Last week， the American Film Institute released its list of the 100 best American films of all Not surprisingly， Gone with the Wind placed in the Top 10 (#4， in fact) However， although this epic romantic melodrama is undoubtedly one of the most popular and beloved motion pictures ever to grace the silver screen， it is also arguably the most Gone with the Wind is a very good movie， perhaps bordering on being great， but its subject matter and running time (which is easily 60 minutes too long) argue against its status as a As for its high placing on the AFI's it isn't the only travesty on that roster， but it is one of the most Gone with the Wind is， simply put， a tale of two The movie is divided by an intermission into a pair of roughly-equal The first， which is brilliant and consistently captivating， covers the time period of the Civil War， beginning shortly after the election of Abraham Lincoln， and ending during Sherman's march through A The post-intermission half， which dishes out the suds， picks up at the end of the Civil War and concludes about eight years This portion of Gone with the Wind， while still retaining a degree of appeal and narrative interest， spins its wheels Nevertheless， viewing Gone with the Wind on television pales in comparison to seeing it projected on a motion picture New Line Cinema has chosen to re-release the film (which is now in its sixth major revival) for its 59th (Why not wait a year for the 60th?) Anyone who loves movies but has only seen this one on TV or video is heartily encouraged to visit the nearest participating Theatrically， Gone with the Wind is an entirely different experience from its small-screen counterpart; some of the second-half narrative tedium is effaced by the glorious With a restored three-strip Technicolor print that preserves all of the original's deep， vibrant colors and digitally-enhanced sound， this picture has never looked or sounded Gone with the Wind has one of the best-known storylines of any film， due in large part to the popularity of the source material， Margaret Mitchell's best-selling 1936 It's essentially a sumptuous soap opera set around Civil War times in the deep S The main character is Scarlett O'Hara (Vivien Leigh)， the spoiled， manipulative daughter of an Irish immigrant plantation owner (Thomas Mitchell， who would later play Uncle Billy in Frank Capra's It's a Wonderful Life) Scarlett has two sisters， but she is by far the most spirited of the three O'Hara girls， and her father， seeing her as his successor， teaches her lessons about the importance of the "It's the only thing that the only thing worth fighting for，" he comments in the face of Scarlett is secretly in love with Ashley Wilkes (Leslie Howard)， who is about to marry the gentle， demure Melanie Hamilton (Olivia De Havilland) When Scarlett confesses her love to Ashley， he admits his feelings for her， but notes that Melanie will make a much better Immediately after this meeting， Scarlett has her first encounter with the irrepressible Rhett Butler (Clark Gable)， the cynical， smart hero who eventually falls in love with They are two headstrong likes who simultaneously repel and attract one When Scarlett remarks， "You， Sir， are no gentleman，" Rhett's smiling， easy response is， "And you're no " The bulk of the film follows a romantic quadrangle as it unfolds against the backdrop of war and reconstruction in and around Atlanta and the O'Hara plantation， T Scarlett is in love