney, June 10, 1938 Selznick sent this confidential memo to Whitney about his negotiations with MGM regarding the casting of Clark Gable in Gone With The Wind. MGM wanted to buy the production package from SIP outright. Jock Whitney wanted to work with MGM but maintain ownership of the property. Regardless of the arrangement, Selznick would remain producer. 715 Memo from David O. Selznick to Daniel O’Shea, July 23, 1938

As the details of the deal with MGM were being worked out, Selznick worried that his staff might lose sight of the fact that the whole reason for making the deal was to get Clark Gable for the part of Rhett Butler. TP31 The Confidential Player Summer 1938 In the initial stages of negotiations, MGM made it clear they wanted Norma Shearer to play Scarlett O’Hara. With the possible exception of Greta Garbo, Shearer was MGM’s top female star. She had been cast with MGM’s top male star, Clark Gable, in two films and was set for a third, Idiot’s Delight (1939). Gone With The Wind would potentially be their fourth and greatest pairing. Selznick, however, was sensitive to the overwhelmingly negative public reaction to Walter Winchell’s announcement a year earlier that Shearer had been cast in the part. He still had not given up on finding a new “personality” to play Scarlett. Still, for a brief period of time it looked as though Shearer would play Scarlett. Because negotiations were in progress, Shearer discreetly communicated her thoughts about the character and the script to Selznick through Kate Corbaley, one of Louis B. Mayer’s top advisors. 81 Clarence Sinclair Bull Norma Shearer and Clark Gable in Idiot’s Delight (1939) Gelatin silver print MGM’s two top stars—Shearer and Gable—had been cast together in A Free Soul (1931), Strange Interlude (1932), and Idiot’s Delight, all with great success. Had the public not so intensely disliked the prospect of Shearer as Scarlett, Gone With The Wind might have been their fourth film together.

80 Memo from Kate Corbaley to David O. Selznick, June 19, 1938 Corbaley, one Louis B. Mayer’s top advisors, communicates Norma Shearer’s thoughts on the character of Scarlett O’Hara. Selznick did not like Shearer’s suggestion that Scarlett be made more sympathetic in the latter part of the film. 414 Memo from Dorothy Carter to David O. Selznick, July 28, 1938 Carter’s monthly report on fan mail notes the overwhelmingly negative response to the false report that Shearer had been cast as Scarlett. The public had reacted just as negatively a year earlier. WALL R TP32 Walter White and the NAACP Summer 1938 In spring 1938, against a backdrop of heightened persecution of European Jews by the Nazi Party, Rabbi Barnett Brickner, chairman of the Social Justice Commission of the Central Conference of American Rabbis, wrote to Selznick urging him to exercise caution in dealing with the theme of race in Gone With The Wind. He wrote, “Surely, at this time you would want to do nothing that might tend even in the slightest way to arouse anti-racial feeling.” Brickner also wrote to Walter White, Secretary of the National Association for the Advancement of Colored People, who suggested that Selznick “employ in an advisory capacity a person, preferably a Negro, who is qualified to check on possible errors of fact or interpretation.”

Selznick hastened to assure White “that as a member of a race that is suffering very keenly from persecution these days, I am most sensitive to the feelings of minority peoples.” White also received assurances from screenwriter Sidney Howard that “Mr. Selznick and I. . . had both decided from the start, and independently of one another, that the picture should make no mention of the Ku Klux Klan and show no Negro violence.” On the matter of an advisor, Selznick suggested Hall Johnson, founder of the Hall Johnson Negro Choir. Roy Wilkins, assistant secretary of the NAACP, suggested Dr. Charles Wesley, dean of the graduate school at Howard University. Selznick put off the decision for six months. 85, 712 [joined into one label] Underwood & Underwood Studios Walter White, ca. 1938 Gelatin silver print Letter from Walter White to David O. Selznick, June 7, 1938 In his first letter to Selznick, Walter White, Secretary of the National Association for the Advancement of Colored People (NAACP), expresses apprehension about the effect the Gone With The Wind film will have on the public. He was echoing the concerns of Rabbi Barnett Brickner of the Social Justice Commission of the Central Conference of American Rabbis who quoted a member of the commission, “though the book reflects much of the attitude of the Old South with reference to the faithfulness of slaves on plantations before the War, nevertheless toward the end of the book, it is rather hard on Negroes and Reconstruction.” 713 Letter from David O. Selznick to Walter White, June 20, 1938 Selznick’s reply to White’s letter mentions his “intention to engage a Negro of high standing to watch the entire treatment of the Negroes.” The advisor he had in mind, Hall Johnson, was the founder of the Hall Johnson Negro Choir, which championed the African American spiritual as an art form and

became famous for its performance in the 1930 Broadway production and 1936 film production of The Green Pastures. Selznick was considering asking Johnson to contribute music to Gone With The Wind, although it is unlikely that Johnson knew he was also being considered for an advisory position on the film. 84 Letter from Walter White to David O. Selznick, dictated June 25, 1938 In his reply to Selznick’s June 20 letter, White again emphasizes his apprehension over the historical accuracy of the film based on what he has read in the novel and makes the additional point that “the motion picture. . . reaches so many Americans, particularly of the middle classes, that infinite harm could be done in a critical period like this when racial hatreds and prejudices are so alive.” 474 Letter from Roy Wilkins to David O. Selznick, July 25, 1938 Wilkins, assistant secretary of the NAACP, follows up on White’s letter of June 25 in which White suggested that Selznick hire an advisor “whose familiarity with the Reconstruction period would be somewhat more extended” than Hall Johnson’s. Selznick forwarded a copy of Wilkins’s letter to Lillian Deighton, head of SIP’s research department, but otherwise took no immediate action.

TP33 “Try To Make This Gable’s Next Picture” Summer 1938 As the details of the deal with MGM to cast Clark Gable as Rhett Butler were worked out, Selznick reminded his staff that Gable would be available for only a limited period of time when the filming of Idiot’s Delight finished. Selznick would have to wrap up all preparations for Gone With The Wind, including the search for Scarlett, by that date. With Clark Gable signed, all of Selznick International Pictures shifted into high gear. Selznick finally had what he had been trying to arrange for two years, a start date. 86 Unidentified photographer Louis B. Mayer signing the contract between MGM and Selznick International Pictures, August, 1938 Gelatin silver print This publicity photo of David O. Selznick, MGM executives Eddie Mannix and Al Lichtman (standing, left to right), and Clark Gable looking on as Louis B. Mayer pretends to sign the contract was shot several days after the fact. The contract had actually been signed on August 25 by Selznick and Lichtman. Gable would be available immediately after completing Idiot’s Delight in January 1939. 87 David O. Selznick’s notes on the negotiations with MGM, July 29, 1938 Selznick’s notes emphasize Clark Gable’s importance to the production: “They must definitely agree to deliver Gable on the specified date and it must be worded as the essence of the contract and the reason for making the deal . . . that they deliver Gable without fail and without putting him in any other picture.”

714 MGM and SIP contract for Clark Gable’s services, August 25, 1938 TP34 Lana Turner and other Studio Stock Players Fall 1938 While John Darrow continued his search through colleges and Little Theater groups in the South, and Kay Brown and Anton Bundsmann interviewed actors in the New York theater world, Max Arnow interviewed almost every available starlet in Hollywood who wanted a chance to try out for the part of Scarlett. While most were passed over, a few, such as Lana Turner and Evelyn Keyes, were seriously considered. Based on her fall 1938 screentest with Melvyn Douglas as Ashley, Selznick found Lana Turner “completely inadequate, too young to have a grasp of the part. . . and surprisingly uninteresting in view of how fascinating she is as a modern young flapper.” 89 a-c Memo from Max Arnow to David O. Selznick, September 12, 1938 Clark Gable signing on to Gone With The Wind in late August established a start date for filming, just three months away. Selznick began focusing more and more on Hollywood actresses, especially young stock players in the studios, in his search for the right actress to play Scarlett. 777 Lana Turner in her screentest for Gone With The Wind, with Melvyn Douglas as Ashley Digital reproduction from original screentest

Selznick thought Turner “completely inadequate, too young to have a grasp of the part apparently, and generally surprisingly uninteresting in view of how fascinating she is as a modern young flapper.” Douglas, Selznick thought, “gives the first intelligent reading of Ashley we’ve had, but I think he’s entirely wrong in type, being much too beefy physically and even mentally—suggesting a lieutenant of Rhett Butler’s rather than an aesthetic, poetic and defeated Ashley.” 721 Unidentified photographer Evelyn Keyes, ca. 1938 Gelatin silver print Evelyn Keyes was under contract to Cecil B. DeMille at Paramount Pictures when Selznick’s casting department suggested her for a role in Gone With The Wind. 76 Unidentified photographer Photograph of Anita Louise, ca. 1938 Gelatin silver print Anita Louise started as a child actor in silent films and gracefully made the transition to adult roles. She was a favorite in period and costume dramas such as Madame DuBarry (1934), A Midsummer Night’s Dream (1935), Anthony Adverse (1936), and Marie Antoinette (1938). In later years she starred in the television series My Friend Flicka. WALL S TP35 Wilbur Kurtz and Susan Myrick Winter 1938–1939

Selznick hired Wilbur Kurtz and Susan Myrick as historical advisors to the film. Kurtz was well known in Atlanta as an authority on the Civil War and the Atlanta Campaign. A professional draftsman and illustrator from Illinois, he had moved to Atlanta after the turn of the century to pursue his interest in history. Susan Myrick was a journalist with the Macon Telegraph as well as an educator, civic leader, painter, and close friend of Margaret Mitchell’s. Mitchell recommended Myrick as an advisor in a February 14, 1937 letter to Kay Brown: “You said that you’d like to have me there to pass on the authenticity and rightness of this and that. . . . Well I can’t go and you know why. But I thought if you really wanted a Georgian for the job there wouldn’t be anyone better than Sue.” Kurtz and Myrick both insisted on salaries far higher than Selznick was willing to pay. But neither could afford to move to California for an extended period at low pay. In the winter of 1938, as the start date for filming loomed, Selznick and the two advisors came to terms. Cukor and Menzies were thrilled. In fact, virtually everyone on the production staff found the advisors’ contributions “invaluable.” 67 Selznick International Pictures Art director Lyle Wheeler (left) and historical advisor Wilbur Kurtz discussing sketches Gelatin silver print 349 Wilbur Kurtz Plot plan of Tara, not dated Ink on paper Kurtz provided historical background and advice on costumes, props, and sets. Among his most important contributions were his research and insight

regarding the buildings and layout of downtown Atlanta and the citizens’ appearance and behavior during the siege. 93 Selznick International Pictures Susan Myrick, Olivia de Haviland, and Vivien Leigh, not dated Gelatin silver print Susan Myrick (center) was hired to provide advice on southern etiquette and culture. Myrick was close friends with Margaret Mitchell, providing both Mitchell and Selznick with a back channel for communication and a measure of confidence that the film would be historically accurate. Kay Brown wrote in a 1937 telegram, “We do feel that Myrick will be of especial value because of her great personal relationship with authoress and because she can and will unofficially communicate with authoress on all points under discussion. We both feel this is one of the most important aspects in situation as it relieves authoress from actually committing herself and yet we will know things have been checked with her.” 94 Memo from Susan Myrick to David O. Selznick, January 18, 1939 Cukor found Myrick’s advice, like these notes on the first pages of the screenplay, invaluable. Selznick and the production staff quickly came to rely on her. Soon after filming began, she was also asked to coach the actors on their southern accents. PW4 734 Memo from Henry Ginsberg to David O. Selznick, February 2, 1938 In this memo, studio manager Ginsberg outlines a plan to organize the shooting schedule three possible ways—“in continuity,” “out of continuity,” or by shooting all the scenes at Tara first. The organization of the shooting

schedule had many budgetary and scheduling implications. Ginsberg also raises the question of how much license the filmmakers can take regarding authenticity, a question that would come up again and again as Gone With The Wind was being filmed. 720 Unidentified photographer Harold Fenton, construction supervisor for Selznick International Pictures, with a list of sets and shooting locations, not dated Gelatin silver print 731, 732 [note: 731 and 732 are framed together] “In Continuity” shooting schedule “Out of Continuity” shooting schedule The “in continuity” schedule is organized in such a way that scenes are filmed roughly in the order that they appear in the finished film. This method makes it easier for the director and actor to track story and character development as filming progresses. The “out of continuity” schedule is organized according to such factors as actors’ availability and shooting location. This method is more efficient from the standpoint of logistics and budget. WALL K TP36 The Burning of Atlanta Winter 1938–1939 On November 10, 1938, key staff met to discuss starting production of Gone With The Wind.

Selznick’s back lot, the “40 Acres,” was full of sets from past RKO and Selznick films, including The Garden of Allah and King Kong. By filming the “Burning of Atlanta” scene first, the production could both secure long and wide shots and “process plates” that would be used as backgrounds for later close-ups and simultaneously clear the lot to make room for other sets. Selznick’s MGM colleagues were skeptical about this approach, and Selznick worried that the footage would be unusable if later close-ups and action shots did not match up. After a month of preparation dressing existing sets to look like antebellum downtown Atlanta, police, fire, and medical personnel moved into position, and filming began shortly after dark on December 10, 1938. Under the direction of William Cameron Menzies, engineers used gas jets to control the size of the flames, and tractors pulled down buildings on cue. Doubles filled in for the roles of Rhett and Scarlett. Gable was not yet available, and the role of Scarlett had still not been cast. Filming was completed in little more than an hour. David O. Selznick and George Cukor were there to observe. Myron Selznick, one of Hollywood’s top agents, was there, too, accompanied by his newest client, Vivien Leigh. 101 Selznick International Pictures Ray Klune Digital reproduction Production manager Ray Klune supervised the physical aspects of the production, from the building of sets to the coordination of the shooting schedule. His calm manner and even handling of Selznick served as a much-needed and appreciated buffer between the obsessive and demanding producer and the hardworking production team. 98 Memo from Ray Klune to Barbara Keon, November 5, 1938

Production manager Klune’s memo to script supervisor Barbara “Bobby” Keon about the “Burning of Atlanta” scene points out that the date of the shoot has been pushed back to December 10. Selznick was in Bermuda for a working vacation, so Keon and the rest of the staff had a brief respite from the intense work on the production. 756, 757b Selznick International Pictures Sets to be dressed for the “Burning of Atlanta” scene Gelatin silver prints Existing sets from King Kong, Garden of Allah, and other films were dressed to look like pre-war Atlanta before being set on fire for the long shots of the “Burning of Atlanta” scene. 516, 350, 647 William Cameron Menzies Storyboard panels for the “Burning of Atlanta” scene Watercolor and gouache on board Production designer William Cameron Menzies directed the “Burning of Atlanta” scene, which he carefully planned in advance to ensure that close-ups of the principal actors filmed later would seamlessly intercut with the long shots and wide shots made on December 10. Those close shots would be set up and filmed periodically over the course of the production, causing Selznick to worry about whether all the needed shots would be completed in time. 102 Call sheet for “Burning of Atlanta” scene, December 10, 1938 Assistant director Eric Stacey issued this call sheet to notify all personnel of where and when to report. This scene was enormously difficult, expensive, and dangerous to film, so every precaution was taken. Backup doubles,

hidden drivers, and all seven existing Technicolor cameras (so large it took two trucks to carry them) were used to ensure the directors got the footage they needed. 105 Selznick International Pictures Jack Cosgrove’s special effects crew, not dated Gelatin silver print Jack Cosgrove was Selznick’s head of special effects. His staff captured special background footage to use for star close-ups that would be filmed later. Cosgrove was also told to film a triple-sized wide-screen version of the scene, a concept Selznick was eventually forced to abandon. 704 Selznick International Pictures William Cameron Menzies, at left, with an unidentified technician, Selznick (middle), and Cukor on the “Burning of Atlanta” set, not dated Gelatin silver print Menzies spent weeks planning the shots and would return repeatedly over the coming months to film the close shots that would intercut with the footage shot this night. 99 Selznick International Pictures Special effects technicians with smoke machine, not dated Digital reproduction from original negative Technicians used gas jets and smoke machines to exert some control over the size of the flames and the placement of smoke during the filming of the “Burning of Atlanta” scene.

