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Mammy - Max Steiner - Gone With The Wind


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Here, I think, we're in territory--we're inif you will, visions of individual society, racial perceptions, very different than they are now. I'm impressed by the way that Max needs to play to that scene, and Mammy is somewhat of a stereotype.

But I think you'll find in her theme, the one Mammy - Max Steiner - Gone With The Wind he writes--there's a bit of humanity there. This is how the themes work in this kind of film score. They're there. They express the moment. They lead us somewhere else, but it's not overt minstrel music that is used in here. I think he was really trying to deal with the character, his perception of the character. Max Steiner used music to develop the perception of a character.

Music is such a profoundly emotional art. It really gets right to you in ways that you can't really explain. And in this film he used it to underscore a number of emotional moments, but certainly the key ones are those two love relationships that lie, really, at the center of this story, which is the love between Ashley and Melanie and the love between Ashley and Scarlett.

Let's first listen to the--Max Steiner's theme for the love between Ashley and Melanie. There's a bit of formalness in the relationship.

And when you're seeing the scene, this is playing subconsciously on you. You're not focusing on the music, you're bringing in the whole scene, and Max has really underlying that.

Now for a difference, let's go to the Max Steiner theme for the love between Ashley and Scarlett. Once again, Max is underlying that moment in the film and in that relationship, and really giving it a subconscious connection with you.

Other things that composers do in this kind of classic romantic score is it really gives them an opportunity to, in a way, stand on the sidelines and make editorial comments. Early in the picture, Scarlett marries--in part of her plan, if you will, she marries Melanie's brother, who marches off to war, full of images of heroism and ironically dies in boot camp, if you will, of complications from measles. Special Soundtracks by vintagemusicfm. Soundtracks - Owned by BethBorman.

Main Title. Atlanta In Flames. Scarlett's Fall Down The Staircase. Bonnie's Fatal Pony Ride. Sell This Version. MGM Records. World Cassette Club. World Record Club. MCA Records. PolydorMGM Records. Gone With The Wind " PolydorPolydor.

Scarlett learns that Ashley Wilkeswhom she secretly loves, is to be married to his cousinMelanie Hamiltonand the engagement is to be announced the next day at a Laisse Moi Guider. (Club Trans Mix) - D-Lice - Laisse Moi Guider. at Ashley's home, the nearby plantation Twelve Oaks.

At the Twelve Oaks party, Scarlett makes an advance on Ashley, but instead catches the attention of another guest, Rhett Butler. The barbecue is disrupted by news of the declaration of war, and the men rush to enlist. In a bid to arouse jealousy in Ashley, Scarlett marries Melanie's younger brother Charles before he leaves to fight. Following Charles's death while serving in the Confederate ArmyScarlett's mother sends her to the Hamilton home in Atlantawhere she creates a scene by attending a charity bazaar in her mourning attire and waltzing with Rhett, now a blockade runner for the Confederacy.

The tide of war turns against the Confederacy after the Battle of Gettysburgin which many of the men of Scarlett's town are killed. Eight months later, as the city is besieged by the Union Army in the Atlanta CampaignMelanie gives birth with Scarlett's aid, and Rhett helps them flee the city.

Once out of the city, Rhett chooses to go off to fight, leaving Scarlett to make her own way back to Tara. Upon her return home, Scarlett finds Tara deserted, except for Mammy - Max Steiner - Gone With The Wind father, her sisters, and two former slaves: Mammy and Pork. Scarlett learns that her mother has just died of typhoid fever and her father has become senile. With Tara pillaged by Union troops and the fields untended, Scarlett vows she will do anything for the survival of her family and herself.

As the O'Haras work in the cotton fields, Scarlett's father attempts to chase away a scalawag from his land, but is thrown from his horse and killed. With the defeat of the Confederacy, Ashley also returns, but finds he is of little help at Tara. When Scarlett begs him to run away with her, he confesses his desire for her and kisses Mammy - Max Steiner - Gone With The Wind passionately, but says he cannot leave Melanie.

Frank, Ashley, Rhett and several other accomplices make a night raid on a shanty town after Scarlett is attacked while driving through it alone, resulting in Frank's death. With Frank's funeral barely over, Rhett proposes to Do Not Panic - Reel 2 Real - Are You Ready For Some More? and she accepts.

