Showing posts with label Clark Gable. Show all posts
Showing posts with label Clark Gable. Show all posts

Monday, February 1, 2016

The Loves of Clark Gable

From Modern Screen, 1931
by Walter Ramsey

Almost since the day Clark Gable's first picture was shown in Hollywood, he has been asked to give his views on women, love, marriage and divorce. His answer has always been "No!" But in this statement, exclusive to Modern Screen, he tells for the first time all of his thoughts, ideals and illusions with regard to the many women he has known — a few of whom he has learned to love.

"Right at the outset," he said, "I want it understood by those who read this magazine that I have been married twice — not four times, as an erroneous report has it. Nor have I a son — as another report stated. I would have absolutely no reason to be untruthful about the subject in any way . . . many persons have been married a number of times and in most instances married people have children. But I haven't ... so far."


I was quite impressed with this opening statement of Clark Gable's for the reason that it proved him the type of man who likes to put "his cards on the table" . . . and that is the type of man I have learned to believe. The sincerity with which he portrays a character on the screen isn't lost one whit in his off-screen attitude. He has the same tone, of conviction over a luncheon table that you have learned to enjoy over the microphone. He is a splendid fellow, personally, and a real gentleman. I asked him, rather hesitantly, to tell me of all the women he had known in his life . . . right from the beginning. He had promised me the story and he came through. But the manner in which Clark Gable tells of the women he has known, stamps him all the deeper as a gentleman. You be the judge!

The first woman I ever knew," he began with a smile, "made a new man of me! She was seven and I was eight. She was short . . . dark . . . beautiful . . . and brown-eyed. Her name was Treela . . . and since she is now happily married I shall keep her other name a secret. Why it was that I suddenly found myself thinking about her during every waking hour . . . and dreaming about her at night, I don't know. Up until the time I first saw her I always had utter disdain for 'gurls' and had laughed at any of the boys in the gang who gave the opposite sex the slightest glance or thought. 

"Two weeks after I met Treela, however, I found myself in a church pew listening with one ear to the Sunday school sermon . . . and watching Treela with both eyes. It rather startled me, I remember, to find myself in church . . . mostly, I suppose, because I had always gone fishing instead. Sunday school had been another thing the gang had always avoided . . . religiously! So, as I said, the first woman I ever knew made a new man of me. 

"And believe me, ours was more than a puppy love affair. We swore undying love to each other. Appeared haughty when asked to play Post Office or any of the other games that all the kids went in for. We told each other than it would 'cheapen our love.' And I really believe it was more sincere than most youngsters' love affairs . . . it lasted five years . . . and I still call that more than a passing acquaintance! It was Treela who set the styles — as far as women have been concerned in my life. She was distinctly feminine . . . quite short . . . dark brown hair and the same shade of eyes. She has always remained in my mind as a little old-fashioned girl. 

"To show you how much she impressed me, I can truthfully say that until a short time ago I thought of her every day of my life! In fact, so often did my mind wander back over the memories of the five years that Treela and I 'went steady' as kid sweethearts, that I decided at one time that I would have to go back to the small town in Ohio and see if she still remembered me. 

"I went back to the little place where I had been born and brought up — and I found Treela! Not the same little girl I had been carrying in my memory for all the years. . . but a grown woman. A woman who had been married for quite some time and who introduced me to her husband and two of the cutest little kiddies I've ever seen. But I lost something by going back. I replaced the beautiful memory of a little girl . . . with a vivid recollection of a mature woman. The little girl had belonged to me — in memory — but the woman belonged to another man! I'm sorry now that I no longer have that picture in my mind . . . somehow I've always given it a great deal of credit for the little happiness I've been able to glean from some very lonesome hours. 


"I've often wondered what would have happened to that romance if I had stayed in Hopedale. But I moved to Akron . . . and Akron to me is quite famous for a tall, willowy, golden-haired girl with bright blue eyes. Her name was Norma . . . and we were both fifteen. My memory of Norma is very vivid. But it isn't the memory of a beautiful face or figure. It may sound silly when I say it, but the thing I remember about Norma was her voice! No, she wasn't a singer . . and she had never had her voice trained. 