with Ashley， or thinks she is， but he won't leave his Melanie loves both her husband and Scarlett， who improbably becomes her best Rhett is smitten with Scarlett， and she is clearly interested in him， but the real question is how long it will take for her to recognize the depth of her Ultimately， when Rhett has finally had enough， he walks out of her life after answering "Frankly， my dear， I don't give a damn" to her plaintive query about what she's supposed to do without The pre-intermission portion of Gone with the Wind， which runs about 115 minutes， is glorious from both a visual and an emotional It's a grand tale of love and loss in the midst of this country's most bitter Most importantly， it shows Scarlett's development from a vain， spoiled brat into a hardened， determined young Her relationship with Rhett is there， but kept carefully in the There is sadness， humor， and a number of breathtaking shots of Scarlett silhouetted against a reddish sunset or the backdrop of Atlanta in The film's most lingering image -- that of thousands of Confederate wounded paving an Atlanta street -- occurs during this part of the The second half， with its repetitive concentration on Scarlett's back-and-forth， do-I-love-him-or-not relationship with Rhett， is less This stuff is real soap opera material， and， even as well- acted and well-presented as the narrative is， there's no mistaking it for anything If it didn't run on for so long， it would be a lot more bearable， but Gone with the Wind threatens to wear out its welcome long before the end title The problem is that the bulk of the story is really told in the first half， so there's a lot of filler in the post-intermission Gone with the Wind stands as a romantic monument to the Old South -- an homage to an era and a lifestyle long The opening title states: "There was a land of Cavaliers and Cotton Fields called the Old S Here in this pretty world， Gallantry took its last Here was the last ever to be seen of Knights and their Ladies Fair， of Master and of S Look for it only in books， for it is no more than a dream remembered， a Civilization gone with the " This clearly illustrates where the film's sympathies lies， and it isn't with the often-grim plight of the slaves (in fact， slavery is largely treated as a neutral， or even benevolent， institution) One of the tests of the lasting impact of any film is determining whether it's still effective decades after its initial Gone with the Wind looks so good that it is surprising to consider its actual It's hard to believe that many of the people involved with this film have long since Of course， period pieces should not be constrained by the era in which they're made， only by the one in which they're The storyline， while "progressive" and "modern" for the 1930s， is a little tame for the 1990s (hence the MPAA's "G" rating)， but， in its three-dimensional depiction of Scarlett and Rhett， it's rarely The dialogue is often brilliant， and some of the Rhett/Scarlett exchanges are particularly Gone with the Wind avoids becoming hopelessly maudlin by peppering the lengthy storyline with a variety of lively and humorous Probably as much has been written about Scarlett and Rhett as about Casablanca's Rick and I Vivien Leigh and Clark Gable were perfectly cast in the leading roles -- she was a relative unknown who was "discovered" almost by accident after an exhaustive casting period; he was an established They fit together perfectly， and， while