Rhett and Scarlett have a daughter whom Rhett names Bonnie Blue, but Scarlett, still pining for Ashley and chagrined at the perceived ruin of her figure, lets Rhett know that she wants no more children and that they will no longer share a bed. One day at Frank's mill, Scarlett and Ashley are seen embracing by Ashley's sister, India, and harboring an intense dislike of Scarlett she eagerly spreads rumors.

Later that evening, Rhett, having heard the rumors, forces Scarlett to attend a birthday party for Ashley. Incapable of believing anything bad of her, Melanie stands by Scarlett's side so that all know that she believes the gossip to be false. After returning home from the party, Scarlett finds Rhett downstairs drunk, and they argue about Ashley.

Rhett kisses Scarlett against her will, stating his intent to have sex with her that night, and carries the struggling Scarlett to the bedroom. The next day, Rhett apologizes for his behavior and offers Scarlett a divorce, which she rejects, saying that it would be a disgrace. When Rhett returns Mammy - Max Steiner - Gone With The Wind an extended trip to London, Scarlett informs him that she is pregnant, but an argument ensues which results in her falling down a flight of stairs and suffering a miscarriage.

As she is recovering, tragedy strikes when Bonnie dies while attempting to jump a fence with her pony. Scarlett and Rhett visit Melanie, who has suffered complications arising from a new pregnancy, on her deathbed. As Scarlett consoles Ashley, Rhett prepares to leave Atlanta. Having realized that it was him she truly loved all along, and not Ashley, Scarlett pleads with Rhett to stay, but Rhett rebuffs her and walks away into the morning fog, leaving her in tears on the staircase, deciding to return home to Tara, but still believing she will somehow get him back.

Despite receiving top- billing in the Mammy - Max Steiner - Gone With The Wind creditsGable—along with Leigh, Howard, and de Havilland Mammy - Max Steiner - Gone With The Wind receive second, third, and fourth billing respectively—has a relatively low placing in the cast listdue to its unusual structure. Rather than ordered by conventional billing, the cast is broken down into three sections: the Tara plantation, Twelve Oaks, and Atlanta.

The cast's names are ordered according to the social rank of the characters; therefore Thomas Mitchell, who plays Gerald O'Hara, leads the cast list as the head of the O'Hara family, while Barbara O'Neil as his wife receives the second credit and Vivien Leigh as the eldest daughter the third credit, despite having the most screen time. Similarly, Howard C. Hickman as John Wilkes is credited over Leslie Howard who plays his son, and Clark Gable, who plays only a visitor at Twelve Oaks, receives a relatively low credit in the cast list, despite being presented as the " star " of the film in all the promotional literature.

Before publication of the novel, several Hollywood executives and studios declined to create a film based on it, including Louis B. Selznick of Selznick International Pictures. Jack L. Warner liked the story, Mammy - Max Steiner - Gone With The Wind Warner Bros. Selznick changed his mind after his story editor Kay Brown and business partner John Hay Whitney urged him to buy the film rights.

The casting of the two lead roles became a complex, two-year endeavor. The arrangement to release through MGM meant delaying the start of production until the end ofwhen Selznick's distribution deal with United Artists concluded.

Selznick began Mammy - Max Steiner - Gone With The Wind nationwide casting call that interviewed 1, unknowns. Katharine Hepburn lobbied hard for the role with the support of her friend, George Cukor, who had been hired to direct, but she was vetoed by Selznick who felt she was not right for the part. However, Hopkins was in her mid-thirties at the time and was considered too old for the part. Leigh's American agent was the London representative of the Myron Selznick talent agency headed by David Selznick's brother, one of the owners of Selznick Internationaland she had requested in February that her name be submitted for consideration as Scarlett.

By the summer of the Mammy - Max Steiner - Gone With The Wind were negotiating with Alexander Kordato whom Leigh was under contract, for her services later that year. In a letter Белые Ночи - The Friendship Vocal Ensemble* - Songs Of Diverse Peoples his wife two days later, Selznick admitted that Leigh was "the Scarlett dark horse", and after a series of screen tests, her casting was announced on January 13, Identically, Miss Leigh's parents are French and Irish.

Of original screenplay writer Sidney Howardfilm historian Joanne Yeck writes, Mammy - Max Steiner - Gone With The Wind the intricacies of Gone with the Wind ' s epic dimensions was a herculean task Fleming was dissatisfied with the script, so Selznick brought in famed writer Ben Hecht to rewrite the entire screenplay within five days.

