Rotel, Veveeta, Chicken, Pasta

An incredible story - The Window, Ted Tezlaff (1949)


In New York, in a huge building. This summer evening, it is very hot in the apartment of Woodry. The son of the house, Tommy can not sleep in his room, settled for the night on the balcony. In his sleep, he saw the stairs that gives vis-à-vis, a murder ... When he tells his story, his parents do not believe. But the neighbor across the street knows that the child saw his gesture ...

A little known gem that this modest RKO production which finds its originality by the transposition of the story The boy who cried wolf in the world of film noir. We discover the misadventures Young Tommy (Bobby Driscoll) with a tendency to invent stories will play well when tours will end up witnessing a murder committed by true neighbors and no one will believe. The first part develops the newspaper of the young hero through the difficulties facing his parents his imagination and used it to illustrate an axis in the world of ordinary boy with building this hall and stairs of the buildings very common New York .

Bobby Driscoll boils engaging and verbal machine gun flow deploys a nice kid energy storyteller and his distress when not Vintage for the crime he has seen real results in a lot of empathy for the misunderstanding of the adult world. The script builds all the elements maliciously against Tommy to his surroundings constantly put in doubt his accusations, while the murder itself announces the second game with a terrific burst of violence by adopting the perspective of the child.

The film thus follows in its aesthetic and narrative dimension of the original tale. Entire second part of the film develops and the elements of early (cons dive from the point of view of the child, from top to bottom exploration of the building) in a dark side and terrifying to the exact form of nightmarish imagery neat seen previously.

The film takes a classical imagery of film noir with its dark alleys and menacing, but its imposing buildings seen in the eyes of Tommy he inspire a heavy atmosphere that immerses us in the heart of childish terrors. Moreover, the threat embodied in a Machiavellian Paul Stewart (no stranger to the role of villain in the film noir as the famous Fourth speed Aldrich) composing a memorable villain. We are constantly surprised by the differences in violence and cruelty that the film indulges toward the child, anticipating 5 years before some time The Night of the Hunter .

Tezlaff former cinematographer Ted moved on to directing it also intends to push up the tension with its confusing frames, compositions dark plans where every dark corner is a hidden danger for Tommy. Tension mounts permanently to a memorable final chase where the boy is facing a lot of resources alone and helpless at his pursuers. Although as in any tale, all's well that ends well, the film has taken in areas darn uncomfortable with its different variations. Original and masterfully executed, a success story like that.

Released on DVD Zone 2 in French by Editions Montparnasse Collection RKO

Preview

Peeing A Lot And Pain In Lower Abdominal

Silver of the old - Lo Scopone Scientifico Luigi Comencini (1972) The


An old American socialite (Bette Davis) travels the world his fancy, and in each country, she likes to face the people of slums in large parts of maps to prove that she is rich because she is smarter. Somehow, his fortune would be deserved. His favorite game is the scopa game memory and reflection.
But the deal is flawed precisely because it is very rich. As this is a money game and each time it doubles the bet, it is certain ultimately to be able to continue indefinitely, and therefore win overwhelmingly.
Peppino (Alberto Sordi) and Antonietta (Silvana Mangano) are his opponents, but also servants, friends, in an endless party where all episodes of Rome is a slum contributes to challenge the old.

is what is undoubtedly one of comedy's most ferocious and successful of the great Luigi Comencini. The film anticipates a strong future great masterpieces of Italian comedy namely Ugly, Dirty and Bad Ettore Scola through its double-edged vision on the status of the poor and the behaviors it causes. The difference is in the tone since in the waste of humanity portrayed by Scola Scola Comencini opposes him an amused look real and endearing on its pair of heroes, their families and communities in the slum.

The first part of the film thus describes the material difficulties of any kind faced by the heroes and could be resolved by a victory in the cards face old. Misery room is shown without complacency, but in a very real with a good touch of humor to lighten the whole, as opposed to opulent luxury in which the owner lives ubcarbée by Betty Davis. Alberto Sordi in and blundering simpleton husband is excellent as usual and form a perfect duo with Silvana Mangano in more ambivalent role. According to several parties where the couple is ridiculed, big turning point in the middle of the movie where they are in position to snatch a fortune in the old.

is where even more specifically one of the great themes of the film, class relations (in fact the choice foreign players with Betty Davis and Joseph Cotten playing the rich is not innocent). The couple intoxicated by the fortune finally smiled the game continues as the honest intentions of the old woman smiling and affable lady shows her true face of cruel shrew unable to accept defeat and using all its power to avoid it . Bette Davis excels (admittedly quite young but more pushing his legendary art of transmutation by far the ugly makeup and matured even more giving tunes harpy) in old skin manipulative and falsely friendly play for much of the extreme tension released by the party whose scopa rules to speak more spectator Italian but whose blood is largely communicative.