591, 590, 103, 490 Selznick International Pictures Production photos of the “Burning of Atlanta” scene, not dated Gelatin silver prints Filming was completed in a little more than an hour. Once the embers cooled, Ray Klune and his team began building the sets for Tara, Twelve Oaks, and downtown Atlanta. 636 Selznick International Pictures David O. Selznick on the first day of filming Gone With The Wind, December 10, 1938 Digital reproduction from gelatin silver original 106 Telegram from David O. Selznick to John Hay “Jock” Whitney, December 10, 1938 Selznick’s telegram to his friend and business partner Jock Whitney about the long-awaited start of production of Gone With The Wind. 104 Selznick International Pictures Production photo for Gone With The Wind, not dated Digital reproduction from original negative The woman near the structure to the left, wearing a black coat and hat, is believed to be Vivien Leigh, who came to the set with David O. Selznick’s brother, Myron, her new agent. WALL L PLUS PW5

TP37 The Finalists Winter 1938–1939 On the Monday following the filming of the “Burning of Atlanta” sequence, as the crew cleared the debris and began building the Gone With The Wind sets, Selznick told his key staff that he had settled on four finalists for the role of Scarlett: Paulette Goddard, Jean Arthur, Joan Bennett, and Vivien Leigh, whom he had met less than 48 hours earlier. Until then, Paulette Goddard had been Selznick’s first choice for Scarlett. Some on Selznick’s staff found her difficult and demanding, but both Cukor and Selznick thought she had the special quality they were seeking for the part. Jean Arthur and Joan Bennett were both established stars who wanted the part badly. Within ten days, all four finalists would make screentests. Selznick was having difficulty casting several other key roles as well, notably the parts of Mammy and Ashley. While for the role of Mammy Selznick favored Louise Beavers, an established film actress who had made such an impact in Imitation of Life, in the end the two front-runners were Hattie Noel, a relative new-comer, and Hattie McDaniel, another established film actress. Laurence Olivier, who was romantically involved with Vivien Leigh, was considered for the part of Ashley, as was Joel McCrea and Ray Milland, but none of them wanted the part. Leslie Howard, the public’s favorite, was lukewarm about the role. But his dream role as Lawrence of Arabia fell through, and he needed a job. When Howard expressed renewed interest in the role of Ashley, Selznick agreed, feeling he had no better options this close to the start date. 705 Timeline of the Scarlett search, not dated This timeline documents the highpoints of the studio’s search for a new actress to play the role of Scarlett O’Hara.

109 Memo from David O. Selznick to Henry Ginsberg, December 12, 1938 Selznick wrote this memo less than 48 hours after meeting Vivien Leigh for the first time. All four principal candidates for the part of Scarlett—Paulette Goddard, Joan Bennett, Jean Arthur, and Vivien Leigh—were experienced actors, but the front-runners, Goddard and Leigh, were not as well known to the public. In the memo, Selznick also discusses the problems casting two other important roles, those of Mammy and Ashley. 765 Selznick International Pictures Hattie McDaniel with Vivien Leigh in the “Dressing for the Barbeque” scene, ca. 1939 Frame enlargement from motion picture film The daughter of former slaves, Hattie McDaniel grew up in Colorado. As a teenager she performed in her brother’s minstrel show, which toured the western United States. After the stock market crash of 1929, McDaniel followed her siblings to Hollywood, where she found occasional work in film and on radio. Her break came in 1934, when she appeared with humorist Will Rogers in John Ford’s Judge Priest, soon followed by a role with Shirley Temple in The Little Colonel (1935). That year she joined the Screen Actors Guild and found regular work in films, though usually in the roles of cooks or maids and often uncredited. In late 1938 she appeared in screen tests opposite Jean Arthur and Vivien Leigh. Hattie McDaniel signed a contract with Selznick on January 27, 1939, the day after principal photography began. 764 Unidentified photographer Hattie Noel (right) with Paulette Goddard in the “Dressing for the Barbeque” scene, ca. 1939

Frame enlargement from motion picture film Hattie Noel, one of the top contenders for the role of Mammy, sang with the Count Basie Orchestra and had appeared on Eddie Cantor’s radio show. 761 Selznick International Pictures Jean Arthur in her screentest of the “paddock” scene, not dated Frame enlargement from motion picture film Jean Arthur was a well-known actress who started in film during the silent era. Her husky voice, versatility, and adeptness at comedy made her a top star after the advent of sound motion pictures. She wanted the part of Scarlett badly, and Selznick thought enough of her to make three screentests. Nevertheless, he thought her fame worked against her and found other actresses less “stale.” Months later, Arthur managed to borrow three of her screentests and, presumably after viewing one of them, destroyed them. 762 Selznick International Pictures Joan Bennett in her screentest of the “paddock” scene Frame enlargement from motion picture film Joan Bennett came from a show business family; her sisters Barbara and Constance were also actors. By 1939, Bennett was well known and well respected. She had also changed her hair color from blonde to black for the 1938 film Trade Winds, a change that proved popular with audiences. 760 Selznick International Pictures Paulette Goddard in her screentest for the role of Scarlett O’Hara Frame enlargement from motion picture film

Paulette Goddard had what George Cukor described as a “shallow external minx quality” and what Selznick described as “sex qualities” that were important for the part, but Selznick felt Goddard needed work as an actor, though she was strong as a “personality.” She was the only one of the candidates to film a screentest in color. 763 Selznick International Pictures Vivien Leigh in her screentest of the “paddock” scene Frame enlargement from motion picture film Less than two days after meeting Vivien Leigh, Selznick had her preparing for a screen test. A week and a half later, she made three screentests in two days for the part. WALL M PLUS PW6 TP38 Vivien Leigh Winter 1938–1939 No evidence in the Selznick archive points to the exact moment when Selznick made the decision to cast Vivien Leigh as Scarlett O’Hara. Kay Brown suspected Selznick had effectively made his choice as early as December 12, two days after his brother Myron introduced him to Leigh, but if so, he kept the decision to himself. After intensive preparations, Vivien Leigh filmed three screentests on December 21–22, 1938. Even at this late date, Selznick told Jock Whitney that he was not sure any of the candidates for Scarlett were right and worried about Margaret Mitchell’s reaction. On December 27, Selznick sent the tests to Jock Whitney and Kay Brown in New York. Brown said she was in “a dither of excitement” and cautioned Whitney to remain discreet. Margaret Mitchell agreed to see the screentests of some of the minor characters but only wanted to see “the one Scarlett test,” not any of “the discarded Scarletts.”

By the first week of January 1939, the press was ready to break the story about who had won the part of Scarlett. Anticipating criticism for casting a foreign actor in the role, Selznick and Russell Birdwell prepared a publicity campaign to sell their choice for Scarlett to the public. On January 13, the day Leigh, Olivia de Havilland, and Leslie Howard signed their contracts, United Press was the first media outlet with the news that America had waited two and a half years to hear—Vivien Leigh was to play Scarlett O’Hara. 470 Teletype from Katharine Brown to David O. Selznick, December 29, 1938 Although Margaret Mitchell was curious about who Selznick would cast in the role of Scarlett O’Hara, she did not want to be seen as having been involved in the decision. 129 Memo from David O. Selznick to George Cukor, Henry Ginsberg, Daniel O’Shea, Max Arnow, Ray Klune, Charles Richards, and Eric Stacey, January 6, 1939 Selznick was angered when he realized this cast list had been prematurely circulated within SIP. The actress cast in the part of Scarlett had not yet been announced to the public. 128, 125 Selznick International Pictures Vivien Leigh, ca. 1939 Digital reproduction from gelatin silver original Letter from David O. Selznick to Ed Sullivan, January 7, 1939

Ed Sullivan, then a gossip columnist, had learned that Vivien Leigh was Selznick’s choice for the role of Scarlett. Selznick denied it but anticipating resistance to his decision had already developed a five-point justification, which he began to circulate to entertainment reporters like Sullivan, Louella Parsons, and Hedda Hopper. 130 Dorothy Carter’s report on fan mail, January 23, 1939 As this report shows, the campaign to convince the public that Vivien Leigh was the right choice for Scarlett would be long and difficult. Eventually the shock that a foreigner had landed the part would wear off and be replaced by curiosity about how she would perform. 127 Selznick International Pictures David O. Selznick with Vivien Leigh, Leslie Howard, and Olivia de Haviland as they sign their contracts, January 13, 1939 Gelatin silver print 126 Telegram from Mrs. Raymond Bullock to David O. Selznick, January 18, 1939 When the choice of Vivien Leigh as Scarlett O’Hara was announced, the reaction was swift and, in the South, mostly negative, as is apparent in this telegram from Mrs. Bullock, president of the Dickinson Chapter of the United Daughters of the Confederacy. Susan Myrick was instrumental in convincing Mrs. W. D. Lamar, president of the United Daughters of the Confederacy, that the choice was a good one. Lamar “expressed her personal pleasure at the choice of Miss Leigh,” Myrick told Daniel O’Shea on January 18, “saying that she greatly preferred an Englishwoman for the part of Scarlett O’Hara, rather than a woman from

the East or Middle West, as she had always felt there was a close kinship between the Southerner and the English people.” 707 [Audio tour stop] Transcript of Jimmie Fidler broadcast, January 17, 1939 Jimmie Fidler was one of many entertainment reporters to help with Selznick’s campaign to promote Vivien Leigh’s casting as Scarlett. Fidler was a former Hollywood publicist turned gossip columnist and broadcaster and was tremendously popular and influential. Wall N and O and one table case TP39 Casting Supporting Roles Winter 1938–1939 Selznick had spent so much time and energy searching for a new actress to play Scarlett and negotiating with studios for a suitable star to play Rhett that he had to scramble to cast the supporting roles in time to meet the shooting schedule. Charles Richards, Max Arnow, and the rest of the casting department scoured the stock companies of all the studios but concentrated on MGM, SIP’s partner in the production. They cast dozens of speaking parts and even more “bits” and extras in the coming weeks, often just days before their scenes were to be filmed. Virtually all of them had to be personally approved in advance by Selznick and Cukor. Selznick had a specific look and characterization in mind for each role, no matter how small, and everything from contracts to costumes had to be arranged for each individual. 858 Memo from Max Arnow to Katharine Brown and David O. Selznick, December 23, 1939

Arnow’s report on screentests for supporting players came less than a month before the start date for filming. Several important characters, including Prissy, Aunt Pittypat, and Frank Kennedy had yet to be cast. 116 Memo from David O. Selznick to Marcella Rabwin, January 9, 1939 This memo highlights the complicated nature of a big production like Gone With The Wind. Specific roles had to be cast quickly so their costumes could be ready to fit the shooting schedule, which was set to accommodate the schedules of leading actors. 114 Selznick International Pictures Laura Hope Crews as Aunt Pittypat Gelatin silver print George Cukor suggested Laura Hope Crews for the role of Aunt Pittypat after Billie Burke refused the role. Cukor instructed Crews to play the role “in a Billie Burke–ish manner” with “the same zany feeling.” 77 Unidentified photographer Butterfly McQueen in Leo the Timekeeper, ca. 1938 Gelatin silver print 430 Memo from Katharine Brown to David O. Selznick, August 26, 1938 Thelma McQueen got the name “Butterfly” when she danced in the Butterfly Ballet in a 1935 stage production of A Midsummer Night’s Dream. She was

cast by George Abbott in his Broadway show Brown Sugar (1937), which led to a part in his long-running show What a Life! (1938). Kay Brown saw her in that show and invited her to audition for Gone With The Wind. Brown told Selznick that McQueen “has a most peculiar voice which is very high pitched and absolutely hilarious. Might be too comic for the part.” The role was intended to be played for comedy. Oscar Polk’s wife, Ivy, auditioned and was thought to be quite good. An actress from George Abbott’s Broadway shows, Inge Hardison, auditioned, too, but her face, according to Max Arnow, “somehow does not look comic.” When Kay Brown auditioned McQueen, she told Selznick,“I auditioned Butterfly McQueen this morning who, if she isn’t a caricature of Prissy, is the funniest thing I have ever heard.” Once Selznick saw McQueen’s screen test, no one else was considered for the role. 118, 852, 851 Selznick International Pictures George Bessolo (left) and Fred Crane as the Tarleton twins Gelatin silver print Memo from David O. Selznick to Ray Klune, January 18, 1939 Memo from David O. Selznick to Marcella Rabwin, February 16, 1939 George Bessolo, who later changed his name to George Reeves, and Fred Crane were cast as the Tarleton twins shortly before their first scene. Both signed waivers to allow their hair to be dyed red, and it took a couple of attempts before Selznick was satisfied with their look. Reeves became known in the 1950s for his role in television’s “Adventures of Superman.” 120, 592 Selznick International Pictures Caroll Nye as Frank Kennedy, not dated Gelatin silver print

Memo from David O. Selznick to George Cukor, Max Arnow, and Charles Richards, December 28, 1938 Carroll Nye started in film during the silent era playing young leading men. He landed the role of Frank Kennedy in part because he could be made to look older through makeup. His younger brother, Ben Nye, was a makeup technician on the film. 862, 863 Selznick International Pictures Thomas Mitchell as Gerald O’Hara Gelatin silver print Memo from David O. Selznick to Marcella Rabwin, January 9, 1939 Thomas Mitchell was in great demand as a character actor, appearing in Mr. Smith Goes to Washington, Only Angels Have Wings, The Hunchback of Notre Dame, and Stagecoach in the same year he appeared in Gone With The Wind. Consequently, it was challenging to accommodate Mitchell’s busy schedule. 867, 699 Selznick International Pictures Eddie Anderson as Uncle Peter Gelatin silver print Memo from Charles Richards to David O. Selznick, April 19, 1938 Eddie Anderson started in show business at the age of eight in his parents’ vaudeville act and later toured with his brother as a song and dance team. After he appeared in The Green Pastures (1936) Anderson was offered the role of Rochester on the Jack Benny radio program, the part for which he is best known today.

Although George Cukor suggested Anderson for the role of Pork, Anderson was ultimately cast as Uncle Peter. PW9 TP42 Filming Begins January 26, 1939 On the first day of filming, the huge Technicolor camera broke down as the first take of the opening scene of Gone With The Wind was being shot and had to be replaced. Selznick hated the results of the day’s filming. The actors playing the Tarleton twins, George Bessolo and Fred Crane, had been paid a week’s salary as incentive to dye their hair red, and Selznick thought they looked “grotesquely like a pair of Harpo Marx comics.” Once the replacement camera arrived, the crew began with scene two, Scarlett running across the grounds of Tara. The first take had “unsatisfactory action.” In the second, Leigh stepped on her hoop skirt. The third take was good. By lunchtime, the crew moved to the bedroom set to film Scarlett’s “dressing for the barbeque” scene. For months, Selznick had considered dropping the “porch” scene, the film’s opening with Scarlett and the Tarleton twins, and would continue to contemplate a change. Over the coming months, this scene would be reshot several more times. Cukor had been with the production since the beginning, consulting on the script, auditioning thousands, and supervising the construction of sets and costumes. He was Selznick’s friend and star director, a veteran of the New York stage who had moved to Hollywood during the rise of the talkies. Yet despite Cukor’s skill and experience, almost every scene he directed would later be reshot. 352 a-c William Cameron Menzies Storyboards of the “porch” scene, not dated

Watercolor and gouache on board 144 Memo from David O. Selznick to George Cukor, Walter Plunkett, Monte Westmore, and Eric Stacey, January 30, 1939 Selznick’s memo about the Tarleton twins’ hair color illustrates the importance Selznick placed in small details. It would take some time before Selznick could get his visual conception of the film across to his production staff. 353 Walter Plunkett’s costume design for the Tarleton twins, 1939 495 Selznick International Pictures Photo of Fred Crane (left) and George Bessolo as the Tarleton twins with Vivien Leigh as Scarlett, 1939 Digital reproduction from original negative The first attempt at filming the “porch” scene was a failure. Selznick was very unhappy with the look of the twins’ hair and decided that it did not make sense for Scarlett to wear the same dress in this scene that she wears in the barbeque scene. Selznick considered dropping the scene altogether but ultimately decided to reshoot it. The scene would be reshot several more times before a satisfactory take was realized.