Hecht returned to Howard's original draft and by the end of the week had succeeded in revising the entire first half of the script. Selznick undertook rewriting the second half himself but fell behind schedule, so Howard returned to work on the script for one week, reworking several key scenes in part two.

The fact that Howard's name alone appears on the credits may have been as much a gesture to his memory as to his writing, for in Sidney Howard died at age 48 in a farm-tractor accident, and before the movie's premiere.

Offhand I doubt that there are ten original words of [Oliver] Garrett's in the whole script. As to construction, this is about eighty per cent my own, and the rest divided between Jo Swerling and Sidney Howard, with Hecht having contributed materially to the construction of one sequence.

Hecht was in the middle of working on the film At the Circus for the Marx Brothers. Recalling the episode in a letter to screenwriter friend Gene Fowlerhe said he hadn't read the novel but Selznick and director Fleming could not wait for him to read it. They acted scenes based on Sidney Howard's original script which needed to be rewritten in a hurry. Hecht wrote, "After each scene had been performed and discussed, I sat down at the typewriter and wrote it out.

Selznick and Fleming, eager to continue Mammy - Max Steiner - Gone With The Wind their acting, kept hurrying me. We worked in this fashion for seven days, putting in eighteen to twenty hours a day. Selznick refused to let us eat lunch, arguing that food would slow us up. He provided bananas and salted peanuts MacAdams writes, "It is impossible to determine exactly how much Hecht scripted In the official credits filed with the Screen Writers GuildSidney Howard was of course awarded the sole screen credit, but four other writers were appended Jo Swerling for contributing to the treatment, Oliver H.

Garrett and Barbara Keon to screenplay construction, and Hecht, to dialogue Principal photography began January 26,and ended on July 1, with post-production work continuing until November 11, Director George Cukorwith whom Selznick had a long working relationship and who had spent almost two years in pre-production on Gone with Mammy - Max Steiner - Gone With The Wind Windwas replaced after less than three weeks of shooting.

Emanuel LevyCukor's biographer, claimed that Gable had worked Hollywood's gay circuit as a hustler and that Cukor knew of his past, so Gable used his influence to have him discharged. Although some of Cukor's scenes were later reshot, Selznick estimated that "three solid reels" of his work remained in the picture. As of the end of principal photography, Cukor had undertaken eighteen days of filming, Fleming ninety-three, and Wood twenty-four.

Cinematographer Lee Garmes began the production, but on March 11, —after a month of shooting footage that Mammy - Max Steiner - Gone With The Wind and Dayz - The Odd Numbers - The Oddyssey associates regarded as "too dark"—was replaced with Ernest HallerI Found Luv - Various - Maquina Total 7 with Mammy - Max Steiner - Gone With The Wind cinematographer Ray Rennahan.

Garmes completed the first third of the film—mostly everything prior to Melanie having the baby—but did not receive a credit. With that amendment, the Production Code Administration had no further objection to Rhett's closing line. Warner Bros.

Steiner spent twelve weeks working on the score, the longest period that he had ever spent writing one, and at two hours and thirty-six minutes long it was also the longest that he had ever written. The score is characterized by two love themes, one for Ashley's and Melanie's sweet love and another that evokes Scarlett's passion for Ashley, though notably there is no Mammy - Max Steiner - Gone With The Wind and Rhett love theme.

The theme that is most associated with the film today is the melody that accompanies Tara, the O'Hara plantation; The Velvet Underground - The Velvet Underground the early s, "Tara's Theme" formed Intro - Various - OSW Mixtape musical basis of the song "My Own True Love" by Mack David.

In all, there are ninety-nine separate pieces of music featured in the score. Due to the pressure of completing on time, Steiner received some assistance in composing from Friedhofer, Deutsch and Heinz Roemheldand in addition, two short But I Do - Jeff Mills - But I Do / Daddys Home Franz Waxman and William Axt —were taken from scores in the MGM library.

The film was still a rough cut at this stage, missing completed titles and lacking special optical effects. It ran for four hours and twenty-five minutes; it was later cut to under four hours for its proper release.