their chemistry isn't as overwhelming as that of Bogart and Bergman， it's pretty As with all couples， their glances and body language say as much or more than their words， and， especially in Scarlett's case， are always more The characters are fascinating， both on their own and in their interaction with each Scarlett is a devious manipulator with a dangerous charm (beware her when she bats her eyelashes); Rhett sees through her at every turn， but， even as smart as he is， he can't help falling for There are a number of noteworthy supporting The two with the most screen time (aside from Gable and Leigh) are Leslie Howard and Olivia De H Both portray low-key characters， but do it so well that we develop a deep sympathy for them and their When it comes to the games of the heart engaged in by Scarlett and Rhett， Ashley and Melanie are out of their Another standout is Hattie McDaniel， whose brilliant Mammy (the housekeeper at Tara) steals scenes from the more prominent McDaniel brings Mammy to life， and， while she's not three-dimensional， she's Mammy is also evidence that Gone with the Wind was capable of transcending (at least in part) the too-easy black stereotypes that were in evidence during the When discussing the creative forces behind Gone with the Wind， one rarely hears the name of Victor Fleming (The Wizard of Oz)， the credited (He was actually one of four men to helm the ) Instead， Gone with the Wind is referred to as "a David O Selznick Production，" because Selznick was the driving force behind the movie's As Producer or Executive Producer， Selznick was instrumental in making over 50 films， including titles like King Kong， A Tale of Two Cities， A Star Is Born， Rebecca， Spellbound， and The Third M With four directors， over a dozen uncredited screenwriters， and several cinematographers， Selznick proved to be the creative glue that held Gone with the Wind This was his child -- an obsession that consumed him for To date， no film has sold more box-office tickets than Gone with the W Domestically， the tally almost doubles that for the phenomenally-popular T Of course， when the movie was first released， it wasn't just another motion picture -- it was a spectacle， an Even though the habits of movie- goers have changed over the years， it's easy to see why this film provoked such an outpouring of praise and adulation during its initial release， and why its stature has grown with the passage of Gone with the Wind has flaws， but it's still undeniably a classic and a
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everythings will like tomorrow， the Tomorrow is another She is all an in the whole story full of fire， be filled with the person of the will to I enjoy most of， would be her this" Tomorrow is another "Was filled with the hope forever， be filled with the will to fight， can never give up， can never This spirit， the most worthy of I So， whenever I meet the difficulty， mood not good， I will tell the oneself then:" Tomorrow is another "The another in book make the female that me admire very， would be the meilanli She is an outside soft inside just of female， she almost owned the whole virtue that female can Positive if the rui especially says of， she is a that a handful of expensive madam that he saw She is strong， she is patriotic， she uses her heart love nearby all When her husband fight， she silent in the rear guard the hon， do the business of her what lies in one's power， be the north