TP43 The Atlanta Bazaar (Cukor’s Version) February 1939 Cukor began filming the “Atlanta bazaar” scene on Wednesday, February 1, with shots of people dancing. The camera was then moved to Scarlett’s booth and tilted down to show Scarlett’s dancing feet. After lunch, a long scene with Rhett and Scarlett dancing was shot. Seventeen takes were necessary due to “blowup in dialog.” Thursday’s filming continued in Scarlett’s booth. Friday’s schedule was filled with Rhett, Scarlett, and the extras dancing. Saturday’s shoot with Rhett and Scarlett waltzing went smoothly. One take of Rhett bidding for Scarlett was ruined when an extra wandered into the shot. With the “Atlanta bazaar” scene in particular, Selznick had to come to terms with the tension between maintaining authenticity and achieving beauty in filming Gone With The Wind. Disappointed with “the very ordinary costumes” and overall lack of spectacle in the scene, Selznick was assured by the advisors that the costumes were historically accurate. “Where authenticity means loss of beauty,” Selznick asserted, “we should take liberties, and considerable ones, with the authenticity,” adding, “The first people to complain about the lack of beauty will be the Southerners that we are trying to satisfy with authenticity.”

148 Selznick International Pictures Vivien Leigh as Scarlett and Clark Gable as Rhett Butler in the “Atlanta bazaar” scene as directed by Georg Cukor, ca. 1939 Gelatin silver print 146 Memo from David O. Selznick to Ray Klune and Edward Lambert, February 3, 1939 The first clash between beauty and authenticity came early once filming began. Selznick thought the costumes worn by extras were “ordinary” and “cheap looking” and blamed a lack of effort and overzealous economization on the part of the production staff. 145 Memo from Ray Klune to David O. Selznick, February 6, 1939 In his measured response to Selznick’s February 3 memo, Klune explains that the women’s costumes in the “Atlanta bazaar” scene had been approved by both Susan Myrick, the expert on such matters, and George Cukor, the film’s director, before they were manufactured at significant expense. He further explains that the problem with the men’s costumes has more to do with the person wearing the costume than the costume itself. Klune recognizes that the real problems are the balance between historical accuracy and spectacle and who makes the decision regarding that balance. 733 Selznick International Pictures Walter Plunkett and assistants preparing extras for the “Atlanta bazaar” scene, not dated Gelatin silver print

147 Selznick International Pictures Set still of the “Atlanta bazaar” scene as directed by George Cukor, not dated Gelatin silver print 631, 769 Selznick International Pictures Maybelle Merriwether, with her mother and Mrs. Elsing, offering a cup to a soldier collecting valuables Digital reproduction from original negative Selznick International Pictures Chaperone’s Corner Digital reproduction from original negative These two scenes were filmed by Cukor but did not appear in the final film. 492 William Cameron Menzies Concept painting of the “Atlanta bazaar” sequence, 1939 Watercolor and gouache on board 149 Memo from David O. Selznick to George Cukor, William Cameron Menzies, Lyle Wheeler, Edward Lambert, Walter Plunkett and Ray Klune, February 8, 1939 Selznick violates his own theory of adaptation and decides to favor beauty over authenticity in the making of Gone With The Wind.

PW10 TP44 African American Press February 1939 In early February 1939, about the time when Kay Brown was scheduled to send a copy of the screenplay of Gone With The Wind to Walter White at the NAACP, Victor Shapiro, the studio’s new head of publicity, forwarded to Selznick two articles from the African American press. “‘Gone With The Wind’ Put On The Spot by Earl Morris: Predicts Picture Will Be Worse Than ‘Birth of a Nation’” was written by Earl J. Morris, motion picture editor for the Pittsburgh Courier, and “Hollywood Goes Hitler One Better” was printed in the Los Angeles Sentinel. Both editorials were apprehensive about the treatment of African Americans in the upcoming film based on the contents of the novel. Other articles followed, and soon news came of a proposed boycott of the film by maids in the Los Angeles area. Selznick was unnerved. Filming was in full swing, he was not satisfied with Cukor’s footage, and protests against his having cast a British woman in the main role were pouring in. He turned to his friend Jock Whitney about what he called “The Negro Problem,” writing “I feel it particularly keenly because I think it might have repercussions not simply on the picture, and not simply upon the company and upon me personally, but on the Jews of America as a whole among the Negro race.” Once Morris was reassured that “objectionable epithets” had been removed from the script and that no “Ku Klux Klan” sequence would appear in the film, he published the news in the February 18 edition of the Pittsburgh Courier under the headline “Offensive Word and KKK Sequence Deleted from Film Version of ‘Gone With The Wind’—Publicity Department of Selznick Studios Gives Courier Reporter Information in Exclusive Interviews.” 151 a-b

Memo from David O. Selznick to John Hay “Jock” Whitney, February 10, 1939 When Earl Morris’s editorials began appearing in the Pittsburgh Courier objecting to the treatment of African Americans in the film version of Gone With The Wind, Selznick was completely engrossed in the production of the film and was taken by surprise. He took the criticism personally. He felt he was being quite progressive in his treatment of African Americans in the film. He pointed to his elimination of the Ku Klux Klan from the story and his elimination of white characters’ use of the word “nigger,” among other changes to the story. Selznick appealed to Jock Whitney for help. 150, 154 “Gone With The Wind” Put On Spot by Earl Morris, the Pittsburgh Courier, February 4, 1939 Digital reproduction “Offensive Word and KKK Sequence Deleted from Film Version of “Gone With The Wind,” the Pittsburgh Courier, February 16, 1939 These two newspaper clippings are from a folder in the Selznick archive labeled “The Negro Problem.” As a direct result of Earl Morris’s editorials in the Pittsburgh Courier, David O. Selznick decided to remove the word “nigger” from the film version of Gone With The Wind. 155, 156 Telegram from the Pittsburgh Courier to David O. Selznick, February 13, 1939 Telegram from Victor Shapiro to the Pittsburgh Courier, February 13, 1939 Earl Morris’s telegram to Selznick’s head of publicity, Victor Shapiro, asked for confirmation that racial epithets had been removed from the screenplay of Gone With The Wind. Shapiro immediately confirmed that this was true, and the story ran three days later.

157 Selznick International Pictures form letter, not dated The studio’s form letter addressing the treatment of African Americans in Gone With The Wind was crafted by Selznick and Victor Shapiro after their communications with Earl Morris and the Pittsburgh Courier. The letter was tailored to each recipient. PW11 TP45 Cukor Leaves February 1939 In the first two weeks of filming, as George Cukor struggled to set the tone for the production and deliver footage that would satisfy Selznick, one writer after another was doctoring the script. Despite promising not to do so, Cukor, too, was making changes as he directed scenes. Selznick had been concerned about Cukor’s work for months. Screentests Cukor directed were significantly longer than expected, and Selznick worried that Cukor would make a six-hour film from a four-hour screenplay. Cukor blamed the ever-changing script. Their differences came to a head as Cukor filmed the “childbirth” scene. They began the scene on Tuesday, February 7, with shots of Scarlett sending Prissy to fetch Dr. Meade. They continued the work the next day with the “shadow effect” scene. The Production Code prohibited the depiction of childbirth as painful, so they filmed the scene in silhouette to avoid showing Melanie’s or Scarlett’s face. The next day, Selznick insisted on approving rehearsals of scenes before they were shot. Selznick and Cukor disagreed on the pacing. Cukor wanted the scene to be tense and somewhat panicked while Selznick wanted a deliberate pace and an oppressive feeling.

Work on the scene was completed on February 14. The company was dismissed early that day because Vivien Leigh felt ill. She had grown fond of Cukor and knew that he had resigned from the production. 158 Selznick International Pictures Butterfly McQueen as Prissy, Vivien Leigh as Scarlett, and Olivia de Haviland as Melanie in the “childbirth” scene, ca. 1939 Gelatin silver print This part of the “childbirth” scene was shot in silhouette to mitigate some of the issues the Hays Office had with the subject matter. 371 Dorothea Holt Concept painting of the “childbirth” scene, not dated Watercolor and gouache on board 160 Selznick International Pictures Vivien Leigh and Olivia de Haviland relaxing between takes, ca. 1939 Gelatin silver print 159 Memo from David O. Selznick to George Cukor, February 8, 1939 Selznick and Cukor had grown increasingly frustrated over their differing interpretations of the script. Shortly after receiving this memo from Selznick, Cukor left the production. 597

Memo from Val Lewton to David O. Selznick and Barbara Keon, February 6, 1939 The Production Code objected to the depiction of childbirth as difficult and painful. Selznick regularly pushed the boundaries of the Code but had to bear in mind that each state had its own censor board as well. 596 Memo from David O. Selznick to George Cukor, February 25, 1939 The date on this memo is misleading as Cukor left the production on February 14. Still, Selznick’s insistence that Cukor “pledge. . . that you won’t use the book during the course of the production to add three lines here and four lines there, as has been done in the test scenes,” points to the main problem Selznick had with Cukor’s direction up to that point—Cukor was producing footage that was too long. TP46 Victor Fleming is Hired—Hiatus February 1939 Selznick had considered replacing George Cukor with Victor Fleming as early as September 1938. Fleming was a seasoned, veteran director, a former cinematographer, and, as the director of The Wizard of Oz, experienced with Technicolor. But like Cukor, Fleming did not like the Howard-Garrett script and preferred to start over with the Sidney Howard version. It still needed work, however, and Selznick agreed to a two-week hiatus while they got the screenplay in shape. John Lee Mahin, friend and frequent collaborator of Victor Fleming, went to Palm Springs with Fleming and Selznick to work on the script. Although they made some fundamental decisions about the plot, they did not finish. So Selznick called on his old friend Ben Hecht. In his 1954 autobiography, A Child of the Century, Hecht said he rewrote the screenplay in a week, with

Fleming and Selznick telling him the story and acting out the roles as he typed. Fleming was a no-nonsense leader, and many in the cast and crew, especially Vivien Leigh, chafed under his direction. But he worked quickly and efficiently, and took Selznick’s continued criticism and interference in stride. 164 a-d Interview with Patsy Ruth Miller, not dated This undated interview with Patsy Ruth Miller was likely conducted by Russell Birdwell, Selznick’s head of publicity. Miller’s husband, John Lee Mahin, was a friend and frequent collaborator with Victor Fleming, the new director of Gone With The Wind. 863 Selznick International Pictures Victor Fleming with Leslie Howard and Vivien Leigh, not dated Gelatin silver print 161 Memo from David O. Selznick to Henry Ginsberg, February 28, 1939 Because he had received so many letters urging him to be accurate with the southern accent, Selznick never let up on the actors and advisors. Susan Myrick was so vigilant that Selznick eventually turned over to her the responsibility for policing accents. 166 Phillipe Halsman Ben Hecht, not dated

Gelatin silver print inscribed by Hecht to Selznick Like George Cukor, Ben Hecht was a longtime friend and frequent collaborator with Selznick. 718 Ben Hecht’s A Child of the Century (New York: Simon and Schuster, 1954) In his autobiography, Hecht said he rewrote the screenplay of Gone With The Wind in a week, with Fleming and Selznick telling him the story and acting out the roles as he typed. 905 Gone With The Wind shooting script, February 27, 1939 Victor Fleming and Ben Hecht convinced Selznick to go back to the original Sidney Howard script as the basis for the final shooting script. This copy includes changes made through June 20, 1939. The changes made to various scenes were printed on different colors of paper to indicate a modification. PW12 TP47 Twelve Oaks March 1939 Now under Fleming’s direction, the crew began on March 3 with Ellen O’Hara’s return to Tara, and moved to Stage 3 and Tara’s parlor set to film Scarlett’s wedding to Charles Hamilton. The next day the crew set up on the “40 Acres,” Selznick’s back lot, to film Scarlett’s walk with Gerald. This scene, like the “porch” scene, was filmed with Scarlett wearing the green-sprigged “barbeque dress” and would likewise be reshot. Filming the scenes at Twelve Oaks began with the “library” scene on Tuesday, March 7 and went on for almost three weeks.

Selznick wanted an abundance of beauty and spectacle at the start of the film to stand in sharp contrast to the harsher images of war and Reconstruction to follow. In a March 15, 1939 memo to Ray Klune copied to Victor Fleming, Selznick wrote, “The first part of the picture—especially the sequences at Twelve Oaks—have been so neutralized that there will be no dramatic point made by the drabness of the costumes through the whole second half of the picture. We should have seen beautiful reds and blues and yellows and greens in costumes so designed that the audience would have gasped at their beauty and would have felt a really tragic loss when it saw the same people in the made-over and tacky clothes of the war period.” 169 Selznick International Pictures Film still of Scarlett’s wedding to Charles Hamilton, ca. 1939 Gelatin silver print 170 Memo from David O. Selznick to Barbara Keon, March 3, 1939 Even after the hiatus in production, changes to the screenplay continued to be made. “I’ll think about that tomorrow,” became a primary motif in the film. 358 William Cameron Menzies Concept painting of the “wedding” scene, not dated Watercolor and gouache on board 791 Selznick International Pictures Victor Fleming directing Scarlett’s walk with Gerald, ca. 1939

Digital reproduction of original negative This scene was one of the first Fleming directed. It would eventually be reshot. 171 Selznick International Pictures Fred Crane, Vivien Leigh, and George Bessolo in the “porch” scene, ca. 1939 Gelatin silver print The “porch” scene was one of the first Victor Fleming shot when he came on as director. George Cukor had not managed to get it right, nor did Fleming at first. The scene would be reshot several more times before Selznick was satisfied that he had an effective opening for the film. 361 Dorothea Holt Concept painting of the library at Twelve Oaks, not dated Watercolor and gouache on board 180 Selznick International Pictures Set still of the library at Twelve Oaks, not dated Gelatin silver print 181 Selznick International Pictures Film still of Leslie Howard and Vivien Leigh in the “library” scene, ca. 1939 Gelatin silver print

While George Cukor had used the “library” scene for screentests, it was the first of the scenes at Twelve Oaks to be filmed by Victor Fleming. 173 a-c Memo from David O. Selznick to Ray Klune, March 13, 1939 Selznick expressed disappointment in the costumes of the “Twelve Oaks” scene. He wanted an abundance of beauty and spectacle in the early parts of the film so there would be a contrast with the later parts, when the war had taken its toll on the characters. 501 Selznick International Pictures Production still of the O’Haras arriving at Twelve Oaks Digital reproduction of original negative This image illustrates the complicated shot as the O’Haras walk through the front door. 503 Selznick International Pictures Production still showing cast and crew preparing to film Scarlett and Cathleen Calvert’s walk up the stairway of Twelve Oaks, ca. 1939 Gelatin silver print 362 Dorothea Holt Concept painting of the arrival at Twelve Oaks, not dated Watercolor and gouache on board

363 Walter Plunkett Costume design of Melanie Hamilton’s barbeque dress, not dated Watercolor and gouache on board Plunkett had created this design before any of the characters had been cast and even before the screenplay was complete. The caption at the bottom of the design is from the novel. 178 Selznick International Pictures Production still showing Olivia de Havilland (left) and Vivien Leigh between takes, ca. 1939 Gelatin silver print William Cameron Menzies Concept painting of the “barbeque” scene, ca. 1939 Watercolor and gouache on board 175 Selznick International Pictures Rhett Butler talking to another man at the barbeque, ca. 1939 Gelatin silver print This shot was cut from the final film. 601 PW13 364 Selznick International Pictures Victor Fleming and Vivien Leigh discussing the “barbeque” scene, ca. 1939

Gelatin silver print 600 David O. Selznick’s notes for the “barbeque” sequence, March 2, 1939 Selznick dictated these notes about the “Twelve Oaks” scene less than a week before Victor Fleming began filming the scene. 177 Selznick International Pictures Vivien Leigh resting between takes, ca. 1939 Gelatin silver print Leigh appeared in almost every scene of the film, often working until late at night. The entire crew worked six days a week. As the shooting schedule became more hectic, they worked every day. 365 Dorothea Holt Concept painting of Scarlett slipping away to look for Ashley, not dated Watercolor and gouache on board 176 Selznick International Pictures Victor Fleming (right) directs the “sleepy time” scene. Alicia Rhett is on the couch in the foreground. Arthur Arling is behind the camera. Gelatin silver print 174 Selznick International Pictures