"I have the recollection of sitting for hours and just listening. It used to worry me that I should have to interrupt — to ask her an occasional question so that she would continue talking to me. And even now, I think a beautiful voice is one of the most arresting and really rare attributes to be found. To me, a woman is automatically interesting if she speaks in a beautiful voice. 

Then, after two years in Akron, I started out on "the high road to Broadway. It was a long road . . . one that led me into little towns you have probably never heard of ... a road strewn with one-night stands . . . twenty-five dollars a week . . . when I worked and when I didn't, there were many times that I was hungry. 

'All during those years from the time I was seventeen until I was twenty-four were spent in day coaches and on the stage. During all this time I met many women. Many of them have become a part of the past. Only a few remain. 

"Elsa ... a wistful little girl — blue eyes and raven-black hair — five feet tall and quaint as a Dresden doll. She lived in a town in Mississippi. I remember her particularly because she seemed so anxious to prove her sincerity. She was the only woman I met in all those years who seemed to believe that I would amount to something as an actor. She recognized and was quick to forgive the light way in which I looked upon our romance. She showed, in a hundred insignificant ways, that she thought continually of my happiness. I didn't realize this until long after — but it isn't easy to forget now. 

"Alice . . . another very small girl. She was from the South and her accent intrigued me from the very start. One little mannerism that I recall was the way she had of puckering up her nose when she smiled. It made her appear so much happier than any other person I had ever seen smile that I couldn't get her out of my mind. She had huge dimples in her cheeks . . . and the corners of her mouth always turned up. And I shall never forget the last waltz we had. It was in a small dance pavilion near a lake . . . there was a colored orchestra playing . . . all the lanterns around the walls had been turned low.  I'll always remember that . . . that smile . . . and those dimples. 

Yes, there were many others. Some I have tried to forget . . . with just as much difficulty as trying to remember others. Some were friendships. A few reached the point of romance. And then, after I had finally got to playing some of the larger cities, I found myself occasionally with women whose only appeal lay in a rather dubious physical attraction. I've known the cheap little romances of the actor on a one-night stand. I found that it is very easy for a man who displays emotions on the stage for hours every day to allow himself to do the same off the stage during other hours. I have done it myself . . . and somehow I don't regret it. I think the women I've known have taught me a great deal about life. 


"But all of that comes to an end . . . sooner or later. I mean that sort of hit-and-miss romance. It finally comes time to take life and love very seriously. It came to me at the age of twenty-four. It was then that I met and married my first wife . . . Josephine Dillon. She wasn't on the stage when I met her, but her life had been the stage until a year or so previous. She gave me something that I had never had before ... a constant love and inspiration. Our married life wasn't of very long duration. . . and I will take most of the blame for that. After a separation of a few years, my wife obtained a divorce. Some are quick to say that it was the difference in our ages that made the marriage impossible. I am not sure whether they mean to imply that I was too young ... or that Josephine was older than I. I don't think age has anything to do with the duration of marriage. It has a much deeper foundation. 

Since I've come to Hollywood, I've married for the second time. My present wife had been married before just as I had . . . she is everything I could possibly desire in a wife and I am sure that this marriage will be the last for both of us." (In this case, as in the case of his first marriage, the woman is much older than Gable.) 

"I have nothing to say concerning either of the two women who have done me the honor to become my wife, except to say that in both cases I married women who come up to the standards I have set for what I call my ideal woman. In just one respect do they differ from the types I always liked as a kid: they are both taller than average. But as far as coloring . . . hair . . . eyes and personality — both are exactly the same as I have always admired. 

"That just about finishes what I have to say on the subject of women. I hope, very sincerely, that in answering this call to talk on this delicate topic (so dear to the hearts of the fans) that I have in no way over-stepped the bounds of decent conduct. I like to play the game fairly. I hope I have. This is the first and last time I shall ever talk on this subject for publication. I consider women a real and vital part of my life — but not a part of my career." 