Comencini shows how wealth can go to your head people of modest means through the character of Silviana Mangano, intoxicated by the issue and unable to stop even when the old is dying, the ratio dominant / dominated speaking in their inability to stop some of their own making. This relationship between the old and the couple very well of heroes is ambiguous and far from black and white, each showing a shocking behavior at a given moment and revealing the shortcomings of each class by greed, pride and a sense of human good contrast between them all eventually.

Comencini issue is a much finer work than the premise suggested. Although his love of the characters do not dare make him a darker conclusion (although funny it is not very positive either) succeeds where one of his most original and brilliant, jewel of the all'italiana Comedia.

Released on DVD in region 2 French Studio Canal

Fence Wood Corrugated Iron

Splendored Thing - Love Is a Many Splendored Thing, Henry King (1955)


1949, civil war raged in China and refugees fleeing the conflict Chinese arrive daily in Hong Kong. Widow of a Nationalist officer, the Eurasian doctor Han Suyin is devoted entirely to his work at the Victoria Hospital. She falls in love with an American war correspondent Mark Elliott. Mark is married but living apart from his wife. Their affair caused a stir around them ... Twelve

after The Song of Bernadette , Jennifer Jones found the film's earned him his only Oscar with this flamboyant melodrama. In his pitch, the scenario does not seem to stand out at all from the wave of melodrama invading American cinema during the 50 same for this is the interracial romance between a Western and Asian already addressed in the misfire Sayonara Joshua Logan. The unfolding of the story is rather predictable to anyone who has dabbled in the genre and all seems without any real asperity at first sight. Yet it is this key in any restraint and sensitivity, smooth falsely makes the movie so disturbing.

King Henry will draw on the emotional power of his story in the actual source that inspires. The film is actually adapted from a novel by Han Suyin, Eurasian life lived a tumultuous romance adultery with a corresponding English war. The screenplay by John Patrick gum all the most sour of Han Suyin (she documents in her autobiography Winter Love including his bisexuality) in order to retain sensitivity to edge of the novel. The story depicts the encounter between Han Suyin (Jennifer Jones) Eurasian young widow moved to Hong Kong and dedicated to his job as a doctor and Mark Elliott (William Holden) American correspondent separated from his wife.

Everything seems to oppose them. She abandoned all her love life after widowhood to devote himself to his task (including the thousands Chinese refugees arriving in poverty in Hong Kong) and do not dream of returning to China to bring its knowledge to serve his country. He is a shadow of passage to keep the lucidity and detachment of a journalist on the background and the dramatic event it is obliged to cover. Their resolutions shatter the budding romance with them.

falsely mawkish treatment of this passion by Henry King is actually a marvel of subtlety. Too long detached from worldly pleasures Jennifer Jones finally yields fast enough even if she leaves Holden and cache it in the image Runner believed to guess (the true image of Holden playing there on it) will actually act as a lovesick throughout history. So it's a romance story without apparently taking place and worn by King Henry the alchemy of his connects the star couple radiant romantic sequences.

The grace of his staging, the photo of Leon Shamroy magnifying its technicolor paradise that Hong Kong 40s and magical score by Alfred Newman raise high the most beautiful moments like the interviews on the Hill a two-stroke, where time seems to freeze. Jennifer Jones completely abandons any flamboyance of his game as we know it in productions O'Selznick embodiment of a woman while grace and restraint in Asian port. This duality of the origins of Han Yi expressed in this capacity after his Chinese culture and western side just waiting to ignite.