Mammy and other cast members in the “sleepy time” scene, ca. 1939 Gelatin silver print This shot was cut from the final film. PW 14 TP48 The Atlanta Bazaar (Fleming’s version) March 1939 Victor Fleming began shooting his version of the “Atlanta bazaar” scene the morning of Tuesday, March 21, beginning with Scarlett’s booth and continuing through Rhett’s entrance and moving on to the auction scene the next day. The dancing scenes were shot on March 23. Selznick had complained bitterly about the drabness of the sets and costumes in Cukor’s version of this scene and ordered it reshot. Selznick wanted the waltz “romanticized” to set the tone for Rhett and Scarlett’s developing relationship and pointed to the work Fleming did on the dance sequence in The Great Waltz (1938) to illustrate how that might be achieved. He suggested a quicker tempo and more exciting style of dance than was actually used in the Civil War era and pushed for more graceful sweeping camera movements. Selznick also urged Fleming and Menzies to select the costumes of the other dancers with an eye toward greater variety and color to contrast with Rhett and Scarlett’s black costumes. More and more, Selznick was moving away from historical accuracy and toward spectacle. “I’d certainly take the license in order to get the most stunning and romantic effect,” he wrote on March 20, “Without a little theatricalism we are never going to get what we want here.” 188 Selznick International Pictures Edward “Ned” Davenport as the basket carrier, and his father, Harry Davenport, as Dr. Mead, in the “Atlanta bazaar” scene, ca. 1939

Gelatin silver print 187 Memo from Eric Stacey to Charles Richards and Ray Klune, March 10, 1939 Fleming’s suggestion to have a one-armed soldier carrying the basket at the Atlanta bazaar subtly emphasizes the devastation of war. 706 Selznick International Pictures Set still from the “Atlanta bazaar” scene, ca. 1939 Gelatin silver print 183 Selznick International Pictures The “Atlanta bazaar” scene as directed by Victor Fleming, 1939 Digital reproduction from original gelatin silver print 184 Memo from David O. Selznick to Victor Fleming, April 12, 1939 Selznick felt strongly that the waltz be “romanticized” in order to set the tone for Scarlett’s relationship with Rhett. 185 Selznick International Pictures Clark Gable and Vivien Leigh in the “Atlanta bazaar” scene, ca. 1939 Gelatin silver print

Filming the dialog scenes between Gable and Leigh as they danced was challenging. The filmmakers were not only concerned about capturing the dialog but also with keeping up the tempo. 354 Dorothea Holt Concept painting of the “Atlanta bazaar” scene, not dated Watercolor and gouache on board 864 Selznick International Pictures Actors and extras preparing to film a dance sequence, ca. 1939 Digital reproduction from original gelatin silver print 511 Selznick International Pictures Actors and extras between takes in the “Atlanta bazaar” scene, ca. 1939 Digital reproduction from original gelatin silver print 355 Walter Plunkett Costume design for Aunt Pittypat, not dated Watercolor and gouache on board WALL P TP49 The “Examiner” and the “evacuation” scenes March–April, 1939

On the morning of Friday, March 31, Victor Fleming began work on the first of several big crowd scenes on the downtown Atlanta set. The printing and distribution of the casualty list from the battle of Gettysburg, known on set as the “Examiner” scene, began with Melanie and Scarlett in the carriage and continued with Rhett’s arrival on horseback. Wilbur Kurtz had pointed out that the proportion of women to men would change as the war progressed, so Selznick urged Fleming, Ray Klune, and Walter Plunkett to exercise care in the selection and dress of the extras, pointing out that the majority of women should be in mourning. Selznick was dissatisfied with some aspects of the scene, particularly the acting in some of the vignettes of townspeople reading the casualty list. He made the point that it was “the falsest kind of economy” to try to save money by hiring inexperienced actors in bit parts. “To save money on actors and spend it on sets is silly—the audiences are looking at the actors, not at the sets,” he wrote on April 7, “and while a bit actor is on the screen, if it is for only two seconds, he is as important as the star.” The “evacuation” scene involved even more extras and more action. But the filming of this scene, as complicated as it was, went better, though certainly not without problems. 366 Mac Johnson Concept painting of downtown Atlanta, not dated Watercolor and gouache on board 196 Memo from David O. Selznick to Edward Lambert, Walter Plunkett, Charles Richards, Victor Fleming, Ray Klune, Eric Stacey, and Wilbur Kurtz, March 13, 1939 Selznick insisted that Fleming, Klune, and the rest of the production team pay close attention to the proportion of men to women in various parts of the film and to how those characters were dressed.

515 Selznick International Pictures Production photo of extras waiting between takes during the “Examiner” scene, ca. 1939 Digital reproduction of gelatin silver original 198 Memo from David O Selznick to Ray Klune and Henry Ginsberg, April 6, 1939 Selznick had the vignettes of townspeople reading the casualty list reshot because he was not satisfied with the acting. Although he badgered the production manager about expenses, here he argues that spending more on bit players is worth the additional cost. 200, 201 Selznick International Pictures Two vignettes of townspeople reading the casualty list, not dated Both were cut from the final film because Selznick was not satisfied with the acting. 197 List of extras needed for the “Examiner” scene, March 16, 1939 351 Walter Plunkett Rhett Butler’s costume in the “Examiner” scene, not dated Watercolor and gouache on board

199 Selznick International Pictures Clark Gable and Vivien Leigh between takes, ca. 1939 Gelatin silver print 195 Selznick International Pictures Clarke Gable and others looking on as Victor Fleming talks to Vivien Leigh in preparation for the “Examiner” scene, ca. 1939 Gelatin silver print 711 Memo from David O. Selznick to Ray Klune and Edward Lambert, April 17, 1939 Selznick expresses concern about the quality of Clark Gable’s costumes and the happiness of his lead actor. 519 Selznick International Pictures Vivien Leigh rehearsing her run through the streets of Atlanta, ca. 1939 Gelatin silver print 517 Selznick International Pictures Filming the “evacuation” scene Digital reproduction

521 Selznick International Pictures A special-effects technician setting off explosions during the “evacuation” scene, ca. 1939 Gelatin silver print 207 Call sheet for the “evacuation” scene Wagons, carriages, and buggies are called for in the scene along with actors, stand-ins, and extras. 206 Notes on the “evacuation” scene, February 22, 1939 204 Selznick International Pictures Victor Fleming discussing the “evacuation” scene with Clark Gable and Vivien Leigh, ca. 1939 Gelatin silver print 520 Selznick International Pictures Filming the “evacuation” scene, ca. 1939 Digital reproduction from original gelatin silver print Reflectors in the background redirect sunlight for the Technicolor cameras. 205

Selznick International Pictures Vivien Leigh, resting between takes, ca. 1939 Gelatin silver print PW15 TP50 Problematic Scenes April 1939 The Hays Office had cautioned Selznick early on to be careful with certain aspects of the script. Now, some of the more problematic scenes were about to be filmed. The scene in which Scarlett visits Rhett in the Yankee jail to ask for the money she needs to pay the taxes on Tara was filmed on April 11. Scarlett wears the famous “portieres dress” because “I'm going to Atlanta for that three hundred dollars, and I’ve got to go looking like a queen.” The Hays Office made it clear that they did not want it “indicated that Scarlett offers her body for sale to Rhett” but rather that she is “offering herself in marriage.” Similarly, the Hays Office warned Selznick about the hospital scene, cautioning him to exercise “the greatest possible care in shooting scenes showing the dead or dying,” adding, “Such scenes are likely to become excessively gruesome or horrifying.” Among the first changes to the story made by Selznick and Sidney Howard was the elimination of any mention of the Ku Klux Klan, referring to it instead as a “political meeting.” Nevertheless, the production crew continued referring to the scene as “The Klan” scene, and the Hays Office continued to warn Selznick to avoid suggesting a house of prostitution as the men’s alibi, but rather call it a “refreshment parlor.” In these scenes and many others, Selznick consistently pushed the boundaries of the Production Code.

209, 210 Selznick International Pictures Makeup stills of Vivien Leigh for the “jail” scene, ca. 1939 Gelatin silver prints 605 Selznick International Pictures Makeup still of (left to right) Robert Elliot, Wallis Clark, and George Meeker in the “jail” scene, ca. 1939 Gelatin silver print 208 Selznick International Pictures Rhett Butler’s jail cell in the Atlanta firehouse, ca. 1939 Gelatin silver print 522 Selznick International Pictures Set still of the Atlanta firehouse where Rhett Butler’s jail cell is located, ca. 1939 Gelatin silver print Conical riser The “portieres dress” worn by Vivien Leigh in Gone With The Wind. 367 William Cameron Menzies Concept painting of the hospital set, not dated

Watercolor and gouache on board 214 Selznick International Pictures Melanie’s and Scarlett’s doubles in the “hospital” scene, ca. 1939 Gelatin silver print 213 Selznick International Pictures A shot from the “hospital” scene cut from the final film Gelatin silver print 211 Selznick International Pictures “Hospital” scene, ca. 1939 Gelatin silver print The shadow effect was one of the last shots filmed in the “hospital” sequence. Scenes depicting gruesome battlefield injuries, amputations, and the pain and suffering of the wounded were particularly problematic for the Hays Office, the film industry censor. Consequently, such action was presented off screen. 523 Selznick International Pictures Vivien Leigh between takes, ca. 1939 Digital reproduction 216 Letter from C. E. Snelson to Ray Klune, June 26, 1939

After Klune was unsuccessful getting the studio’s attorney and vice president Daniel O’Shea to answer this letter from the Grand Dragon of the Ku Klux Klan, Klune responded himself, saying that the film “is being produced in all respects with fidelity to the story written by Margaret Mitchell.” Klune added, “Since the shooting of the picture has been completed, there is naturally no need for any further technical advice on it.” This letter underscores the range of people and organizations that recognized the film’s potential to shape America’s thinking about a highly contested period in the country’s history. 616, 217 Selznick International Pictures Vivien Leigh in the so-called “Klan” sequence, ca. 1939 Gelatin silver print Memo from Barbara Keon to Ray Klune and Hal Kern, April 27, 1939 Although Selznick had long since eliminated mention of the Ku Klux Klan from the screenplay, the production crew continued to call the scene by this name. 606 Selznick International Pictures Makeup still of Ward Bond, ca. 1939 Gelatin silver print Ward Bond was a character actor who had already appeared in scores of films when he played the Yankee officer in Gone With The Wind. TP51 Fleming Collapses, Sam Wood Steps In April–May, 1939

For almost two months Victor Fleming and his crew endured a grueling schedule of filming six days a week, usually from 9 a.m. to 7 p.m. and often later. They had completed the complex scenes at Twelve Oaks, then an almost complete overhaul of the “Atlanta bazaar” scene, followed by the Examiner and evacuation of Atlanta scenes, which involved hundreds of extras. In late March Selznick suggested adding a second camera unit, headed by William Cameron Menzies to speed up the production. “I have for some time been worried that Fleming would not be able to finish the picture because of his physical condition,” Selznick said on April 14. “He told me frankly yesterday that he thought he was going to have to ask to be relieved immediately, but after talking with his doctor was told that it would be all right for him to continue. However, he is so near the breaking point both physically and mentally from sheer exhaustion that it would be a miracle, in my opinion, if he is able to shoot for another seven or eight weeks.” Sometime around April 29, after filming “Melanie’s death” scene, Fleming “collapsed.” Selznick was unsure if Fleming would return to work at all. Veteran director Sam Wood took over. Wood had started in the silent era as an assistant to Cecil B. DeMille and rose through the ranks at MGM, gaining a reputation as a solid, reliable director. He began work almost immediately after Fleming’s departure with Belle’s scene on the steps of the hospital, followed by Scarlett pulling down the curtains of Tara, and the beginning of Scarlett’s walk through the chaos of Peachtree Street as she begins her search for Dr. Meade. On Friday, May 5, Wood began work on Scarlett’s return to Tara, and by May 10 he was directing the “Yankee Deserter” scene. Wood worked quickly and efficiently. William Cameron Menzies was working too, directing scenes that did not require the principle actors and beginning work on the remaining shots of the “Burning of Atlanta” sequence. 218 Selznick International Pictures “Melanie’s death” scene, ca. 1939 Gelatin silver print

527 Selznick International Pictures Sam Wood (seated) with cinematographer Ernest Haller (left) and an unidentified technician Gelatin silver print Sam Wood was a veteran director who started as an assistant with Cecil B. DeMille in the silent era and rose through the ranks at MGM. 220 Memo from David O. Selznick to Henry Ginsberg and Daniel O’Shea, April 14, 1939 Victor Fleming started directing Gone With The Wind immediately after completing his work on The Wizard of Oz (1939). He began by filming large-scale scenes at Twelve Oaks, the Atlanta Bazaar, and the complicated scenes in downtown Atlanta. By mid-April, Fleming was exhausted, and even before his collapse, Selznick was considering asking Sam Wood, a seasoned director, to come in and take over some of the directing work. 608, 222, 529 Selznick International Pictures Makeup still of Ona Munson, ca. 1939 Gelatin silver print Selznick International Pictures The steps of the hospital, ca. 1939 Gelatin silver print Unidentified artist Drawing of the exterior church set, not dated Ink on paper The “hospital steps” scene was the first to be shot by Sam Wood, the new director on the set, as well as the first for Ona Munson as Belle Whatley.

223 Memo from David O. Selznick to Fred Schuessler, April 21, 1939 Ona Munson was not cast as Belle Whatley until shortly before her first scene was scheduled to be shot. 528 Selznick International Pictures Vivien Leigh, Olivia de Haviland, and Ona Munson, ca. 1939 Digital reproduction from original negative 372 William Cameron Menzies Concept painting of Scarlett’s return to Tara, not dated Watercolor and gouache on board 241 Selznick International Pictures Set still of the road leading to Tara, ca. 1939 Gelatin silver print 243 Selznick International Pictures Makeup still of Barbara O’Neil, who played Scarlett’s mother, Ellen, ca. 1939 Gelatin silver print

242 Selznick International Pictures Ellen O’Hara’s body on the bier, ca. 1939 Gelatin silver print 239, 240 Selznick International Pictures Tara after the war, ca. 1939 Gelatin silver prints 228 Selznick International Pictures Vivien Leigh waiting between two ambulance wagons as she prepares to run through the chaos of the Atlanta streets, ca. 1939 Gelatin silver print 231 Selznick International Pictures Atlanta Street set, ca. 1939 Gelatin silver print Sam Wood directed the first part of Scarlett’s search for Dr. Meade. Victor Fleming was on sick leave, having collapsed from exhaustion. Fleming returned two weeks later to film the “Pull-Back Shot.” 224 Selznick International Pictures Hattie McDaniel as Mammy looking on as Vivien Leigh as Scarlett pulls down the curtains to use for her new dress, ca. 1939 Gelatin silver print

PW16 245 Selznick International Pictures Makeup still of Paul Hurst as the Yankee cavalryman, ca. 1939 Gelatin silver print 246 Selznick International Pictures Makeup still of S. Shokum, the stunt double for Paul Hurst, ca. 1939 Gelatin silver print Shokum had to fall down the stairs after being shot in the face. Val Lewton would comment later that this scene would be difficult to defend with the Hays Office because it looked much more gruesome on film than it did on paper. 375, 376, 377, 378 William Cameron Menzies Storyboard paintings of the “Yankee Deserter” scene, not dated Watercolor and gouache on board 244 Selznick Pictures International Makeup still of Olivia de Havilland, ca. 1939 Gelatin silver print Melanie’s hair was changed to a single braid for the film.