Saturday, January 30, 2016

Fashion Friday #7: Gone With The Wind in Atlanta

In December, 1939, Atlanta fell under the spell of David Selznick's masterpiece, Gone With the Wind. The mayor of Atlanta, William Hartsfield, declared a three day holiday to celebrate the movie's premiere at Loew's Grand Theater on Peachtree Street. Three of the main cast members flew in from Hollywood, which included Vivien Leigh, Clark Gable and Olivia de Havilland. Other celebrities attending the premiere included David Selznick, along with his wife Irene Selznick, Laurence Olivier, Carole Lombard and Claudette Colbert.

On Thursday, December 14th, Vivien and other cast members attended the Junior League Ball. Vivien's dress for this event was specifically designed for her by Walter Plunkett, the costume designer for Gone With the Wind.



Vivien's black evening gown was made from lyons velvet, a stiff and thick velvet fabric fashionable at the time of the premiere. The dress featured a fitted bodice, trimmed in white ermine, and sleeves capped off by ermine and ermine tails. From Vivien's waist, the dress flared out into a wide, full skirt. Willard George designed her cape, made from ermine and their black tails. Paul Flato designed Vivien's jewelry for the evening, which featured a diamond butterfly clip for her hair, a diamond & ruby bracelet and a diamond bow ring.


Below is a formal, publicity photo of Vivien in her Junior League Ball gown, which really showcases the skirt.


Also in attendance at the Junior League Ball was Laura Hope Crews, better known as Aunt Pittypat, and Ona Munson, the film's Belle Watling. The two ladies came dressed as their characters from Gone With the Wind.

Laura Hope Crews wore a gray taffeta [dress] with grey bengaline shoes, black silk stockings, blue net scarf, blue mittens, blue lace and ivory fan and a gray lace and blue velvet cap. To complete her outfit, Miss Crews topped her natural hair with Aunt Pittypat's blonde wig. The mittens referenced are the fingerless gloves Laura is seen wearing in the photo below.


Ona Munson also wore her Belle Watling red wig, which complemented her outfit made from cerise taffeta ...[with] silken folds under the skirt. Her four petticoats were embroidered eyelet, hooped and plain. She wore pantalets and a bustle. Her accessories were roses, gold bells, a purple net scarf and a pair of bell earrings. Bell earrings for Belle!


Clark Gable and Carole Lombard also attended the Junior League ball. Unfortunately, I wasn't able to find a description of Carole's outfit. They are pictured with Atlanta Mayor William Hartsfield and his daughter, Mildred, who was lucky enough to sit next to Gable for the evening's festivities. Mildred's dress was heavy yellow moire taffeta striped with gray, featuring a square neck and long sleeves. Both the neck and sleeves were trimmed with old cream lace. The dress had a tiny waist and full skirt worn over crinoline petticoats. She wore an old gold necklace with pendants and gold drop earrings. In  her hair she wore yellow ribbon bows and on her shoulder she wore yellow orchids with red throats. Black lace mittens, black velvet bag and cape completed her costume. Wow, she's got a lot going on! 


The next evening, December 15th, saw the premiere of Gone With the Wind. Once again, Vivien chose to wear a Walter Plunkett gown. This lamé gown was a brilliant gold, perfectly setting off Vivien's dark brown hair with its hints of reddishness. As with her Junior League gown, publicity portraits were taken of Vivien in her gold dress.


The gown is of gold lame, draped in Oriental fashion, with harem hem line and draped girdle accenting the small waist. Girdle and the short sleeves are quilted in rose pattern and studded with gold sequins. Vivien's jewelry featured an acorn and leaf design, fashioned from topaz and diamonds. The matching necklace and bracelet resided quite nicely in its gold setting as did the princess cut topaz ring on her pinkie.




Vivien's unofficial date for the evening was the sharply dressed Laurence Olivier, recent star of "Wuthering Heights." Olivier's tuxedo was made from a dark coloured wool, with stripes only a shade lighter than the suit. The top coat featured tails, pointed lapels and a left breast pocket. The matching pants came with a five button fly.  His tux was specially created for him by Roche and Pollock in September, 1939. 