We see Holden and rub without fear as she thinks being away from such feelings now, but gradually the armor cracks. King brilliantly brings the moment when everything changes when returning to the beach where Han Yi Mark suddenly asked him to light a cigarette (it was previously denied), the symbol of victory for his side not yielding to more European conveniences to finally live. Holden is close and lights his cigarette started pasting his own, their horns bare face each other and the fade that follows is far more sensual, enigmatic and full of meaning that a more explicit love scene.

tone smooth and cliché you could feel comes primarily from the King will put his lover in a sort of bubble or anything there than the other. There is thus long walks in the Hong Kong dream (but also passages in China and Macao), where exchange hugs, kisses, words of love and long languid eyes. The problems led to separate our relationship are many, but still covered with a grain designed to demonstrate to what extent they are inseparable. The issue of adultery, which can hold only sometimes in some melodramatic moral issue is dealt with by philosophy and quickly evacuated. Holden is married and his wife refuses to divorce? Whatever Han Yi is a reason and will only warm even if its presence can not be legally united. The notable Western (whose condescension is highlighted at the reception scene at the beginning of film) chatting and trying to stop the career of Han Yi ? She will still join in Macao on the time of his stay. The Chinese accuse accuses him of abandoning his commitment to the benefit of her romance? She admits and plunges over beautiful, no external force will overcome their history.

no destiny except in the form of historical and political drama surrounding them. The song gives the film's original title Love Is a Many Splendored Thing- (written by Sammy Fain and sung by the Four Aces the film's success to him much the song will be a tube and rewarded at Oscar and music) back loop and a sign of fate obvious heavy on history.

Every moment must be lived as if it were unique and the last in which this romance that avoids the silliness exacerbated by the grace of William Holden and Jennifer Jones, both of the tops of their photogenic. So this strong bond that enabled them to resist all that will unite them now beyond death in a superb final scene on the famous hill where memories of words and the presence of the absent (and a beautiful butterfly with a symbol) will give the other the strength to continue living.


Released on DVD Zone 2 French at Fox

How Many Citalopram To Overdose??

Player - Caroline Bottaro (2009)


An island. A woman on her bike. Helen disappears from her home to begin his day as a cleaner in a hotel. Upon entering a room, she overhears a couple playing chess. Fascinated by the power and intimacy that emerge from this scene, she'll get excited for this game obsessively, endangering everything that was his life.

A nice surprise that the first movie that shows surprising pitch Sandrine Bonnaire, daily maid dull see his life transformed when she discovered a passion for chess. This frame serves as a trigger to several exciting themes, while provoking a surprising fervor taking over the sports movie (it is surprising to feel emotions at the Rocky during the latter part of the film in the tournament) during the progression and gradually gained the confidence of heroin.

The film questions the discrepancy that can cause intellectual awakening, the birth of a passion with a more mundane surroundings. Sandrine Bonnaire and really carried away by something for the first time in his life finds it hard to join this craze with his family and his job more ordinary. The other characters, very well written (including an excellent Renaud Francis in the role of husband) also expressed their incomprehension at her, and this opposition gives the film a very successful social dimension. Without knowing it, by discovering a passion she has real talent, Helen rises well above the fray at his expense, and is finally "different" and "offset" against his associates every day. Thus the strategic and military failures (most used when approaching this game the movies) is completely erased in favor of the more social and feminist, including the emphasis on the figure of the Queen (the most powerful piece of gaming).

Sandrine Bonnaire delivers a stunning performance, her face lights up at the start so detached as and as the film progresses and she asserts in her art. She who has the habit of seeing in very dramatic roles (though there are exceptions of course like the beautiful Miss of Lioret that made it a romantic heroine) is radiant in this more positive note. Caroline Bottaro drives the point by multiplying the playful visual tricks to show the invasion of failures in his mind. Among the best ideas, our heroine launched in the imaginary parts with crumbs on a checkered tablecloth during dinner at a restaurant, or on a checkered floor tiles for a tile that same household taking a uniform color when she starts to doubt .

As in any movie "sport", a mentor is needed, here brilliantly portrayed by Kevin Kline Dr. gruff and lonely. Once again, Caroline Bottaro discusses their relationship with accuracy, avoiding the expected love story (without neglecting the mutual attraction experienced watermark) and the easy pathos through Kline's disease. The staging of chess is very successful. They aroused the interest of insiders and others (who will find hard to get started after the film), alternating maneuvers on the plates with the reactions of players, strained or amused. It is so taken by the party as much by the content of the game itself than the content of suspense and drama of the situation (going t make it?).