609 Proclamation from Maude B. Warren addressed to David O. Selznick, August 29–31, 1939 Three months after Warren, National Secretary of the Auxiliary to Sons of Union Veterans of the Civil War, protested the depiction ofa Union soldier attacking a female civilian, Selznick made a point of referring to the soldier as a “deserter” rather than a “soldier,” although this did little to placate the organization. 379 Walter Plunkett Costume design for Melanie in the “Yankee Deserter” scene, not dated Watercolor and gouache on board 775 where is original Letter from Margaret Mitchell to David O. Selznick, April 13, 1938 Mitchell’s letter regarding the “Society for Correct Civil War Information” demonstrates how her novel had become the focus of differing interpretations of the events of the Civil War. 249 Selznick International Pictures Ona Munson as Belle Watling, ca. 1939 Gelatin silver print 248 Daily production log for May 13, 1939

Selznick insisted on being consulted any time there was a question of interpretation. In this case, the consultation resulted in a two-hour delay. 247, 618 Selznick International Pictures Belle Watling’s house, ca. 1939 Gelatin silver print Memo from Val Lewton to David O. Selznick, April 7, 1939 Lewton’s explanation of the Hays Office’s attitude toward the depiction of prostitution and brothels demonstrates some of the difficulties Selznick faced with the character of Belle Watling. PW17 TP52 Fleming’s Return May 1939 In late May, Victor Fleming prepared to return to work. His first attempt at “Scarlett’s Oath” was derailed by rain and heavy fog. A few days later, he directed a large part of the “No More Babies” scene. On May 20, Fleming began work on one of the most difficult and memorable shots in the film, the “Pull-Back Shot.” This shot, in which Scarlett walks through a sea of the wounded as she searches for Dr. Meade, had been planned for weeks. That morning Vivien Leigh arrived for makeup at 7 a.m. along with hundreds of extras. The call had been for 997 extras, but there were not enough available in Hollywood that day. For weeks Selznick had been working with the Screen Actors Guild on the problem. Finally, over the guild’s protests, Selznick proceeded with his plan to augment the 997 extras with 680 dummies, which the “animate” extras would manipulate to simulate movement. Fearing adverse publicity, Selznick ordered that the use of dummies be kept quiet.

The spectacular “Pull-Back Shot” began filming at 1:35 p.m., using a construction crane because a normal camera crane was not nearly tall enough to get the shot needed. Seven takes were made, the last being printed and used in the final film. The scenes set in Tara’s cotton fields were shot next, culminating with Scarlett’s “I’ll never go hungry again” soliloquy. “Scarlett’s Oath,” as it was called, was completed at 4:45 a.m. on May 23 with three good takes. Long shots of Leigh’s double in silhouette with her fist raised in defiance were filmed later. 252 Selznick International Pictures Ernest Haller and Vivien Leigh, ca. 1939 Gelatin silver print Cinematographer Ernest Haller talks to Vivien Leigh before shooting the “No More Babies” scene. The scene took hours to film because Fleming kept changing angles and camera lenses. 250 Selznick International Pictures The “No More Babies” scene, ca. 1939 Gelatin silver print 251 Selznick International Pictures Publicity photo of the “No More Babies” scene, ca. 1939 Gelatin silver print Ernest Haller (foreground) and makeup assistants Eddie Allen and Myrna Gade look on as Vivien Leigh applies lip makeup before filming.

904 Selznick International Pictures Clark Gable as Rhett Butler kicking down Scarlett’s door, ca. 1939 Gelatin silver print Two takes were made of this shot, both of which were deemed “OK Print.” Conical riser Scarlett’s green wrapper, worn in the “No More Babies” scene 531 Selznick International Pictures Mozelle Miller, one of Vivien Leigh’s doubles, waiting for filming to begin, ca. 1939 Gelatin silver print 232 Call sheet for the “Wounded in the Square” scene, also known as the “Pull-Back Shot” Six huge tents were used as dressing rooms for extras on Gone With The Wind, and all six were pressed into service for this one scene. More than 900 extras needed at least partial wardrobe; 300 of those needed complete wardrobe and makeup. Ten “first aid men” were assigned to bandage “the wounded,” and eight assistant directors were brought on to help arrange and coach the extras during the scene. 234

Selznick International Pictures Extras portraying wounded soldiers breaking for lunch, ca. 1939 Gelatin silver print Part of the Atlanta set can be seen in the background. 233 Selznick International Pictures Arthur Arling (left) and Ray Rennahan, ca. 1939 Gelatin silver print The two camera operators wait to be lifted by a construction crane to film the “Pull-Back Shot.” A regular camera crane was judged to be too short to get the shot the filmmakers wanted. 235 Selznick International Pictures Extras portraying wounded soldiers wait for filming to begin, ca. 1939 Gelatin silver print The fact that dummies were also used in the scene was kept secret. “Animate extras” moved limbs of the dummies to simulate wounded soldiers. 229 Memo from David O. Selznick to Ray Klune and William Cameron Menzies, April 18, 1939 The “Pull-Back Shot” was filmed on the rail yard set next to the downtown Atlanta set. The shot had to be carefully planned and executed to avoid showing the other sets or modern buildings in the distance. Production designer William Cameron Menzies was able to predict how much of the set could be seen based on the camera’s distance from the subject and the lens used for the shot. Such planning was necessary because of the time and expense involved in using so many extras.

230 Call sheet for the “Pull-Back Shot” By May 20, 1939, Victor Fleming had recovered and returned to work. More extras were requested for this scene than the Screen Actors Guild could supply. 236 Memo from David O. Selznick to Daniel O’Shea, June 10, 1939 Selznick worried they would get bad publicity if word got out they had used dummies in the “Pull-Back Shot.” 237, 238 Selznick International Pictures The “Search for Dr. Meade” scene, ca. 1939 Gelatin silver prints The composition of this part of the scene was inspired by a photograph in The Photographic History of the Civil War by Francis T. Miller and Robert S. Lanier, one of the many reference books used for the production. PW18 262 Memo from David O. Selznick to Ray Klune, William Cameron Menzies, and Hal Kern, May 26, 1939 “Scarlett’s Oath” was one of the most important scenes in the film, and Selznick took his characteristic care with the interpretation and execution of the sequence. Shots of Leigh’s double would be made later and intercut with her footage.

261 Selznick International Pictures “Scarlett’s Oath” scene, ca. 1939 Gelatin silver print The trench and tracks enabled the camera to dolly back and tilt up giving a dramatic power to the shot that ends the first half of the film. 253 Selznick International Pictures Makeup still of Vivien Leigh in “Scarlett’s Oath” scene Digital reproduction from original 380 William Cameron Menzies Concept painting of Tara’s cotton press and devastated grounds, not dated Watercolor and gouache on board 255 Selznick International Pictures Set still of Tara’s cotton press, ca. 1939 Gelatin silver print 260 Selznick International Pictures Set still of Tara’s cotton patch and burned out buildings, ca. 1939 Gelatin silver print

The scene was filmed at the Lasky Mesa, a private ranch northwest of Los Angeles where many Hollywood movies were filmed. 256 Selznick International Pictures Evelyn Keyes (left) and Ann Rutherford in the cotton patch at Tara, ca. 1939 Gelatin silver print 258 Selznick International Pictures The crew on the set of Tara’s cotton patch, ca. 1939 Gelatin silver print PW18 (C0NT) TP53 The Schedule Becomes Chaotic May–June 1939 Although Victor Fleming had first insisted on shooting scenes in continuity, that is, in the order in which they would appear in the final film, there was no attempt to do that now. By the time Fleming returned, Selznick had three, sometimes four, directors working on Gone With The Wind, a chaotic arrangement that created scheduling conflicts on days when the directors were working simultaneously. On May 29, Fleming worked on the scene in which Melanie learns that Ashley has been captured. He moved to the Butler House set in the afternoon to work out the logistics of Melanie and Mammy’s walk up the stairs. This was Hattie McDaniel’s most emotional scene, so she spent the afternoon rehearsing and filmed the scene the next day. Meanwhile, Sam Wood’s film unit prepared Frank Kennedy’s “delousing” scene and the shots set outside the jail on the bustling streets of Atlanta.

Days later, as Fleming filmed Rhett and Scarlett’s reaction to Bonnie’s accident, Sam Wood worked on Scarlett’s scene in which Pork tells her about the taxes on Tara. At the same time, William Cameron Menzies filmed Gerald O’Hara mounting his horse for his “death ride,” and B. Reeves “Breezy” Eason, one of Hollywood’s most dependable second-unit directors, began filming the controversial “Shanty Town” scenes while Fleming prepared for the lumber mill scene. As the schedule for principal photography drew to a close, Fleming completed Rhett and Scarlett’s honeymoon scenes and Ashley’s scene with Scarlett at the paddock, while Menzies filmed long shots of Scarlett hiding under a bridge as Union troops pass overhead. 610 Handwritten chart of division of work between directors Selznick decided that he would still have Sam Wood direct some scenes even if Victor Fleming did return to work, hoping it would help them finish filming sooner. This chart illustrates an attempt to divide the major scenes left to be filmed between the two primary directors. The list is misleading because it does not mention the work of William Cameron Menzies, let alone the second unit directors who were filming miscellaneous scenes, insert shots, and “process plates” for special effects shots. 532, 121 Selznick International Pictures Hattie McDaniel resting between takes, ca. 1939 Gelatin silver print Selznick International Pictures Makeup still of Carroll Nye in the “delousing” scene, ca. 1939 Gelatin silver print The “delousing” scene was directed by Sam Wood. McDaniel filmed her scene on the Butler House stairs with Melanie, directed by Victor Fleming, within a couple days.

612 Selznick International Pictures The “delousing” scene, ca. 1939 Gelatin silver print Victor Fleming directed the “feeding the soldiers” scene, and a few days later, Sam Wood directed the “delousing” scene. In the film, the two scenes take place in close proximity. 265, 263 Selznick International Pictures The “Feeding the Soldiers” scene, ca. 1939 Gelatin silver print Selznick International Pictures Set still of the “Feeding the Soldiers” scene, ca. 1939 Gelatin silver print Victor Fleming (left) watches as Olivia de Havilland holds Beau Wilkes, played by Rickey Holt, while Louis Jean Heydt offers a black-eyed pea to get Rickey in the mood for the scene. After finishing this scene on May 29, Fleming moved to the Butler House set to begin work on Melanie and Mammy’s scene on the stairs. 722 Selznick International Pictures Olivia de Havilland and Hattie McDaniel filming one of the most emotional scenes in the film, ca. 1939 Digital reproduction from original negative 269 Selznick International Pictures

Makeup still of Olivia de Haviland for her scene with Mammy on the stairs of the Butler House, ca. 1939 Gelatin silver print 895 Daily production log for May 29, 1939 The log notes that the crew moved to the Butler House set after lunch on May 29. As the crew adjusted lights and the camera boom for the complicated shot, Hattie McDaniel rehearsed both with Fleming and Olivia de Haviland and alone, off stage, until 9:30 p.m. 724 Daily Production log for May 30, 1939 Mammy’s scene with Melanie on the stairs of the Butler House was filmed on May 30, 1939. Hattie McDaniel continued rehearsing the scene while the crew worked on mechanical difficulties with the camera boom. The pair walked up the stairway a total of 20 times before they began filming their exchange at the front door. 268 Selznick International Pictures Bonnie’s room, ca. 1939 Gelatin silver print A dozen takes were needed to complete the shot of Melanie entering Bonnie’s nursery. Hours were spent working out which way the door should open, positioning the bed so Bonnie’s body could be clearly seen, and silencing a squeaky floor. 267

Selznick International Pictures Makeup still of Cammie King as Bonnie, ca. 1939 Gelatin silver print 384 Unidentified artist Concept drawing of Bonnie’s room, not dated Colored pencil on paper 270 Selznick International Pictures The Atlanta streets set, ca. 1939 Gelatin silver print The day after Hattie McDaniel filmed her emotional scene on the stairs of the Butler House with Victor Fleming, she worked with Sam Wood in her scene with Vivien Leigh as they leave the Atlanta jail. 271 Selznick International Pictures The Atlanta streets set, ca. 1939 Gelatin silver print The scaffolding and lumber wagons in this scene, directed by Sam Wood, convey growth and construction in Atlanta and Scarlett’s changing fortune during Reconstruction. 272 Call sheet for the Atlanta streets scene This scene, directed by Sam Wood, was one of the most complicated scenes in the film and required careful planning.

622 Selznick International Pictures Outside the Provost Marshall’s office where Rhett Butler is being held, ca. 1939 Gelatin silver print 534 Selznick International Pictures Frank Kennedy greeting Scarlett outside his store, ca. 1939 Gelatin silver print 273 Memo from David O. Selznick to Sam Wood, May 31, 1939 This memo regarding minor actors in the streets of Atlanta shows that not only were certain aspects of the screenplay still subject to change but Selznick was still concerned about the quality of bit players. 275 Selznick International Pictures Vivien Leigh and Clark Gable, ca. 1939 Gelatin silver print The scene in which Rhett tries to reconcile with Scarlett as they watch Bonnie riding her horse was directed by Victor Fleming. Simultaneously, Sam Wood worked on the scene in which Scarlett learns about the taxes on Tara. Bonnie’s fatal fall, performed by a stunt double, was filmed a week later by B. Reeves “Breezy” Eason. 281, 282

Selznick International Pictures Make up still of Vivien Leigh, ca. 1939 Gelatin silver print 276 Selznick International Pictures Cammie King riding Bobby, a thoroughbred Shetland pony, ca. 1939 Gelatin silver print Selznick International Pictures Cammie King with horse trainer Dick Smith, ca. 1939 Gelatin silver print Trainer Dick Smith taught Cammie King to ride for the film. Her horse riding scenes were directed by Victor Fleming. 294 Selznick International Pictures Bonnie’s fall, ca. 1939 Gelatin silver print This pivotal scene was known on the set as “Bonnie’s Death Ride” and was directed by B. Reeves “Breezy” Eason who had trouble obtaining convincing footage of Bonnie’s ride and fall. Eason resorted to the use of a “Running W,” a risky arrangement of wires looped through the sides of the saddle and attached to the horse’s front feet to cause the animal to stop suddenly. Use of the “Running W” stunt would soon be banned from Hollywood productions. Fred Retter served as King’s stunt double. 295 Selznick International Pictures Cammie King as Bonnie, ca. 1939

Gelatin silver print King’s shots in this scene were directed by Victor Fleming days earlier. 389 Walter Plunkett Costume design for Bonnie’s riding costume, not dated Watercolor and gouache on board Fred Retter, Cammie King’s stunt double, wore this costume while filming “Bonnie’s Death Ride.” 625 Selznick International Pictures Makeup photo of Vivien Leigh in the “Shanty Town” scene, ca. 1939 Gelatin silver print “Moving process plates” background footage, filmed at the Big Bear Lake location, was used as backgrounds for Vivien Leigh’s close-ups that were filmed two weeks later. 283, 285 Selznick International Pictures “Shanty Town” scene set, ca. 1939 Gelatin silver print The scene was filmed at Big Bear Lake in southern California. Carpenters, set dressers, painters, landscapers, and a first aid technician traveled to the location in five large trucks and set up the scene. Crushed red bricks were brought in to simulate the red dirt of Georgia. The scene was directed by B. Reeves “Breezy” Eason, one of Hollywood’s most dependable second-unit directors.