Also, in attendance at the premiere, was author Margaret Mitchell. She wore a fashionable pink full skirted tulle gown, a full length white velvet evening coat, a pink bow in her hair, and a camellia corsage given to her by the producers. (Atlanta History Center) Below is a photo of Mitchell's full length coat, along with a picture of her wearing the coat while speaking to the crowds. One can get a slight glimpse of her long skirt as the pink tulle dress plays peek-a-boo with her evening coat.


Mitchell's dress featured a fitted bodice, with off the shoulder sleeves. She's pictured seated, in between Jock Whitney (financial backer of GWTW) and her husband, John Marsh (wearing the glasses).


Carole Lombard, aka Mrs. Clark Gable, also attended the premiere, on the arm of her man. She wore a medieval cape of blush satin with a train, [which matched her gown]. Blush is in the pink-color family. I love Carole's netted hood. It must've been quite striking against her blonde hair.




Here's Ona Munson as she arrives at the premiere and poses for photographers. Ona's wearing a dark, green velvet, evening gown with a fur jacket and corsage.


The two ladies, in antebellum costumes, next to Ona are twin sisters, Virginia and Charlotte Starr. They were two of the thirty girls selected to act as hostesses for Gone With the Wind's premiere.


Finally, here's Olivia de Havilland, arriving at the theater with Jock Whitney, whom she also sat next to throughout the show. Olivia wore a black velvet evening gown with an ermine fur jacket. Unfortunately, I wasn't able to find a full length photo of Olivia in her evening gown.



Thanks for joining me for today's Fashion Friday post!


Unless otherwise noted, all italicized dress descriptions are from Herb Bridges. 



Saturday, April 25, 2015

Clark Gable Takes a Selfie

Article by Harrison Carroll, 1948

This week I walk along the row of portable dressing rooms on the "Command Decision" set. Signs upon the doors proclaim the names of famous occupants: Clark Gable, Walter Pidgeon, Brian Donlevy, Charles Bickford and so on.

There are few sounds of life from within the dressing rooms. Only Walter Pidgeon is standing outside. He is talking in desultory fashion to some other men.

Clark Gable's door is ajar. I peer in. Clark is sitting in a chair pointing a small German camera at a mirror. He sees me and grins. "How conceited can you get," he says, "taking your own picture?"


I come in at Clark's invitation and flop down in a red leather chair. One of the MGM photographers is giving Clark some pointers on the camera, which Gable will take along on his trip to Europe. [Clark will sail to England on July 9th aboard the Queen Mary, but his vacation will be cut short due to his father's death on August 4th].

Hanging on the wall, to Clark's right, is the best proof in the world of his lack of conceit. It is one of the most exaggerated caricatures of Gable and his ears that has ever been drawn. It's been hanging in Clark's dressing rooms since he made "Honky Tonk."

This is the first Gable picture with an all-male cast. "How does it feel?" I ask.
"Very strange," says Clark, "let's not have this happen again."
"Nobody to talk to between scenes, huh?"
Clark flashes that famous smile. "I'm not crippled, am I?" he asks. "I can visit the other stages."

An assistant pops his head in the door. "We're ready, Mr. Gable." We go out to the set, a command headquarters of an American bomber squadron in England, and I watch director Sam Wood rehearse a scene.

Almost everybody is in it except Marshall Thompson, one of the younger members of the cast. He sits beside me. On his coat is a string of ribbons. Marshall examines them curiously. "Gee," he says, "I've sure been around, haven't I?"

A scene from "Command Decision"
Out on the set, Gable and Pidgeon now are lighting up big, fat cigars. "I thought you had quit smoking," I yell to Walter. "That was cigarettes," he shouts back, "And I haven't had one in five days."

Gable is puffing gingerly. It strikes me that I have never seen him before with a cigar in his mouth. He wanders over toward us and I ask him about it. "Don't tell anybody," he says, "but I smoke a cigar about once every four years."

"Did you hear about Mickey Rooney?" I ask. "He got dizzy on [a cigar] the other day on the 'Words and Music' set."