The party which concludes the film pushes the parallel with the pattern of sports movie using all the tricks possible to strengthen the narrative tension. The performance of Helen is an internal dialogue and voice-overs, the use of flashbacks and a nice idea of telepathy between Kevin Kline and Sandrine Bonnaire. An amazing surprise is the casting with the discreet presence of Jennifer Beals in a trigger and it is difficult not to draw a parallel with his role as worship Flashdance where she also went out of his condition by his gift for dance. Maybe it is totally unintentional coincidence but it offers additional depth to the key feminist film. One of the beautiful French Recent successes Caroline Bottaro which has still not responded. Hopefully soon!

Released on DVD from Studio Canal

Pokemon Leaf Green Rom

Die For - To Die For, Gus Van Sant (1995)


The beautiful Suzanne Stone (Nicole Kidman) is a young woman who does not hide his ambition boundless: she wants to break into the world of TV. Leaves to get rid of all those who could put a spoke in the wheel, starting with her own husband ...

Die For is a very important film in the career of its director and its main entry. Gus Van Sant, hitherto associated with an independent film is rougher sees the door ajar studios and most prestigious productions for a journey full of exciting movies like Good Will Hunting and replay psychosis. As for Nicole Kidman although it has shown some talent in some minor but effective film ( Quiet White , Malice ) its status as wife of Tom Cruise and the limited scope of roles involving the pair ( Days of Thunder, Far Horizons confess a soft spot for it) attracts much attention on it but everything will change with Die For .

Andy Warhol extolled the principle that everyone was entitled to a day in his life at 15 minutes of fame and that's the only thing which just over Suzanne Stone. At the opening, Van Sant offers a fragmented narrative in which various types of filming will upset. The appearance is variable depending on the perspective adopted, but also according to the purpose intended. So all the scene of narration "classic" with a photograph in pastel colors using values of garish outfits Kidman and referring to the commercial world of his ideal. On the other side interventions were facing camera Suzanne Stone on strengthening its immaculate white artificiality and giving her opinion biased and hypocritical about the events of the story. The process is also included as a report "on the spot" where actors are filmed in their everyday environments in which even more ironically as part of a TV reality show so highly touted. Van Sant also included in its mounting inserts a few flashforward on places or objects that will be important later.

All this rain of fireworks is with the portrait of a lackluster ambitious social climber found to be actually "ready for anything." Van Sant knows his classics and is thought by a modernized version of Sunset Boulevard with this game on the magnitude as heroin and attributes to himself the eyes of others far less flattering (the sequence towards the end when she strikes a pose told reporters last in the spotlight to be amazed in the spotlight and brings shade alternating vision and the sordid reality underscores the conclusion of Wilder). The conclusion with the teenager became famous in spite of herself at the expense of Suzanne eyeing on it behind the irony of Eve Mankiewicz.

Providing Nicole Kidman also evokes that of Gloria Swanson in Sunset Boulevard except that Swanson stay locked the star status she was while she freezes Suzanne Stone in the mask and ways to become the star she thinks. The scale is not the same, the prestige film of the golden age gave way to the ambition of the major television networks. This fascination for the small screen, Kidman gives a beautifully illustrated hollow. Suzanne Stone convinced of his good taste in every thing wears makeup just right too marked, chained ready-made phrases spiritual hand of cards in the magazine and shows constantly smiling mask concealing the most treacherous thoughts. It is the suburban, the provincial city of dreams and fancies than its more mundane surroundings. Van Sant continues his vision of American white trash and populated by misfits of all types (found also in Will Hunting, Elephant, Paranoid Park ) Kidman is worth little more than teenagers she interviewed . Among them a young Joachim Phoenix (and Casey Afflek) already brilliant teenager lost.

Nicole Kidman gives a performance stunning femme fatale in the media obsessed, alternately sexy, psycho and a falsity constant, making it a complete mystery. All that we know of it is defined by its focus on his career but we will not know anything more about the origin of this motivation. In the first scenes Matt Dillon falls under the spell without any dialogue is exchanged between them, Kidman still representing a distant figure, sensual and posture always perfect.