386 William Cameron Menzies Concept painting of Shantytown, not dated Watercolor and gouache on board Although the novel featured an African American man attacking Scarlett, Selznick, mindful of concerns about the depiction of African American characters in the film, purposefully cast the attacker as a white man. 284 Selznick International Pictures Vivien Leigh’s stunt double, Aline Goodwin, in the wagon during the filming of the “Shanty Town” scene, ca. 1939 Gelatin silver print WALL Q 289 Selznick International Pictures The “lumber mill” scene set Gelatin silver print Leslie Howard, Vivien Leigh, Carroll Nye, and J. M. Kerrigan wait for filming to begin. Victor Fleming directed the scene on Sunday, June 18, 1939. It was unusual to shoot on a Sunday, but the pressure to complete the film production warranted the change. 291 Selznick International Pictures Makeup still of Vivien Leigh in the “lumber mill” scene, ca. 1939 Gelatin silver print 286

Colleen Traxler’s outline “showing the attitude of the South toward Scarlett as a business woman and associate of the Yankees (from the novel),” May 12, 1939 Selznick struggled to find a way to portray southerners’ attitudes toward Scarlett’s business dealings. He ultimately settled on a montage sequence and used this list of scenes from the novel as a guide. 387 Walter Plunkett Costume design for Scarlett’s lumber mill dress, ca. 1939 Watercolor and gouache on board 299 Selznick International Pictures Hair designer Hazel Rogers adjusts Vivien Leigh’s hair, ca. 1939 Gelatin silver print 298 Selznick International Pictures Cancan dancers in the “honeymoon” scene; (left to right) Jolane Reynolds, Barbara Lynn, Peaches Jackson, and Geraldine Fizette, ca. 1939 Gelatin silver print Arthur Arling (left) and Paul Hill sit behind the Technicolor camera as the cancan dancers rehearse. Eddie Prinz was the dance director. 906 Selznick International Pictures Rhett and Scarlett’s honeymoon cabin on the riverboat, ca. 1939 Gelatin silver print

Menzies and Wheeler were unable to find any authentic plans or descriptions of riverboat cabins, so they improvised their own. 306 Selznick International Pictures Leslie Howard and Vivien Leigh in the “paddock” scene, ca. 1939 Gelatin silver print As Victor Fleming directed Hattie McDaniel’s scene with Olivia de Haviland on the stairs of the Butler house, Sam Wood was trying in vain to film the “paddock” scene with Leslie Howard and Vivien Leigh. The crew filmed from 9 a.m. to 9 p.m., acquiring no usable footage. Almost a month later, on June 24, Victor Fleming took over. Despite breaking the scene into parts to make filming easier, five camera angles and twenty-seven takes were needed to complete it. 303 Memo from David O. Selznick to Ray Klune, June 22, 1939 By this date, all the actors were exhausted. Leslie Howard had a particularly difficult time with the “paddock” scene, and Selznick and Klune did their best to give him the space he needed to concentrate. 304 Selznick International Pictures The bridge where Scarlett, Prissy, and Melanie hide from the Union troops, ca. 1939 Gelatin silver print While Victor Fleming directed Vivien Leigh and Leslie Howard in the “paddock” scene, William Cameron Menzies directed Leigh’s acting double Joan Rogers and Butterfly McQueen in the scene in which Scarlett hides the wagon under the bridge as Union troops pass overhead. Close-ups of Leigh

holding the horse’s reins were filmed on October 5 after Leigh returned from vacation for retakes. 391 Jack Martin Smith Concept painting of Scarlett, Prissy, and Melanie hiding under the bridge, not dated Watercolor and gouache on board WALL Q (CONT) TP55 Inserts and Retakes Summer 1939 Principle photography on Gone With The Wind officially ended on June 27, 1939, although there was still much to do. All the principal actors were contractually obligated to return for re-takes, and added scenes and filming began the next morning. These bits and retakes continued off and on through the summer. Fleming had tried to schedule a reshoot of the “porch” scene with Scarlett and the Tarleton twins early on, but Leigh had looked so worn and tired Selznick insisted she rest. She had appeared in almost every scene of the production, and the work had taken its toll. In early October, Vivien Leigh returned from vacation. On October 3 she filmed retakes of the “sleepy time” scene at Twelve Oaks and close-ups in the ruins of Twelve Oaks. On October 12, Vivien Leigh appeared with Fred Crane and George Bessolo, now George Reeves, to film the opening “porch” scene once again, this time wearing the white prayer dress. Selznick visited the set that morning and gave her the flowers she is holding in the scene. With that take, the filming of Gone With The Wind was complete. 314

Telegram from David O. Selznick to Jock Whitney about the completion of principal photography on Gone With The Wind, June 27, 1939 315 Selznick International Pictures’ invitation to the wrap party While June 27, 1939, was the official last day of principal photography, filming retakes, inserts, and bits would go on for more than an additional three months. 859 Memo from David O. Selznick to Ray Klune, April 17, 1939 Selznick continued to insist on being consulted on every detail as the production crew worked on retakes, montages, and added “cut away” shots of objects. 317 Strike order for Tara, the Butler house, and other sets, June 30, 1939 General manager Henry Ginsberg, production manager Ray Klune, and producer David O. Selznick had to carefully consider and approve orders to take down a set. Once a set was “struck,” it could be replaced only at great expense. 318 Memo from David O. Selznick to Ray Klune, William Cameron Menzies, and Barbara Keon, May 31, 1939 Scarlett’s journey back to Tara after the “Burning of Atlanta” scene, known during the production as “Scarlett’s Trek,” was previously a much longer scene. Selznick ultimately shortened it to a montage sequence.

397 William Cameron Menzies Concept painting of Scarlett’s arrival at the ruins of Twelve Oaks, not dated Watercolor and gouache on board 398 Mac Johnson Concept painting of the ruins of Twelve Oaks, not dated Watercolor and gouache on board 312 Selznick International Pictures A set model of the ruins of Twelve Oaks, not dated Gelatin silver print Production designer William Cameron Menzies and Jack Cosgrove, Selznick’s head of special effects, created this model of Twelve Oaks. It was placed in front of the camera while filming Scarlett’s walk through the ruins to create a realistic effect. 310 Selznick International Pictures Final version of the “porch” scene, ca. 1939 Gelatin silver print Vivien Leigh touches up her makeup as the crew and Fred Crane (left) and George Reeves (formerly George Bessolo) prepare to film the final version of the “porch” scene. Leigh holds flowers given to her by Selznick. 108

Call sheet for the final version of the “porch” scene The opening “porch” scene proved very difficult to film to Selznick’s satisfaction. It was both the earliest and the latest of scenes to be shot. 308 Selznick International Pictures Fred Crane, Vivien Leigh, and George Reeves (left to right) prepare to film the last version of the “porch” scene, ca. 1939 Gelatin silver print MILA WALL TP56 Post Production Fall 1939 Post production work on Gone With The Wind began long before filming was complete. Film editors Hal Kern and James Newcom edited as it was being filmed to accommodate Selznick’s demand to see entire sequences on an almost daily basis. Gone With The Wind was twice as long as other films being made at the time, and the fact that it was made in Technicolor complicated the editing process. SIP’s records indicate that editing consumed some 16,000 hours. It was an enormous task for which the two received Academy Awards. Selznick’s head of special effects, Jack Cosgrove, worked closely with William Cameron Menzies during production and with Hal Kern during postproduction. Scores of shots in the film are process shots in which foreground performances are combined with pre-filmed backgrounds. Selznick relied heavily on Cosgrove’s skills and worried that Cosgrove would not finish on time without help. Likewise, Selznick worried whether Max Steiner would be able to complete the score for Gone With The Wind in time. He knew “Maxey” could be slow and prone to pessimism and self-doubt. Consequently, Selznick had several

other composers, including Franz Waxman, working on the score as a “precautionary measure.” Nevertheless, Steiner delivered one of the best-known film scores on time, despite the fact that he was simultaneously scoring two other films for Warner Brothers. 326, 860 Selznick International Pictures Max Steiner, composer of the score for Gone With The Wind, not dated Gelatin silver print Memo from David O. Selznick to Henry Ginsberg, August 14, 1939 Max Steiner was Selznick’s first choice to compose the musical score for Gone With The Wind. While Selznick had other composers working on the score as a backup, he tried to give Steiner enough time and encouragement, even prodding and cajoling, to deliver his best work. 539 A page from Max Steiner’s score for Gone With The Wind 328 Selznick International Pictures Supervising film editor Hal Kern and his editing team, ca. 1939 Gelatin silver print Hal Kern (holding film), and some of his editing staff, worked feverishly throughout the production to supply edited versions of scenes for Selznick to review as the production progressed. 327 Selznick International Pictures Jack Cosgrove, Selznick’s head of special effects, ca. 1939

Gelatin silver print Some of the film’s most dramatic images resulted from the close collaboration between Cosgrove and William Cameron Menzies. TP57 The Fox Riverside Preview Fall 1939 On the afternoon of August 17, 1939, the Arlington Theatre in Santa Barbara advertised a sneak preview of the newest film by David O. Selznick. Rumor spread that the preview screening was of Gone With The Wind, and there was a near riot outside the theater at show time. The people who managed to get in to the screening reportedly groaned loudly when they learned the film being shown was Intermezzo, starring Leslie Howard and Selznick’s new star from Sweden, Ingrid Bergman. Selznick was considerably more careful on the night of September 9 when he arrived at the Fox Theater in Riverside, California, with his wife, Irene, Jock Whitney, Hal Kern, his editor, and script supervisor Bobby Keon. The audience was there ostensibly to see the new Gary Cooper film, Beau Geste, but was told that, instead, a three-hour-and-forty-three minute film with a brief intermission would be shown. They would be allowed to leave, but if they did so, they could not use the telephone and would not be readmitted. There was “an unprecedented outburst of cheering and applause” as the title Gone With The Wind began moving across the screen, and the audience reportedly cheered “for four solid minutes when they saw Gable on screen.” No one walked out. When it ended just before midnight, the audience filled out questionnaires. Selznick and Kern studied the audiences’ responses as they fine-tuned the film for the premiere in Atlanta. 640, 329, 330, 331, 332, 641 Selznick International Pictures Completed questionnaires from the preview screening of Gone With The Wind Fox Riverside Theater, Riverside, California, September 9, 1939

TP58 The Atlanta Premiere Preparations Winter 1939 When Selznick confirmed that the official premiere would take place in Atlanta, requests and invitations began to pour in. Kay Brown took care of arrangements that required a personal touch. General planning fell to Howard Dietz, head of publicity for MGM, despite Selznick’s worries that MGM might make a false step and damage any goodwill the Selznick organization had built up. Mayor Hartsfield declared a three-day holiday, and the city scrambled to erect historical markers that identified significant locations from history and the novel. It seemed every business and organization in Atlanta got involved. Margaret Mitchell herself worked behind the scenes with friends in the Atlanta press to wage a campaign to treat the visiting celebrities “like human beings.” Indeed, some of the stars of the film were reluctant to attend. Gable, in particular, did not want to go. Vivien Leigh was hesitant at first but changed her mind as the date approached, especially when she learned that her fiancé, Laurence Olivier, would attend as well. Warner Brothers resisted letting Olivia de Havilland attend and insisted she return immediately after the premiere to work on a film. Ann Rutherford was eager to attend, and Selznick invited other cast members, including Laura Hope Crews and Ona Munson. Selznick also wanted Hattie McDaniel, Butterfly McQueen, Oscar Polk, and Eddie Anderson to attend. He was proud of their performances in the film and thought they could help get publicity in the African American newspapers in Atlanta. He suggested they also make a brief appearance onstage at the premiere. But Atlanta was a racially segregated city in 1939, and Selznick, though frustrated, acquiesced. In a final effort to acknowledge his African American cast members, Selznick pushed to include Hattie McDaniel’s image on the back of the souvenir program, along with those of the white cast members, but yielded

to counter pressure, concluding “it may be best to play safe” to avoid offending an enormous potential audience. 613 a-b Memo from David O. Selznick to Howard Dietz, November 8, 1939 Howard Dietz was one of the top publicity executives at MGM and was in charge of the premiere festivities in Atlanta. Selznick was not shy about sharing his opinions with Dietz about how the premiere preparations should be carried out. In this memo, Selznick discusses including the African American cast members as attendees at the premiere. 340 Memo from Katharine Brown to David O. Selznick, November 14, 1939 Kay Brown’s memo about plans for the premiere and Junior League Ball also mentions Margaret Mitchell (Peggy) and her husband’s campaign to remind Atlanta’s citizens to “treat these celebrities like human beings.” 339 Memo from David O. Selznick to Katharine Brown, November 27, 1939 Selznick shares his thoughts about the Atlanta premiere festivities and his impression of Clark Gable’s and Vivien Leigh’s attitudes about attending. TP59 The Atlanta Premiere Winter 1939 The Atlanta premiere and related activities went more smoothly than anticipated. On December 14, a parade through downtown Atlanta took the

stars and various officials and dignitaries through a crowd of more than 300,000 people. At the Georgian Terrace hotel, the 100-piece Georgia State Girls Military Band played, and Mayor Hartsfield, David O. Selznick, and Clark Gable spoke briefly to the huge crowd. A Junior League Charity Ball was held that night at the Atlanta Municipal Auditorium. Ona Munson and Laura Hope Crews arrived in costume. Gable, Lombard, Leigh, de Havilland, Selznick, and Whitney sat with local dignitaries. Kay Kyser’s band played, and Margaret Palmer, winner of the contest to find the girl who was closest to Vivien Leigh’s measurements, led the grand march wearing Scarlett’s barbeque dress from the film. On Friday, December 15, after a day of luncheons, tours, and a press party arranged by Margaret Mitchell, the stars arrived at the Loew’s Grand Theatre on Peachtree Street. The façade had been dressed to look like Tara, and a giant portrait of Rhett and Scarlett hung above it. Local radio stations invited the stars, Selznick, and Margaret Mitchell to speak on their way into the theater where Gone With The Wind played to an exhilarated audience. 402 Poster for the Atlanta festivities surrounding the premiere of Gone With The Wind, 1939 891 Teletype from David O. Selznick to Katharine Brown, December 11, 1939 Selznick, Hal Kern, Jack Cosgrove, Max Steiner, and the rest of the studio’s production team completed the editing, scoring, and printing of Gone With The Wind just four days before its world premiere in Atlanta. 871 Selznick International Pictures/MGM

Olivia de Haviland and Vivien Leigh arriving in Atlanta for the premiere festivities, December 13, 1939 Digital reproduction of gelatin silver print Selznick and Vivien Leigh’s fiancé, Laurence Olivier, watch as Mayor Hartsfield of Atlanta presents the two female stars of Gone With The Wind bouquets of roses. 872 Selznick International Pictures/MGM Clark Gable and Carole Lombard arriving in Atlanta, December 13, 1939 Digital reproduction of gelatin silver print A parade through downtown Atlanta took Gable, Lombard, and other stars to the Georgian Terrace Hotel. 873, 621, 874 Selznick International Pictures/MGM The parade route through downtown Atlanta, 1939 Gelatin silver print Chart showing the order and occupants of the vehicles for the parade through downtown Atlanta Selznick International Pictures/MGM The parade crowd in downtown Atlanta, 1939 Digital reproduction of gelatin silver print The parade attracted an estimated 300,000 people. 876 Selznick International Pictures/MGM Governor Ed Rivers with David O. Selznick and Vivien Leigh in the parade through Atlanta, 1939

Digital reproduction of gelatin silver print 888 Selznick International Pictures/MGM The parade through downtown Atlanta, 1939 Digital reproduction of gelatin silver print Clark Gable was the star of the parade. 878 Selznick International Pictures/MGM Clark Gable speaking after the parade, 1939 Digital reproduction of gelatin silver print 877 Selznick International Pictures/MGM The Georgia State Girls Military Band performing at the Georgian Terrace hotel after the parade, 1939 Digital reproduction of gelatin silver print 879 Selznick International Pictures/MGM David O. Selznick and Vivien Leigh at the Junior League Ball, 1939 Digital reproduction of gelatin silver print Claudette Colbert sits behind Selznick and Leigh. The Junior League Charity Ball was held at the Atlanta Municipal Auditorium. Ona Munson (Belle Whatley) and Laura Hope Crews arrived in costume. Clark Gable and Carole Lombard sat at Mayor Hartsfield’s table.