"You're a big help," says Clark. Suddenly, he looks over my shoulder and his eyes snap with interest. I crane my neck. Four pretty visitors have come onto the set. You guessed it. That's the last I see of Gable.




Monday, April 20, 2015

Gone With the Wind Auction Highlights


In case you haven't heard, Scarlett's Shantytown dress sold at auction for $137,000 this past weekend. The price isn't too surprising if you factor in the starting price of $60,000, along with the auction house fee and the fact that the dress is a piece of cinematic history.


We first see Vivien Leigh in this dress, as Scarlett O'Hara, when she encounters Rhett, played by Clark Gable, outside her store. She drives off to take a short cut through Shantytown, where she's attacked. Unfortunately, the color of the dress has faded over the years, from the blue-gray seen in the above photo to the light gray pictured below. The dress features a zigzag applique with decorative buttons on the front. It's lined with silk and the skirt is pleated.


The auction pieces came from James Tumblin's collection of Gone With the Wind memorabilia. Other items of interest that were sold include the hat Scarlett wears to the barbecue at Twelve Oaks along with a green sash made for the barbecue dress. This hat sold for $52,500 and the sash sold for $3,250.









Another item on the auction block was the top half of one of Scarlett's calico dresses, which sold for $32,500. James Tumblin says this was originally auctioned off by Vivien's daughter, Suzanne Farrington, and subsequently purchased at Christie's. Originally, there were approximately fourteen of these calico dresses made, in various stages of disrepair, as Scarlett wore this from working in the hospital in Atlanta until her return to Tara with Melanie and baby Beau.


From Heritage Auction's website:
Cotton, mauve, purple, and white floral pattern, high collar trimmed in white lace, 16 black button front closure, puffy, gathered long sleeves, same black button adornment and white lace on cuffs, numerous hidden snaps and hook-and-eye closures.


This suit worn by Clark Gable went under the hammer and sold for $55,000. It was worn during the scene when Scarlett tells Rhett she doesn't want to have any more babies. He then proceeds to leave the room by kicking in the door and shouting no locked door would keep him out.



From the auction's website:
Two pieces; the jacket gray wool, rounded lapels, one button front closure, two front welt pockets, 'Selznick Int. Pictures Inc.' label reads "20-108M-140," costumer's stamps on both sleeve linings, 'Eddie Schmidt Inc.' [tailor to male Hollywood stars] label on lining, further 'Eddie Schmidt, Inc.' label reads in part "Clark Gable / 4-25-39 / 3718;" together with matching trousers, five button fly, same 'Eddie Schmidt, Inc.' label as jacket, another label evidently removed, numerous costumer's stamps on waistband lining.


The 'Return to Tara' hat sold for $25,000 with eleven bidders vying for it. Vivien Leigh holds this hat in the scene where she and Rhett have returned from their honeymoon.


From the auction's website: Grayish-beige silk, gathered top, ruffled brim, two trailing pieces of fabric at back, 'Selznick Int. Pictures Inc.' label reads "Scarlett / 20-108-WW-435," another label reads "SL 74.153.1...



Olivia de Havilland, as Melanie Hamilton, is pictured below wearing her black bonnet. The bonnet, made from black silk, sold for $30,000 at this past weekend's auction. Melanie wears this hat while she and Scarlett search for Ashley's name (and thankfully don't find it) on the recently deceased list handed out to the public. Then later, the bonnet is seen on Scarlett as she's fleeing a burning Atlanta with Rhett, Melanie, Beau and Prissy.



From the auction's website: Interestingly, in Margaret Mitchell's book, Scarlett takes Melanie's hat from the hall table as she and the others make their escape. David O. Selznick, being the stickler for detail he was, had the hat made and sized for De Havilland and then had Leigh use the same one for her scenes, knowing it wouldn't fit her correctly as it wasn't supposed to as it wasn't her hat!


Melanie's hand-knit sweater sold for $18,750. From the auction's website: Gray wool with maroon trim at collar, on front, and on cuffs, three-quarter length butterfly sleeves, front portion purposely longer than back of sweater, two small front pockets with maroon wool bow appliqué, two decorative maroon wool buttons on front, hidden snap and hook-and-eye closures.