A double bill of Hawaiian Nights and Beau Geste was playing, but after the first feature it was announced that the theater would be screening a preview; the audience were Mammy - Max Steiner - Gone With The Wind they could leave but would not be readmitted once the film had begun, nor would phone calls be allowed once the theater had been sealed.

When the title appeared on the screen the audience cheered, and after it had finished it received a standing ovation.

Sometimes I think it's the greatest picture ever made. But if it's only a great picture, I'll still be satisfied.

Aboutpeople came out in Atlanta for the film's premiere at the Loew's Grand Theatre on December 15, It was the climax of three days of festivities hosted by Mayor William B.

Hartsfieldwhich included a parade of limousines featuring stars from the film, receptions, Sweet Home Chicago - Foghat - The Best Of Foghat Volume 2 of Confederate flags, and a costume ball. Eurith D.

Mammy - Max Steiner - Gone With The Wind the governor of Georgia, declared December 15 a state holiday. An estimated three hundred thousand residents and visitors to Atlanta lined the streets for up to seven miles to watch a procession of limousines bring the stars from the airport. Upon learning that McDaniel had been barred from the premiere, Clark Gable threatened to Mammy - Max Steiner - Gone With The Wind the event, but McDaniel persuaded him to attend.

After reaching saturation as a roadshow, MGM revised its terms to a 50 percent cut and halved the prices, before it finally entered general release in at "popular" prices. In doing so, a number of shots were optically re-framed and cut into the three-strip camera negatives, forever altering five shots in the film.

A release commemorated the centennial anniversary of the start of the Civil War, and included a gala "premiere" at the Loew's Grand Theater. It was attended by Selznick and many other stars of the film, including Vivien Leigh and Olivia de Havilland; [37] Clark Gable had died the previous year. For its re-release, the film was blown up to 70mm[8] and issued with Suzy Q - Computer Music poster artwork featuring Gable—with his white shirt Mammy - Max Steiner - Gone With The Wind open—holding Leigh against a backdrop of orange flames.

It was released theatrically one more time in the United States, in Ina 4K digital restoration was released in the United Kingdom to coincide with Vivien Leigh's centenary. The film received its U. The film debuted on videocassette in Marchwhere it placed second in the sales charts, [16] and has since been released on DVD and Blu-ray Disc formats.

Upon its release, consumer magazines and newspapers generally gave Gone with the Wind excellent reviews; [8] however, while its production values, technical achievements, and scale of ambition were universally recognized, some reviewers of the time found the film to be too long and dramatically unconvincing.

Frank S. Nugent for The New York Times best summed up the general sentiment by acknowledging that while it was the most ambitious film production made up to that point, it probably was not the greatest film ever made, but he nevertheless found it to be an "interesting story beautifully told". There are moments when the two categories meet on good terms, but the long stretches between are filled with mere spectacular efficiency.

While the film was praised for its fidelity to the novel, [47] this aspect was also singled out as the main factor in contributing to the lengthy running time. Flinn wrote for Variety that Selznick had "left too much in", and that as entertainment, the film would have benefited if repetitious scenes and dialog from the latter part of the story had been trimmed.

The Guardian believed that if "the story had been cut short and tidied up at the point marked by the interval, and if the personal drama had been made subservient to a cinematic treatment of the central theme—the collapse and devastation of the Old South—then Gone With the Wind might have been a really great film".

Despite many excellent scenes, he considered the drama to be unconvincing and that the "psychological development" had been neglected. Much of the praise was reserved for the casting, with Vivien Leigh in particular being singled out for her performance as Scarlett. Nugent described her as the "pivot of the picture" and believed her to be "so perfectly designed for the part by art and nature that any other actress in the role would be inconceivable".

At the 12th Academy AwardsGone with the Wind set a record for Academy Award wins and nominations, winning in eight of the competitive categories it was nominated in, from a total of thirteen nominations. The film's record of eight competitive wins stood until Gigi won nine, and its overall record of ten was broken by Ben-Hur which won eleven.

Hattie McDaniel became the first African-American to win an Academy Award—beating out her co-star Olivia de Havilland, who was also nominated in the same category—but was racially segregated from her co-stars at the awards ceremony at the Coconut Grove ; she and her escort were made to sit at a separate table at the back of the room.

Thalberg Memorial Award for his career achievements. Black commentators criticised the film for its depiction of black people and as a glorification of slavery. Carlton Mossa black dramatist, complained in an open letter that whereas The Birth of a Nation was a "frontal attack on American history and the Negro people", Gone with the Wind was a "rear attack on the same".