342 Telegram to Kay Brown regarding a contest to find the girl who most closely matched Vivien Leigh’s measurements The winner would wear one of Scarlett’s gowns to the ball. The contest was repeated in other cities to promote the film. 343, 880 Vivien Leigh’s measurements Clipping from the Atlanta Constitution about the Grand March at the Junior League Ball One of the local celebrities at the Junior League Ball was Margaret Palmer, winner of the contest to find the girl whose measurements were closest to those of Vivien Leigh. Palmer led the grand march wearing Scarlett’s barbeque dress from the film. 881 Selznick International Pictures/MGM Photograph of the Junior League Ball Digital reproduction of gelatin silver print 901 Souvenir program for the Junior League Ball 882 Selznick International Pictures/MGM Vivien Leigh, Clark Gable, Margaret Mitchell, and David O. Selznick at the press party arranged by Mitchell Digital reproduction of gelatin silver print

883 Selznick International Pictures/MGM Clark Gable and Margaret Mitchell meet at the press party before the premiere Digital reproduction of gelatin silver print Margaret Mitchell organized a party for the stars of Gone With The Wind and reporters from the region. The party was held before the premiere screening of the film. 884 Selznick International Pictures/MGM Loew’s Grand Theatre in Atlanta Digital reproduction of gelatin silver print The Loew’s Grand Theatre was dressed as Tara, and a huge portrait of Vivien Leigh as Scarlett O’Hara was hung over the entrance for the premiere of Gone With The Wind. 885 Selznick International Pictures/MGM Margaret Mitchell, David O. Selznick, Clark Gable, and others speaking before entering the theater Digital reproduction of gelatin silver print TP61 The New York and Los Angeles Premieres

As Gone With the Wind went into wide release, Selznick and his staff turned their attention to the film’s New York and Los Angeles premieres, neither of which was as extravagant in execution as the one in Atlanta. In New York, the film premiered at two theaters, the Astor and the Capitol, but Olivia de Havilland was the only star to attend the New York premiere. President and Mrs. Roosevelt declined to attend either the Atlanta or New York premieres but happily accepted the offer to screen the film at the White House the day after Christmas. The film premiered in Los Angeles at the Carthay Circle Theatre on December 28, 1939, just in time to qualify for the Academy Awards. 740 Selznick International Pictures David O. Selznick and Jock Whitney at the Los Angeles premiere of Gone With The Wind, 1939 Gelatin silver print 336 Selznick’s “A List” for the Los Angeles premiere of Gone With The Wind The Hollywood industry’s interest in Gone With The Wind was so great that Selznick developed hierarchical lists of invitees. Those on the “A List” who were invited to the party at the Cafe Trocadero after the Los Angeles premiere were asked to RSVP at their earliest convenience. TP60 Wide Release December 1939 On December 16, reserved seat tickets went on sale to the general public and broke all records. Heavy sales would continue for months as the film opened across the country. Val Lewton reported that fan mail from cities where the film was playing had “increased roughly an hundred fold.”

Selznick clashed with MGM, the film’s distributor, over ticket prices. Selznick pressed for a top price of $1.65 for advance sale “road show” tickets while MGM wanted a set price of 75 cents per ticket. Settling on $1.10 for the highest price ticket, Selznick wrote to Jock Whitney, “It will yet be proven that I have not been insane and that we have undersold the greatest attraction of the century by millions of dollars.” Requests for bookings came in faster than MGM and Selznick International Pictures could manage. Technicolor simply could not produce projection prints fast enough. To meet popular demand, some theaters projected the film on a “continuous” basis, starting the film again as soon as it finished. In consequence, many saw the film “backward,” catching the second half of the film first then staying to see the first half. Reports of these maverick showings flabbergasted Selznick who instructed Hal Kern and Val Lewton to produce a brochure to send with projection prints advising theater managers and projectionists how best to present the film. In conjunction with the film’s wide release, a caravan of costumes and paintings from the film traveled to major cities in the east and Midwest for one-day displays, but the tour was stopped after less than a month because of wear and tear on the costumes. Some of those costumes and paintings are included in this exhibition. Gone With The Wind began to play in African American theaters—often smaller third- or fourth-tier theaters further down the distribution chain—some two months after its general release. African American newspaper reviews were mixed. Many critics complained that the depiction of African Americans as happy in their subservient roles was offensive. Others commended the film for eliminating offensive scenes and dialog present in the novel. All, however, praised the performances of Butterfly McQueen, Oscar Polk, Eddie Anderson, and, in particular, Hattie McDaniel. 886 Unidentified photographer The Earle Theatre in Philadelphia, January 1940 Digital reproduction of gelatin silver print

Selznick was often frustrated with MGM’s handling of the movie’s distribution. He felt that tickets to all showings of the film should be sold in advance at the highest price possible. Many theaters, however, sold tickets in advance for the evening shows only and ran the film continuously during the day, allowing patrons to enter at any point in the film and stay through the following screening. 735 The original release one-sheet poster for Gone With The Wind. TP62 The Academy Awards 1940 Selznick, concerned that participants in the making of Gone With The Wind be recognized for their important contributions, wrote to Russell Birdwell with a suggestion he plant stories favorable to the film in gossip columns: “I don’t want to do any electioneering or indulge in Warner tactics, but I do think that in justice to the people who have worked so hard for us, we should protect them with publicity at least calling their eligibility to the attention of the voters.” Selznick worried needlessly. The 12th Academy Awards ceremony was held on February 29, 1940, at the Ambassador Hotel. Gone With The Wind had been nominated for 13 awards, winning for Outstanding Production, Directing (Victor Fleming), Actress (Vivien Leigh), Art Direction (Lyle Wheeler), Cinematography (Color, Ernest Haller and Ray Rennahan), and Film Editing (Hal Kern and James Newcom). Hattie McDaniel became the first African American to receive an Academy Award, winning in the category of Best Actress in a Supporting Role. Sidney Howard, who had died in a farming accident, received the Writing (Screenplay) award posthumously, and William Cameron Menzies received

a special award for “outstanding achievement in the use of color for the enhancement of dramatic mood.” Selznick was presented the Irving G. Thalberg Memorial Award. 632 Unidentified photographer Hattie McDaniel at the Academy Awards Ceremony Gelatin silver print 333 Transcript of Hattie McDaniel’s acceptance speech Hattie McDaniel was the surprise winner of the Best Supporting Actress award. The reference in the transcript to Selznick and her agent William Meiklejohn occurred at the awards banquet but not when she reenacted her speech for the camera. 582 Unidentified photographer David O. Selznick and Vivien Leigh, 1940 Gelatin silver print At the 12th Academy Awards ceremony Gone With The Wind was honored with ten awards. David O. Selznick spent the rest of his career trying to regain the artistic and commercial success of Gone With The Wind. Although his later efforts, from the epic western Duel in the Sun to his last film, A Farewell to Arms, never reached the heights of his most famous production, the name David O. Selznick is still synonymous with guts, ambition, extravagant production values, incredible attention to detail, and the highest standard of quality in film production.

Book Deal CASE 717 First edition of Margaret Mitchell’s Gone with the Wind (New York: Macmillan, 1936) 903, 902 Letter from Margaret Mitchell to Mr. Adams, March 9, 1938 Letter from Margaret Mitchell to Mr. Neudecker, December 28, 1937 Gone With The Wind became an instant bestseller and its author, Margaret Mitchell, an instant celebrity. Mitchell did not particularly enjoy the success and chafed at her loss of privacy. Still, she graciously answered letters about her novel. Although she was initially open and friendly with Selznick and his staff, she eventually refused to assist with the film project in any way because every news story about the film production brought renewed interest in her and her private life. 892 Notes on a Preliminary Screen Treatment, December 14, 1936 Many scenes in Sidney Howard’s first take on the screenplay are as they appear in the final film. 750 Letter from David O. Selznick to Sidney Howard, January 6, 1937 Selznick’s response to Howard’s “Preliminary Notes on a Screen Treatment” includes many suggestions that would make their way into the final screenplay, including the elimination of any mention of the Ku Klux Klan.

893 Sidney Howard’s first draft of the screenplay for Gone With The Wind, screenplay, February 1937 Table case I Am Scarlett For more than two years, Selznick planted stories in newspapers and magazines across the country saying he was looking for an “unknown” to play Scarlett O’Hara. By 1938, Selznick had received thousands of letters from women asking to be considered for the part. Many were encouraged by family members, teachers, agents, and Selznick’s own talent scouts. Most of the women who wrote did so because they closely identified with the character of Scarlett. Some felt they physically resembled the character as Margaret Mitchell described her, and some related to the character because of their southern heritage. But the majority of applicants felt they possessed an intimate understanding of Scarlett’s resilience, resourcefulness, and sacrifice, as well as her failed romance. 799 Letter from “Scarlett O’Hara” to David O. Selznick, April 1, 1938 Many women identified with the character so closely they actually said, “I am Scarlett.” This writer also signed her letter with the character’s name. 800 Letter from Esther Gnif to David O. Selznick, March 21, 1937 Gnif writes that Scarlett “seems to haunt me, and yet—I haven’t even read her story.” Still, she identifies closely with the character, writing,

“Experience?—none, except life—knowing love, hate—giving birth, facing death—being supremely happy, and knowing utter despair.” 83 Letter from Jerry Bennett to David O. Selznick, August 4, 1938 Bennett feels she has the same independence and self-reliance that she sees in Scarlett. 793 a-c, 792 Newspaper clipping and postcards regarding Frances Edwards, August 1938 Edwards was one of many for whom a letter-writing campaign was waged to attract Selznick’s attention. 796a, b Letter from D. V. to David O. Selznick, with accompanying photograph, November 13, 1937 Writing to recommend a friend or relative for the part of Scarlett was quite common, and many writers were frank about their state of affairs. This writer, Doris, recommends her sister, Mary, for the part and mentions that their mother “is very ill,” having “sugar in her blood.” Doris also asks Selznick not to answer her letter, or “my mother will kill me.” 802a-b Letter from M. M. Miller to Casting Director, Metro Goldwyn Mayer, September 19, 1938

This dramatic and evocative letter about two women reading Gone With The Wind aloud touches on many of the characteristics of Scarlett that resonated with the public during the Great Depression. Miller speaks of her friend’s struggles, from the loss of loved ones and suffering the hardships of war to insecure investments, bank failures, and taxes threatening her home. Her friend’s reaction to the book, “I wish I had a Tara to go to,” was a sentiment shared by many at this time. 804 Letter from David O. Selznick to D. H. Brown, November 8, 1937 Selznick instructed his staff to respond individually to each letter sent to his office. Very few of these rejection letters survive. Brown had written to recommend a friend for the part of Scarlett but for whatever reason, Selznick’s response was not sent. Table Case The Parlor Game For more than a year after Selznick purchased the film rights to Gone With The Wind, he had Russell Birdwell, his head of publicity, plant stories about the casting search to keep public interest in his film project high. However, as the start date for filming kept being pushed back, Selznick worried that the public would become bored with the casting stories and, possibly, with Gone With The Wind itself. His fears were unfounded. From the announcement of Selznick’s acquisition of the film rights to start of filming, speculation about who would portray the characters in Margaret Mitchell’s novel became a national obsession, or as one of Selznick’s staff put it, “a parlor game all over America.” 444 Letter from Louella Parsons to David O. Selznick, September 22, 1936

Less than three months after Selznick’s purchase of the film rights, gossip columnist Louella Parsons wrote to him that she was getting so many letters about his film project that she could not keep them all. 849 Teletype from Russell Birdwell to Dorothy Modisett, December 8, 1936 At the end of 1936, Selznick’s publicity head, Russell Birdwell, issued this press release regarding the extraordinary public interest in the casting of Gone With The Wind. Birdwell claimed to have received 75,000 letters in the first six months. 10 Casting report by Lydia Schiller, November 14, 1936 Selznick assigned two secretaries, Lydia Schiller and Dorothy Carter, to maintain a running tally of votes for various film stars for parts in Gone With The Wind. Miriam Hopkins and Joan Crawford were early favorites for Scarlett. Clark Gable was always the clear leader for the role of Rhett Butler. 446 Memo from Katharine Brown to David O. Selznick, September 18, 1936 Many people suggested Margaret Mitchell play Scarlett O’Hara in the film. Kay Brown, Selznick’s east coast story editor and chief talent scout, was familiar with Mitchell by this time and put an end to this idea. 826 Letter from Julia Dwyer to David O. Selznick, October 24, [no year]

Although Katharine Hepburn was an early favorite for the part of Scarlett, she was by no means universally popular. In this case, Hepburn’s mother’s advocacy of birth control worked against her. 828 Letter from Phyllis Rosenberg to David O. Selznick, August 1, 1938 Even before the 1938 film Jezebel, Bette Davis was one of the favorites for the part of Scarlett. Rosenberg also touches on one of Selznick’s fears in this letter—that the public would become “sick and tired” of his indecision over casting the part of Scarlett. 831 Letter from Jane Fourier to David O. Selznick, not dated Fourier casts another vote for Clark Gable for the part of Rhett Butler. 834 Letter from Mary Densey to David O. Selznick, August 5, 1938 Many fans wrote to Selznick with complete cast lists like this one. 639 Petition sent by Thelma Powell in support of Hattie McDaniel, not dated This petition from Chicago, supporting Hattie McDaniel for the role of Mammy, includes a column for signers to list their occupation. Table Case Other Characters

Scarlett O’Hara and Rhett Butler were by no means the only characters the public was passionate about. Thousands of letters arrived at Selznick’s office recommending actors (or even the letter writers themselves) for specific characters in the novel. People from all walks of life were swept up in Mitchell’s story and imagined themselves as part of it. 50 Letter from Elizabeth Coleman to David O. Selznick, not dated Many African Americans wrote to Selznick asking to be considered for roles in Gone With The Wind. Elizabeth Coleman asked for an audition for Prissy, noting “I would have been a[n] actress if the field for negroes were wide enough. As it is I have spoken lines for many of the studios.” 805a-c Letter from Alan and Alton Taber to David O. Selznick, August 22, 1938 Among the most difficult roles to cast in Gone With The Wind were the Tarleton twins. Selznick had difficulty finding twins who both looked the part and had acting experience. 809 Letter from Jeannine Cook to David O. Selznick, November 11, 1937 Most of the letters Selznick received about casting the child roles in the film came from parents recommending their own children. This letter, however, came directly from a young girl who wanted to play Bonnie. 810 Letter from Gertrude Graw to David O. Selznick, March 8, 1938

Compared to letters from those aspiring to play Scarlett or Melanie, relatively few wrote in asking to play the prostitute, Belle Watling. 811a, 811b Memo from Helen Meroz to Marcella Rabwin, January 4, 1937 Selznick instructed his staff to answer each letter individually. Occasionally, however, a staff member was not sure how to respond. 635 a, b Letter from Catherine Hare to David O. Selznick, February 3, 1937 Letters from whites offering to play African American parts were not uncommon. Most said they had experience performing in blackface on stage or had an intimate knowledge and experience of African American life that qualified them for the work. Selznick’s staff responded that African Americans would play these roles. 813 Letter from Alberta Carter to David O. Selznick, January 10, 1938 Most of the letters from African Americans asking for parts in Gone With The Wind centered on the role of Mammy. Like many who wrote to Selznick during the Great Depression, Carter’s primary reason for writing was to ask for work. “My husband,” she writes, “is a totally blind World War Veteran and he does not receive any compensation.” 814 Letter from Paul Varner to George Cukor, April 27, 1937

Varner recommends ex-slave Aneas Carter for a part in the film. In the Selznick archive there are many examples of whites writing to recommend an African American acquaintance for a part in the film. Case label Dixie’s Sacred Drawl Thousands of southerners sent letters to Selznick emphasizing the importance of getting the southern accents right in the making of Gone With The Wind. Other films set in the South, like King Vidor’s So Red the Rose (1935), had used a generic “southern” accent that many letter writers pointed out was offensive to their sense of identity. By the time production on Gone With The Wind had begun, Selznick had developed a sensitivity to southerners’ concerns, and he was alert to the accuracy of accents throughout the production. Selznick met with Clark Gable on October 19, 1938, to discuss the film and his vision for the part of Rhett Butler. Gable then met with Cukor and Henry Ginsberg, head of production, to discuss his costume, makeup, and, in particular, his accent. Gable, anxious about perfecting his character’s accent, requested a dialog coach to work with him while he was shooting Idiot’s Delight. But just two days before the first scene of Gone With The Wind was to be shot, Selznick learned that Gable refused to use an accent at all. In response, Selznick instructed Will Price, from his casting department, and Susan Myrick, one of the technical advisors, to ensure that all the actors could at least employ an accent that would not offend. 817 Letter from Mrs. Donavan Owens to David O. Selznick, April 25, 1938 This writer argues that the main characters in Gone With The Wind are educated southern aristocrats and should speak accordingly. The “suedo– Southern [sic] accents” commonly used in films, she writes, “make all aristocracy ring of a poor white cotton picker.”