Olivia de Havilland as Melanie and Leslie Howard as Ashley greet each other at the train station. Ashley's received a few days furlough for the Christmas Holidays. The sweater is seen again as Belle Watling, played by Ona Munson, meets Melanie outside the hospital.


This scarf and brooch set, also Melanie's, sold for $10,000. Another hand-knitted item, the scarf, now faded to purple, was made from navy blue wool and featured gray trim. The scarf was also used in auditions for the part of Melanie. 

Olivia de Havilland originally gifted this cameo brooch to her stand-in, Ann Robinson, from whom James Tumblin acquired it.


Ashley Wilkes' Confederate uniform, minus its gold stars, sold for $16,250. Ashley, played by Leslie Howard, wears this uniform when he returns to Tara, after the end of the war. From the auction's website: The jacket made of wool (now gray due to fading but originally blue), yellow wool collar and cuffs, decorative yellow detail on sleeves, seven button front closure (four buttons missing), blue wool patch on right elbow, purposely distressed with stitching, staining, and holes, 'Selznick Int. Pictures Inc.' label reads "20-108-M-33," inside right sleeve has a 'Western Costume Co.' stamp; together with a pair of purposely distressed uniform pants with numerous holes, patches, and stitching evident as well as a tattered hem, 'Western Costume Co.' label and stamp in waistband.



Ona Munson played Belle Watling in Gone With the Wind. One of her best known outfits is this red velvet costume she wears to visit Rhett while he's in jail, just after Scarlett has left. Only the top half was available for auction, fetching $15,000. I think Belle would be proud.


From the auction's website: Red velvet, ruffled hems, white hair trim at collar, on front hem, and on upper back, white lace trim at cuffs, four button front faux closure, hidden hook-and-eye closures, 'Western Costume Co.' label reads "#41;" together with a matching white hair muff, secret pocket inside with a zip-up closure.


Adorable Cammie King was selected to play Scarlett and Rhett's daughter, Bonnie Blue Butler. Her fatal riding habit went for $15,000. The hat and gloves are not the original ones Cammie wears in the movie, but are replacements.


From the auction's website: Teal blue velvet, long sleeves, 12 button front closure, lace collar, ruffle at front waist, peplum in back, numerous hidden hook-and-eye closures, 'Selznick Int. Pictures Inc.' label reads "Bonnie / 108 W.W.-470;" included with a reproduction hat made of similar teal blue velvet and adorned with a red feather.



Additional information on other pieces from Gone With the Wind sold during this auction can be found at Heritage Auctions. Pictures of the costumes are from Heritage Auction's website.



Monday, December 15, 2014

Happy 75th Anniversary, Gone With The Wind!

Gone With The Wind premiered seventy-five years ago, today, on December 15th, 1939, in Atlanta, Georgia. This premiere event was followed by two more: one in New York City and another one in Hollywood.


Ann Rutherford was the first star to arrive in Atlanta for the three day premiere. Ann played Carreen O'Hara, Scarlett's youngest sister. Among the other arrivals were: Evelyn Keyes, who played Suellen; Alicia Rhett, whose character was India Wilkes; Laura Hope Crewes as Aunt Pittypat; and Ona Munson, who played Belle Watling.

Olivia de Havilland and Vivien Leigh arrive in Atlanta
David O. Selznick, Olivia de Havilland, Vivien Leigh and Laurence Olivier arrived on the same flight in Atlanta on December 13th. Clark Gable and Carole Lombard arrived the following day on December 14th.

Olivia de Havilland, David Selznick, Vivien Leigh and Irene Selznick

Clark Gable and Carole Lombard
Some of the activities scheduled for the stars to participate in were a parade, the Junior League ball, a press party at the Georgian Terrace Hotel and of course, the premiere.


The press party was held at the Georgian Terrace Hotel in Atlanta. The hotel would also play host to the cast of Gone With The Wind, while they were in town, with the exception of Vivien Leigh and Laurence Olivier. Vivien and Olivier stayed at a private residence, since they were both still married to other people at this time. Selznick didn't want the gossip mills to start grinding over the couple's lifestyle and adversely affect Gone With The Wind's potential ticket sales and earnings.