guy to beat in the city and she again soon about to deliver child， she still the town settle， being the 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body can't bear again to grow， but persist the ground to want to hope the gift to give birth to a child for the a again， end leave she loved the close relatives of the Is really too great， looking at themeilanli， make me thought of much more Chinese ancient times females of， they are also such dociles， work hard in spite of criticism， assist husband and bring up children， then silent unknownly old go to and depart from this In the whole book， I is a rui for the person that like most He is brave and persists， he can love the beauty of si so and deeply for more than ten years He wants to protect the beauty of si ， the doter si beauty， look after the beauty of si， let her everything feel happy， but the beauty of si He says， again the time that eternal love also will dub out， but his love， drive beauty of si， drive rare gift of a ， was dub out by the adherence that the si beauty is stupid His heart， When his daughter leaves him， his heart， return any further not to He says， he has always been to have no that patience shear the ground pants and sew and like， then tells the oneself this is similar to lately， just deceive yourself as well as Ground is ground， return and don't go to any further， even make allies， the top still stays the crack， is not originally any further 《飘》，是我最喜爱的书。喜欢斯佳丽的勇敢坚强，喜欢瑞特的机智果断，喜欢玫兰妮的外柔内刚。 对于斯佳丽这个人物，我的感觉是矛盾的，是讨厌却又不得不敬佩她。她是个非常有个性的人物，她一生中爱了两个男人，而她却没一个是了解的。如果她了解阿希礼，那她就不会爱他；如果她了解瑞特，那她就不会失去他。她一直以来是辜负瑞特的，她只是不停追寻着自己梦中的王子——阿希礼。她只是把自己爱的特点认为阿希礼有，她只是做了一件华丽的衣服，让阿希礼穿上，而后爱上他。而事实是，她爱的只是那件衣服。 对于她，我是不得不佩服的，佩服她的坚强，佩服她对土地的执着，佩服她能在那中环境下放下以前所受的教育下田干活，佩服她能不顾社会上的言论而开创自己的事业。她生命有几个灵魂，一个是她的母亲。他的母亲是一位非常能干、温柔的典型贵夫人，是她最敬佩的人。可是，母亲为了救人而被传染伤寒，去世了。另一个，是她十几年来最爱的人——阿希礼。她能在逆境中站起来，有很大一部分原因就是阿希礼。她对阿希礼是异常执着的。还有一个，就是玫兰妮。在一起奋斗的十几年里，玫兰妮已经成为她生命中不可缺少的一部分了。 我觉得斯佳丽就像个小孩子一样，对自己想要的东西异常执着，而对自己所拥有的东西却不屑一顾。一面在拼命让自己幸福，一面又不断地把幸福推离，把爱人推向深渊。 斯佳丽爱的是阿希礼，可是，阿希礼却不要她。就像瑞特说的，阿希礼是个君子，只是生在了一个和他格格不入的时代。他还是用旧世界的游戏规则生活，只会撞得一鼻子灰。斯佳丽不了解阿希礼，所以她爱他，想尽一切办法得到他，而当她认清他时，她再也不爱他了。 斯佳丽是个矛盾体，可又有谁不是矛盾体呢？她在生命的道路上一路走来，当她面对困难时，她选择迎接，当她面对责任时，她选择担负，可当她面对爱的抉择是，起初，他选择蒙蔽自己，当她终于认清，要面对时，却已为时已晚。而她，在无能为力时，就会告诉自己，明天是新的一天，明天一切都会好了，Tomorrow is another day。她在整个故事中，都是个充满生气、充满斗志的人。我最欣赏的，便是她的这句“Tomorrow is another ”。永远充满了希望，充满斗志，永远不会放弃，永远不会绝望。这份精神，是最值得我学习的。所以，每当我遇到困难、心情不佳时，我便会告诉自己：“Tomorrow is another ”。 书中另一个使我十分佩服的女性，便是玫兰妮。她是个外柔内刚的女性，她几乎拥有了女性所能拥有的一切美德。正如瑞特说的，她是他所见过的少数贵夫人中的一个。她是坚强的，她是爱国的，她用她的心爱身边所有的人。当她丈夫打仗时，她在后方默默守侯，做她力所能及的事，当北佬打进城而她又快要临盆时，她依然镇定，当她身体虚弱而没人下地干活快要没饭吃时，她和斯佳丽一样，放下过去所受的教育和优越感，拖着虚弱的身体下地干活，当她看到斯佳丽杀了一个北佬时，她没有惊慌失措，而是帮着掩埋尸体，搜查钱财，擦拭血迹，当战争终于结束，她痛恨的北佬士兵来到她门前要求照顾而她们自己也没有过多粮食时，她还是尽她所能地帮助他们，因为她希望在远方也有一个好心的北佬女人给她正在回家的丈夫一口饭吃。 如此一位坚强的女性，却又是如此的温柔善良和善解人意。她执着地相信斯佳丽和阿希礼，即使有人亲眼看见他们搂在一起，也执着地相信他们，保护斯佳丽。她明知自己的身体无法再承受生育的痛苦，却执着地要再为阿希礼生个孩子，最终离开了她爱了一辈子的亲人们。 真的是太伟大了，看着玫兰妮，使我想到许许多多的中国古代女性，她们也是如此的善良，任劳任怨，相夫教子，然后默默无名地老去、死去。 整部书中，我最为喜欢的人物就是瑞特。他勇敢、执着，他能那么深地爱着斯佳丽十几年不变。他想保护斯佳丽，宠爱斯佳丽，照料斯佳丽，让她事事称心，而斯佳丽却拒绝了。他说过，再永恒的爱也会有磨光的时候，而他的爱，是被斯佳丽，被阿希礼，被斯佳丽愚蠢的固执磨光的。他的心，死了。当他女儿离开他时，他的心，再也回不来了。他说过，他从来没有那个耐心把剪碎的裤子缝好，再告诉自己这就和新的一样，自欺欺人罢了。碎了就是碎了，再也回不去了，即使修好，上面仍然留有裂缝，再也不是原来那条了。 瑞特是个复杂的人，他有良好的家世，但却仍和旧时代格格不入，他有锐利的眼睛，可以在乱世找到自己的处身之道，他对国家有热情，即使他明知必败无疑，却仍在最后关头入了军。他爱斯佳丽，但他更了解斯佳丽，所以他从不说，只是通过行动表达，而斯佳丽却从来不想去了解他。最后，他绝望了，一次又一次的失望使他再也没有勇气再去尝试，他累了。 《飘》绝对是部值得再三品味的好书，文字优美，情节跌荡起伏、扣人心弦，虽然其中由于作者的主观因素，对于美国南北战争的评价并不客观和全面，但以文学角度来说，这绝对是一部绝世佳作，值得一看。 备注：中文后几段英文好像没有翻译，宁外《飘》英文名应该是《go with wind》