818 Letter from Rosa Talbot Knight to David O. Selznick, March 28, 1938 The typical southern accent in the 1930s was, according to this writer, a dialect “mostly spoken by the descendants of the illiterate Overseers, who came into power (financially) after the slaves were freed.” The characters in Gone With The Wind, she argues, lived in the antebellum days and would have been more “sedate and stately.” 820 Letter from Maybelle Hyatt to David O. Selznick, February 26, 1938 After objecting to Paulette Goddard’s candidacy for the part of Scarlett, Maybelle Hyatt says “I am strictly Southern—and want to be able to understand what is being said by all the Southern characters, so please do not have them twist our dialect? [sic] into a foreign language, as is done in all pictures with Southern background.” She goes on to say, “You should be in one of our Theaters when this type of picture is shown and hear the majority laugh at YOUR idea of Southern speech.” 821 a-b Letter from Nancy McLin to David O. Selznick, September 1, 1938 Like many who wrote to Selznick about the southern accent, McLin tries to explain the “articulation and enunciation” of southern speech. She also makes the point that “‘Gone With The Wind’ is a Saga of the South, and the speech used is a direct reflection of the people, both in thought, feeling and environment.” 824 Letter from Mrs. J. Blizzard to David O. Selznick, August 1, 1938

So Red the Rose (1935) was most often cited as an example of offensive southern accents in Hollywood, but after the release of Jezebel (1938), many wrote to complain about the accents in that film as well. 825 Letter from Mrs. C. H. Howard to David O. Selznick, June 29, 1938 Many people wrote to Selznick about historical accuracy in general. In this letter the Tulsa, Oklahoma, chapter of The United Daughters of the Confederacy proclaims: “The Moving Picture has become such a factor in the education of our people that we should study and aid in getting the right impressions.” They make another observation that many people across the country understood as well, “The characters in that picture will possess power either way.” 95 Memo from Susan Myrick and William Price to David O. Selznick and George Cukor, January 19, 1939 After receiving so many letters about the southern accent, Selznick and his staff became sensitized to the subject. In this memo, Myrick and Price, assigned to monitor accents, point out that the screenplay “includes innumerable attempts at written southern accent for the white characters.” They add that “this is extremely dangerous as it prompts the actors immediately to attempt a phoney [sic] southern accent comprised merely of dropping final ‘ings’ and consonants.” Selznick had the entire screenplay retyped to remove such prompts for the white characters. 96a [show first typed page only] Letter from Mrs. J. C. Stiles to David O. Selznick, October 9, 1936

Mrs. Stiles, like many others, ties the southern dialect to a sense of place, urging Selznick to visit and research the specific place and culture where the story takes place. “You may consider this as none of my business,” she writes, “but believe me it is. And of every other true Southern woman or man.” 97 Memo from David O. Selznick to George Cukor, December 8, 1938 A few weeks earlier, Clark Gable had agreed to work on a southern accent and had requested a coach to work with him while he filmed Idiot’s Delight (1939). As filming started, however, Selznick had to cajole Gable into using any kind of accent at all. He had an equally difficult time monitoring the accents of Vivien Leigh and Leslie Howard. CASE near wall N&O 113, 850 Selznick International Pictures Robert Gleckler as Jonas Wilkerson Gelatin silver print Memo from Charles Richards to David O. Selznick Ray Klune, and Eric Stacey, February 27, 1939 Robert Gleckler was an experienced character actor in films and on Broadway. He was cast as Jonas Wilkerson but died before he finished filming his part. He was replaced by Victor Jory. 868, 856 Selznick International Pictures Ann Rutherford as Carreen O’Hara Gelatin silver print

Memo from Daniel O’Shea to Ray Klune, Charles Richards, Eric Stacey, Ernest Scanlon, and David O. Selznick, January 23, 1939 Ann Rutherford was well known for her role as Polly opposite Mickey Rooney in MGM’s enormously popular Andy Hardy series when she was cast as Scarlett’s younger sister Carreen. 865, 854 Selznick International Pictures Rand Brooks as Charles Hamilton Gelatin silver print Memo from Daniel O’Shea to Ray Klune, Charles Richards, Eric Stacey, Ernest Scanlon, and David O. Selznick, January 23, 1939 Rand Brooks was a stock player at MGM when he was cast as Charles Hamilton. Brooks went on to a long career in film and television, primarily in westerns with the likes of Hopalong Cassidy and Roy Rogers. 899, 469 Selznick International Pictures Leslie Howard as Ashley Wilkes Gelatin silver print Memo from David O. Selznick to Daniel O’Shea, October 20, 1938 Selznick had almost as much trouble casting the part of Ashley as he did Scarlett and Rhett. Laurence Olivier, who was romantically involved with Vivien Leigh, was considered for the part, as was Joel McCrea and Ray Milland, but none wanted it. Leslie Howard, the public’s favorite, was lukewarm about the role. But his dream role as Lawrence of Arabia fell through and he needed a job. When Howard expressed renewed interest in the role of Ashley, Selznick agreed, feeling he had no better options so close to the start date.

900 Selznick International Pictures Olivia de Haviland as Melanie Hamilton Wilkes Gelatin silver print 857 Memo from David O. Selznick to Daniel O’Shea, October 17, 1938 Many of the women Selznick considered for the part of Scarlett were also considered for the part of Melanie. 855 Memo from David O. Selznick to Daniel O’Shea, January 12, 1939 Olivia de Haviland, Selznick’s top choice for the role of Melanie, was held back by Warner Brothers until almost the last minute. Warner would continue to make things difficult for Selznick by restricting de Haviland’s time and availability. GBH case Script Doctors Winter 1938–1939 Although Sidney Howard had been working on the Gone With The Wind screenplay intermittently for two years, the script was still too long. The project was encroaching on his writing for the theater, and although the pay was good, he was becoming increasingly frustrated. Selznick was obsessed with the length of the film. If Gone With The Wind were too long, exhibitors would object. He would then be in the position of having to cut the film down to size in the editing room, which would be both more expensive and more destructive than shortening the script before committing to film. Selznick was determined to shorten the script while simultaneously inserting more of the story from the novel. According to his

theory of adaptation, this meant either combining, rewriting, or cutting out entire sequences. After considering a number of other writers, Selznick hired Oliver H. P. Garrett, a veteran screenwriter to work directly with him. They completed a draft, known as the “Howard-Garrett script,” in late January 1939. But Selznick was still not satisfied and hired one writer after another to work on specific scenes or come up with ideas to combine and shorten sequences. F. Scott Fitzgerald, Ben Hecht, John Van Druten, and many others each took a turn at shortening and refining the script. Of the more than a dozen writers known to have worked on the screenplay of Gone With The Wind, almost all began their work after filming had begun. 138 a-b Last two pages of Bradbury Foote’s rewrite of Gone With The Wind, January 1939 In October 1938, Selznick sent copies of the Sidney Howard script to Laurence Stallings and Bradbury Foote, two of MGM’s best screenwriters. Working on an eight-day deadline and a request of confidentiality, Stallings recommended a “ruthless wielding of the hatchet” in cutting the script down to size. Selznick was not impressed with Stallings’s suggestion to cut most of the “barbeque” scene and thought Foote’s happy ending “awful.” 141 Memo from Val Lewton to David O. Selznick, October 12, 1938 Val Lewton’s list of possible screenwriters for Gone With The Wind At Selznick’s request, story editor Val Lewton provided lists of possible screenwriters with comments on each. Among others, Lewton offered his opinions on Sinclair Lewis (“He can write dialogue, is now very much interested in the theater, but might be either a little too political-minded or a little too gin-minded for this job”), William Faulkner (“Now in Oxford, Miss, but can fly anywhere in his own plane. Not very reliable in his plane nor his

habits but his last collection of Civil War stories, ‘The Unvanquished’ show [sic] what he can do with this sort of background”), Rachel Field (“Handles her women characters beautifully, as shown in her novels ‘All This and Heaven Too’ and ‘Time Out of Mind.’ Has a nice grasp of period talk and is a very easy person to work with”). The last person on this list, Oliver H. P. Garrett, was a veteran screenwriter known for such films as A Farewell to Arms (1932). Although Garrett did not receive a full endorsement from Lewton, he was hired in early December, 1938, to do a major last-minute rewrite. 139, 140 Memo from F. Scott Fitzgerald to Barbara Keon, January 24, 1939 A page from F. Scott Fitzgerald’s work on the “Atlanta bazaar” scene, January, 1939 F. Scott Fitzgerald worked on several scenes of the screenplay and made many keen and perceptive observations about Gone With The Wind, but little of his work made it into the final film. 137, 894 Memo from David O. Selznick to Jock Whitney, January 25, 1939 Sidney Howard and Oliver H. P. Garrett’s screenplay for Gone With The Wind, January 16, 1939 Selznick delivered “the so-called Howard-Garrett script” the day before filming was to begin. George Cukor was not happy with it and thought the previous version, the Sidney Howard script, was superior. Cukor’s attitude toward the script eventually led to his leaving the production altogether. His successor, Victor Fleming, also disliked this version of the screenplay. TP41

One More Will Only Confuse Us Winter 1938–1939 Susan Myrick arrived on the set of Gone With The Wind in early January 1939 amidst a flurry of activity. The Tara and Twelve Oaks sets were under construction. Selznick, George Cukor, and Max Arnow were auditioning and casting actors for the minor roles. And the first in a long line of screenwriters was trying to bring the script down to manageable size. Selznick had already brought to Hollywood the illustrator and historian Wilbur Kurtz as an advisor about Atlanta’s early history and was paying both Kurtz and Myrick more than he had originally budgeted. When Selznick remembered his promise to Walter White to employ yet another advisor to “protect the race,” he had his executive assistant, Marcella Rabwin, write to Kay Brown asking her to smooth things over with White. Brown wrote about her conversation with White, “He was tremendously concerned about the probable effect of the picture but seemed to be completely reassured when I recited my piece taken from your very excellent notes.” Case near Portable Wall 10 475 a-e Earl Morris’s “Sailing With The Breeze,” ca. 1939 This five page article by Earl Morris of the Pittsburgh Courier was sent to Selznick with a note saying that it was being distributed widely to African American press outlets. It was soon followed by news that Colonel Leon H. Washington, founder of the Los Angeles Sentinel, was organizing a boycott of the film by maids in the Los Angeles area. These events prompted Selznick to make important changes in the screenplay of Gone With The Wind. 770, 479

Memo from Victor Shapiro to David O. Selznick, March 20, 1939 Pittsburgh Courier “Press Representatives Discuss ‘Wind,’” April 8, 1939 Digital reproduction from microfilm Earl Morris visited the set of Gone With The Wind to meet personally with the filmmakers and asked to have his photograph taken to “prove he had been received.” 789 Memo from Marcella Rabwin to Jock Whitney, February 11, 1939 Russell Birdwell’s advice on dealing with the African American press illustrates a conflicted approach, ignoring criticism on the one hand yet pursuing a “positive policy” on the other. 473 Unidentified photographer Chester Washington of the Pittsburgh Courier (left) with Hattie McDaniel and an unidentified woman, April 1939. Gelatin silver print Former head of publicity Russell Birdwell suggested Selznick try to make the African American actors more available to the press in order to counter negative publicity. Case label Plunkett has come to Life Winter 1938–1939 Walter Plunkett was already an accomplished Hollywood costume designer when, in 1936, his agent recommended him for Gone With The Wind. Both Selznick and Cukor had worked with him previously and were happy to sign

him on. They sent him on a research trip to Georgia where he met with Margaret Mitchell, who took him on a day trip to Jonesboro, the closest town geographically to the fictional setting of Tara. On his trip to Atlanta with George Cukor in 1937, Hobe Erwin, an early hire as art director for Gone With The Wind, gave Margaret Mitchell a costume design by Muriel King, a fashion designer who occasionally worked in film. Mitchell was enchanted by it and asked to buy it. Instead, King presented it to her as a gift. Learning of Mitchell’s fondness for Muriel King’s design, Selznick considered replacing Walter Plunkett. After months of negotiation, however, Selznick and King were unable to come to terms. In the meantime, other top costume designers—Irene, Travis Banton, Ladislaw Czettel, Lucinda Ballard, and Adrian—expressed interest in the job. But when Walter Plunkett delivered a new set of sketches, Selznick wrote Kay Brown, “Plunkett has come to life, and turned in magnificent Scarlett costumes so we won’t need anyone else.” Table Case Label 278, 277 The Hate Word June 1939 Memo from David O. Selznick to Val Lewton, June 7, 1939 Memo from Val Lewton to David O. Selznick, June 9, 1939 Despite Selznick’s promises to Earl Morris at the Pittsburgh Courier and to others, the word “nigger” reappeared in the script, most likely when Selznick reverted to the earlier Sidney Howard version. When Val Lewton and Joseph Breen pointed this out, Selznick found himself backed into a corner. If he were to adhere to his “theory of adaptation” and remain faithful to the source material, including its “seeming faults,” he risked not only not keeping his word but alienating large segments of the film’s potential audience.

Lewton made his case against the use of the word in this memo, reminding Selznick of his previous promises and public statements. Selznick promptly gave in, writing, “Okay, we’ll forget it.” Case label Frankly, My Dear…. June 1939 Use of the word “damn” in films was expressly prohibited in the Production Code. Anticipating objections by the Hays Office to the now much-quoted final scene of Gone With The Wind, on June 1, 1939, Selznick asked his story editor, Val Lewton, to compile a list of uses of the word “damn” in print media and, if possible, cinema. Lewton reported that the Saturday Evening Post, Cosmopolitan, and Collier’s allowed the word when it is used “properly in character.” And Lillian Deighton, a Selznick researcher and former schoolteacher, noted that Edward Everett Hale’s classic short story, “The Man without a Country,” containing the line “Damn the United States!” was taught in the Philadelphia school system without protest. Despite Selznick’s preparations, Joseph Breen remained adamant in disallowing Selznick to retain Mitchell’s original dialog. 280 Memo from David O. Selznick to William Hays, October 20, 1939 Selznick knew that the Code would have to be changed in order for him to be able to keep the film’s final line, a change that could only be approved by the board of directors. Leading up to a decisive October 27 meeting, Selznick and Jock Whitney lobbied board members to change the Code. Although deliberations were described as “very stormy,” Selznick prevailed, and the Production Code was amended to make future use of the word “damn” discretionary.

279 List of alternate lines for “Frankly, My Dear…” Although Selznick promised to “put up a strong fight for the line,” he took Lewton’s precautionary advice to film the scene twice, once as written, and a second time substituting “Frankly, my dear, I don’t care.” Without mentioning that an alternate shot had been filmed, Selznick directly confronted Will Hays in an October 30, 1939 letter in which he made his case for retaining “the punchline.” Case 614 Memo from David O. Selznick to Howard Dietz, November 8, 1939 Selznick was justifiably proud of the performances of African American cast members in Gone With The Wind—of Hattie McDaniel’s performance in particular—and felt strongly they should be publically acknowledged. Selznick suggested that McDaniel, Oscar Polk, Eddie Anderson, and Butterfly McQueen attend the premiere festivities, but Atlanta was a segregated city and his suggestion was rejected both by Howard Dietz, MGM’s head of publicity, and by the Atlanta organizers. 891 Teletype from David O. Selznick to Howard Dietz, November 29, 1939 In this memo to Dietz, Selznick begins to give in to pressure not to invite the African American cast to attend the premiere but continues to argue for including an image of Hattie McDaniel on the back cover of the program. 341 Memo from David O. Selznick to Howard Dietz, November 30, 1939

In a final effort to recognize Hattie McDaniel’s contribution, Selznick suggested her portrait be included on the back of the souvenir program, but this suggestion was rejected as well. 889 Telegram from Howard Dietz to David O. Selznick, December 1, 1939 Dietz decided to include Hattie McDaniel’s portrait on the program for other cities, but not Atlanta. 345 Letter from Hattie McDaniel to David O. Selznick, December 13, 1939 By the time Hattie McDaniel wrote this gracious letter to Selznick on the eve of the Atlanta premiere, she knew she had not been invited to attend. 337, 338, 614 Souvenir programs for Gone With The Wind, ca. 1939 Ultimately, three versions of the souvenir program were produced, one with the white cast members on the back cover, one with Hattie McDaniel and the white cast members on the back cover, and one with a blank back cover. Case labels 893 Sidney Howard Gone With The Wind screenplay, February 1937 Sidney Howard delivered his first draft of the screenplay on February 12, 1937. Although it was twice the length of a standard screenplay, Howard and Cukor decided “the most practical course is to proceed regardless of length.”

779 Franclien Macconnel’s “Gone With The Wind Character Relationships” report 780 Franclien Macconnel’s “Gone With The Wind Data on Characterization, Costumes, Settings” report 787 Franclien Macconnel’s copy of the Gone With The Wind screenplay, January 24, 1939