Ona Munson, the film's Belle Watling, poses with Wilbur Kurtz, Sr. Kurtz was a historian and technical advisor hired to work on Gone With The Wind by Selznick.


At a tea, held by the Atlanta Women's Press Club, Vivien Leigh, Clark Gable, David O. Selznick and Olivia de Havilland pose with author, Margaret Mitchell (center), whom they were meeting for the first time in person.


Vivien Leigh, Clark Gable and Olivia de Havilland are pictured with the city parks manager, George Simmons. George took them on a tour of the Cyclorama, which is a 400 ft long, 18,000 pound painting of the battle of Atlanta.


In the car, with Vivien Leigh, are Governor Ed Rivers of Georgia, David O. Selznick- the producer of GWTW, and Jock Whitney- financial backer of GWTW.


David Selznick stands behind Vivien, as Laurence Olivier helps her from the car, as they arrive for the Junior League Ball. Willard George designed Vivien's fur cape, made from ermine and their black tails.


Vivien's dress, for the Junior League Ball, was specifically designed by Walter Plunkett for this event. Her black evening gown was made from lyons velvet, a stiff and thick velvet fabric fashionable at the time of the premiere. The dress featured a fitted bodice, trimmed in white ermine, and sleeves capped off by ermine and ermine tails. From Vivien's waist, the dress flared out into a wide, full skirt. Paul Flato designed Vivien's jewelry for the evening, which featured a diamond butterfly clip for her hair, a diamond & ruby bracelet and a diamond bow ring.


Ann Rutherford says a few words before the premiere. Before Gone With The Wind, Ann was best known as Polly, from the Andy Hardy movies.


Alicia Rhett, who played India Wilkes in the film, attends the premiere. Alicia was discovered in Selznick's famous Search for Scarlett.  


Clark Gable and Carole Lombard attend the movie premiere of Gone With The Wind. Carole wore a medieval cape of blush satin with a train.

This is Margaret Mitchell's night and Atlanta's night, Clark said. I want to see the picture just as you see it. Please Atlanta, allow me to see "Gone With The Wind" tonight just as a spectator.



Vivien Leigh posed for these two publicity shots, showing off her movie premiere gown. Her gorgeous gown was designed by Walter Plunkett, the costume designer for the movie.

The gown is of gold lame, draped in Oriental fashion, with harem hem line and draped girdle accenting the small waist. Girdle and the short sleeves are quilted in rose pattern and studded with gold sequins. Worn with the gown is jewelry of topaz and diamonds set in gold. Necklace and bracelet are of acorn and leaf design. (from GWTW: The Three Day Premiere in Atlanta, by Herb Bridges)


Needless to say, the premiere of Gone With The Wind was wildly successful. The biggest downside to the premiere was the fact that Hattie McDaniel, Butterfly Mcqueen, Oscar Polk and Everett Brown were not allowed to attend due to segregation laws in effect at that time.


Gone With The Wind premiered at the Loew's Grand theater in downtown Atlanta. The theater boasted a false front made to look like Tara, Scarlett's antebellum home. Kleig lights and magnolia tress surrounded the columned front. Tickets to the premiere were $10 each with some ticket scalpers netting up to $200 for each ticket.

For, by any and all standards, Mr. Selznick's film is a handsome, scrupulous and unstinting version of the 1,037-page novel, matching it almost scene for scene with a literalness that not even Shakespeare or Dickens were accorded in Hollywood, casting it so brilliantly one would have to know the history of the production not to suspect that Miss Mitchell had written her story just to provide a vehicle for the stars already assembled under Mr. Selznick's hospitable roof. To have treated so long a book with such astonishing fidelity required courage—the courage of a producer's convictions and of his pocketbook, and yet, so great a hold has Miss Mitchell on her public, it might have taken more courage still to have changed a line or scene of it. -NYT

 Happy Anniversay, GWTW!

For more on the GWTW premiere, just click this link:
Fashion Friday: The GWTW premiere in Atlanta