And that's what Suzanne Stone eventually throughout the film, a figure as remote and unreal as those icons that stars likes to watch on television, in permanent representation (and this screed that look after its grandiose first interview!). The role gained her a Golden Globe, serious things can finally start to the fabulous career that is known as the next year comes the magnificent Portrait of a Woman . Gus Van Sant for his proved intact acuity of his gaze in a studio and this time it may be preferred rather than returning "arty" in his later years.

Released on DVD in region 2 French Studio Canal

Womengenital Painful Tattoo

Gone With The Wind - Gone with the Wind, Victor Fleming (1939)


In Georgia, in 1861, Scarlett O'Hara is a proud and willful young woman of high society Southern. Courted by all the good parties in the country, she only has eyes for Ashley Wilkes, despite his engagement with his sweet and shy cousin, Melanie Hamilton. But Scarlett is determined to make him change his mind, but upon receipt of the Twelve Oaks is the cynical Rhett Butler she attracts the attention ...

Gone with the Wind , most commercially successful of all time (in constant dollars the Titanic Avatar and Cameron are far from account) is a triumph on many points for its participants. This is a victory studio system whose rigor, organization and contribute to the flair of other notable successes in this particular year 1939 (and to stay at MGM) The Wizard of Oz images also rooted in the collective unconscious that Gone with the Wind. is also the consecration of Vivien Leigh, talented and tenacious young English woman who emerge victorious most of the cast played in the history of cinema (Pauline Goddard, Lana Turner, Katharine Hepburn, Bette Davis even auditioned for the coveted role Scarlett) all young American readers of the bestseller by Margaret Mitchell Scarlett O'Hara in dreaming. The Rhett Butler dreamed up by those same readers, Clark Gable reluctantly assume the role as the pressure is great but the star, there will win his spurs as Hollywood legend.

Yet Gone with the Wind is primarily the triumph of him who commanded the project from start to finish with the authority and the tyranny of a general, producer David O. Selznick. This long-term success is the symbol of the revenge he has always wanted to take on Hollywood. Son of Lewis J. distributor Selznick, who cultivated his taste for very young opulence, he started very young in the movie business as an apprentice for his father whom he must succeed. Everything falls apart when it went bankrupt and the young David vows to polish the name Selznick in Hollywood. Very talented, he became one of the producers missed the middle through MGM (where he started as an apprentice), Paramount and RKO, producing for the last of the great classics like King Kong . This does however not enough for him and in 1936 he left MGM to form his own production company Selznick International Pictures and took the opportunity to add the famous O giving the prestige required to his surname.

be imagined in the first productions of the studio features such marked productions O. Selznick, for better or for worse: an attraction for the prestigious literary adaptation, romance and an exacerbated taste for pomp and luxury at all times. The film touches the symbol O. Selznick is Gone with the Wind , a project that just missed him escape. While the book by Margaret Mitchell is not yet published, an assistant in bed trials and subjugated, encourages the mogul to buy the rights. Few believe it will the insistence its used for O. Selznick yield to reason because once published, the book becomes a real social phenomenon. He then undertakes a race against the clock to find the funds (Selznick finally will partner to MGM for the budget) and the casting perfect. Indeed, in addition to dropping the gem to Scarlett O. Selznick must pass to be pay by Clark Gable MGM and Olivia de Havilland by Warner in the role of Melanie. The turmoil in the film itself also belong to the legend. Originally the film was jointly prepared by O. Selznick and his friend George Cukor, the first director envisioned. If the sensitivity of female Cukor worked wonders in all exchanges of spines beginning of the film, Selznick quickly finds that it is not the man for the job to communicate the strength of the epic moments provided.

Separation is rough (but should not interfere with their friendship, even while praising Cukor's triumph at the Oscars the following year) and it was the turn of Victor Fleming to take the stage. Great friend of Clark Gable, it makes it much more comfortable and gives the film the momentum he needed by his energy and roughness. Cukor yielded to the caprices of Vivien Leigh who constantly sought to soften Scarlett Fleming bullies mercilessly for it respects the character of the book (and script) for the result is known: an Oscar for best actress. Exhausted, Fleming will leave the ship temporarily, replaced a week by the modest Sam Wood before resuming his place. Wood, however, remain on the production to shoot some footage of a second team of a production that has accumulated delays and overruns. Even if he commits its share of error of judgments, the real driving force behind the project will be David O. Selznick. Passionate demanding and finicky, he constantly interferes in the authority of its directors (but found to talk with Victor Fleming) that flood of memos picky, often sound as ridiculous as the details. Aware of the draft standing there in his life, his energy (parallel, it also produces Rebecca Hitchcock) galvanizes a team on the verge of collapse. No offense to the French criticism on the definition of the real author of the film is him.