He went on to dismiss it as a "nostalgic plea for sympathy for a still living cause of Southern reaction".

Moss further criticized the stereotypical black characterizations, such as the "shiftless and dull-witted Pork", the "indolent and thoroughly irresponsible Prissy", Big Sam's "radiant acceptance of slavery", and Mammy with her "constant haranguing and doting on every wish of Scarlett". McDaniel responded that she would "rather make seven hundred dollars a week playing a maid than seven dollars being one"; she further questioned White's qualification to speak on behalf of blacks, since he was light-skinned and only one-eighth black.

Opinion in the black community was generally divided upon release, with the film being called by some a "weapon of terror against black America" and an insult to black audiences, and demonstrations were held in various cities. In its editorial congratulation to McDaniel on winning her Academy Award, Opportunity: A Journal of Negro Life used the film as reminder of He Is There - Wally Fowler And The Oak Ridge Quartet - Pray, Pray, Pray!

For The U.S.A. "limit" put on black aspiration by old prejudices. Upon its release, Gone with the Wind broke attendance records everywhere. At the Capitol Theatre in New York alone, it averaged eleven thousand admissions per day in late December, [34] and within four years of its release had sold Mammy - Max Steiner - Gone With The Wind estimated sixty million tickets across the United States—sales equivalent to just under half the population at the time.

Even though it earned its investors roughly twice as much as the previous record-holder, The Birth of a Nation[64] [65] the box-office performances of the two films were likely much closer. The bulk of the earnings from Gone with the Wind came from its roadshow and first-run engagements, where the distributor received 70 percent and 50 percent of the box-office Mammy - Max Steiner - Gone With The Wind respectively, rather than its general release, which at the time typically saw the distributor's share set at 30—35 percent of the gross.

Carl E. Millikensecretary of the Motion Picture Producers and Distributors Associationestimated that The Birth of a Nation had been seen by fifty million people by


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7 thoughts on “ Mammy - Max Steiner - Gone With The Wind

  1. Find album reviews, stream songs, credits and award information for Gone with the Wind: Max Steiner's Classic film Score - Charles Gerhardt, National Philharmonic Orchestra on AllMusic - - Charles Gerhardt's Classic Film Scores series was 8/
  2. Feb 27,  · I remember when the original LP of this recording was issued, smack dab in the middle of RCA's hit "Classic Film Scores" series. One critic pretty much summed it up (paraphrasing as closely as I can remember): I guess it was inevitable that Gerhardt and company would get around to Steiner's "Gone With The Wind"/5(12).
  3. Jul 19,  · Max Steiner's music for Gone With the Wind certainly qualifies as one of the greatest film scores. And this recording is beautiful, clear, rich and as faithful to the original as I can remember. I love it and recommend it to anyone who loves classical, movie or other orchestral music/5(18).
  4. Find recording details and track inforamtion for Gone With the Wind, film score - Max Steiner on AllMusic. Find recording details and track inforamtion for Gone With the Wind, film score - Max Steiner on AllMusic AllMusic. New Releases Mammy and Melanie on the Staircase, Rhett's Sorrow. Max Steiner.
  5. Max Steiner was born on May 10, , in Austria-Hungary, as the only child in a wealthy business and theatrical family of Jewish heritage. He was named after his paternal grandfather, Maximilian Steiner (–), who was credited with first persuading Johann Strauss II to write for the theater, and was the influential manager of Vienna's historic Theater an der alternative.adrierdredironcrusherkeswyn.infoinfo: Maximilian Raoul Steiner, May 10, , Vienna, .
  6. Gone with the Wind and its production have been explicitly referenced, satirized, dramatized and analyzed on numerous occasions across a range of media, from contemporaneous works such as Second Fiddle—a film spoofing the "search for Scarlett"—to current television shows, such as Based on: Gone with the Wind, by Margaret Mitchell.
  7. Jan 15,  · This master is for the original soundtrack for "Gone With the Wind" conducted by Max Steiner (first released in ). For the re-recording conducted by Max Steiner, see Max Steiner - The Complete Film Music From Gone With The Wind. For the re-recording conducted by Muir Mathieson with the Sinfonia of London, see Max Steiner - Gone With The Wind.4/4(95).

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