Originally of Gone with the Wind , there are of course the novel by Margaret Mitchell which will be the only book. Born in Atlanta, is a true child of the South rocked by the memory of an ancestor who lived through the Civil War (legend has it that the book was inspired by a diary found by the writer) and a mother walking often the remains of the fallen glory. True daredevil adventurer, she will challenge her time by being the first women reporters in the South and inject a lot of his fiery personality in that of Scarlett O 'Hara. Gone with the Wind is thus the story of the grandeur and decadence of the glorious South, wealthy and proud.

The force of history comes from the perspective adopted, namely the product most flamboyant and arrogant born of the country, Scarlett O'Hara. This is also the shadow of war and the indifference of the capricious heroine who opens the film. Two boys are seen from the back court to a girl while maintaining the threat of imminent war. Dolly while the two figures differ to reveal safe and disdainful of her charms Scarlett O 'Hara, who then expressed his deep contempt for the things of war and its suitors amount of maintenance subjects more fun.

The first part shows the South so legendary in the magnificence of a lost paradise, its people proud and confident in the future, his slaves happy in their condition and being treated well. This last point (and even then) wince as the roles may seem caricatures of blacks and the film is on a tightrope between the energetic and engaging interpretation of Hattie McDaniel (the first Oscar for a black actress in the key ) in Mamma and the much more problematic Butterfly McQueen replay the silly servants Duel in the Sun .

During the long preparation beforehand, Selznick will be wise idea to hire William Cameron Menzies on the film's artistic design. Visual genius, he has much evolved in the English productions of Alexander Korda (The Thief of Baghdad , the amazing film adapted from HG Wells SF Worlds future that realizes in 1936 and which was spoke in April on the blog) that later in Hollywood including Selznick therefore Duel in the Sun . He designs for Gone with the Wind elaborate drawings, an evocative power and a bombast that anchor the story in a mythological past blazing.

opening connects the visions so fabulous as the sequence where the shadows of Scarlett and her father are taking shape at the foot of a gigantic tree, a traveling back revealing what they behold: the imposing vastness of the area Tara where the servants are busy, bathed in sunshine glowing, announcing already the twilight of this world. The staging inspired by Fleming offers scope to all such moments, backed by the lavish photo of Ernest Haller (who replaced Lee Garms being film) and the unforgettable score by Max Steiner. This is offset by moments up more humane but running on the same idea as this sumptuous ballroom scene where the swagger of young Southerners alternate with the beginning of a love triangle between Rhett Butler, Scarlett and Ashley Wilkes.

After the Civil War began, it was again progressively lost the innocence of Scarlett that will reveal the apocalyptic visions of the conflict. Infirmaries unhealthy saturated mangled screaming in pain, Atlanta fire and sword to the impending defeat, the movie ose moments of unbearable cruelty reinforced by the bias of the monumental. The most striking moment remain the arrival of Scarlett at the station in Atlanta, where a crane movement offered the magnitude of the debacle with the Confederate soldiers wounded in the eye. In that hell may yet rise from the noblest moments, always colored by the ambiguity of intentions Scarlett: the pain of childbirth Melanie heroic flight from Atlanta into chaos and especially the kiss snatched from the Gable heroin loses the ironic distance flown so far for a declaration of love and violent passion.

Return to Tara now ravaged obeys an inverse manner to the opening. Desolation, misery and starvation to meet the opulence of yesteryear. Scarlett now would just aim to make their luster lost his land, the only thing that matters as he finally told his father in other happier times. Fleming reproduces the same camera movement as the beginning with only this time Scarlett guarantor of Southern pride. While his fierce figure stands under a scarlet sky, she screams the whole world that she will never again feel the hunger that the pincers, see the poverty that surrounds him. At any price ...

Gone with the Wind represents the collective unconscious (and we have seen the film or not) the quintessential expression of romantic cinema. Critics of this form of narrative, all that bombast is no unwelcome cliches and sentimentality of any kind. There is indeed a common obedience to the canons fiction classics in Gone With The Wind, but not the main couple. Ashley Wilkes (Leslie Howard) chimera which runs after love Scarlett represents the fragility, dreamy and poetic personality of classic romantic hero. His wife Melanie (Olivia De Havilland) is benevolence personified, a kindness and unwavering support for his friends and above all unconditional love for her husband and exclusive. We need all the conviction of his two interpreters characters (including Olivia de Havilland beautiful) not falling into the marshmallow harder. A recent film like Cold Mountain prefer emulate his heroes on the most reassuring Ashley / Melanie that the real couple in hell center of the film Selznick.

Once again, it is in the evolution of Scarlett throughout the film that we must seek the reasons for the romance (s) through the amazing brilliant performances by Vivien Leigh. George Cukor it will initially helped to find the right tone (he advice even after he left the shoot) of this detestable and Scarlett both endearing and Fleming will push its limits in order to explore its real shadows and do not make a conventional romantic heroine. So starting over on a whim to have been abandoned for another that clings to Scarlett pale Ashley Wilkes. He is a man who, despite low transparent and genuine attraction regrowth for fear of their different characters to marry his cousin in the gently more similar to hers.

Later, he will maintain the illusions of Scarlett for lack of courage by not telling him that he is really in love with Melanie. While avoidance and hesitation, it is the exact opposite of the more determined Rhett Butler. Once he saw Scarlett at the grand ball scene southerner, he literally undresses gaze and the first exchange between them (after she was gently pushed once by Ashley) will be worthy of the screwball comedy the most removed.

Where a son Ashley is a good family of transparent, Butler behind a turbulent past as a racer and unsavory player. Clark Gable gives all his masculinity, his poise and relaxation at this charming bad boy. He recognized immediately in the personality of volcanic Scarlett a woman of her caliber. This supported virility, strength of character that make it the ideal man for Scarlett, whether in the set pieces (the whole episode of the flight from Atlanta) where he seems indestructible, or so the underlying fact that it is the only man not manipulated by the film's heroine.

Beyond the historical aspect, or even romantic, Gone With The Wind is a great film about survival. Survival of a lifestyle, a part of an idealized past. That's what Scarlett clings through Ashley Wilkes or more interested in her second husband and finally Rhett Butler. To preserve his memory, no villainy will be too many, the most despicable being to marry the wealthy fiance of her sister. She finally yield to Rhett for his wealth (and its promise to renovate Tara) without realizing that it is the only man with whom she was never happy.

Heroes and pass the film to miss each other, the intensity of feelings for each other is never like the same time. This occurs when the most daring sequence of the movie where Scarlett finally discovers his feelings for Rhett. Tired of being again separated from his wife by the memory of Ashley, he grabs under the influence of drink to their room for what seems nothing short of a marital rape. Yet surprise when the following sequence where Scarlett wakes radiant, happy and finally in love with "her" man.

The film so far to balance narrative gives a little too perfect in its last third to the spate of adventures (several tragic deaths occur at a time too short) to widen the gap between Rhett and Scarlett has an eye-opener too late. The supposed archetype of the romantic film therefore ends in a magisterial rebuke to her heroine through this bitter exchange.

- Scarlett: "Rhett, Rhett ... Rhett, if you go, Where Shall I Go?" What Shall I Do? "
- Rhett: "Frankly, my dear, I do not give a damn.

is in this lack of compromise that the film finds its essence yet romantic. By raising for his monumental proportions by the framework consequences of mutual incomprehension, a failed romance, the film speaks to everyone. To those maintaining the resentment of the man who brought so much suffering to those who live in the memory of the loved and lost especially those living in hope never to regain an off day ...

It is on this note of hope that ends the film by combining this ode to the South to the power of narrative fiction. By Tara is the cradle of its strength and its origins that Scarlett will perhaps one day be able to find Rhett. An open ended fantasy and * among the finest in film history.

After all ... Tomorrow is another day.

* The inevitable result will also very late with the novel Scarlett by Alexandra Ripley Scarlett and adatpation mediocre soap opera in which Joanne Whalley and Timothy Dalton reprising their roles mythical.

Available on DVD Zone 2 French and recently reissued in a sumptuous edition for the 70 years of film .