Meryl Streep, Carey Mulligan and Helena Bonham-Carter star in Sarah Gavron's drama about the foot soldiers of the early feminist movement
The definitive Technicolor romantic epic. Rhett, Scarlett, burning sets and a whole slew of nostalgic and/or reactionary values, this is David O Selznick's finest hour and a classic film
Winner of 10 Oscars, hugely successful at the box office, containing one of the most quoted lines from the movies... With its place in film history assured, there is a distinct air of never mind the quality, feel the width when watching this with the cynical eyes of the modern viewer.
Hugely expensive for its time, it has every dollar evident on screen, and it is easy to be seduced by its sumptuous visuals, to feel the heat of Atlanta burning. But this is Hollywood style over substance writ large, almost casually sexist and racist, using the Civil War as a convenient backdrop without ever addressing its social or historical significance.
Dissecting it further, the plot is pure soap opera and the acting, particularly from Gable, is often wooden. Hollow and tasteless, it would be difficult to get angry about if it were not glorified and revisited so often.
Grand old Hollywood at its most magnificent and melodramatic. Say what you like about the soapy characterisation and plotting, the spectacle flattens all in its wake.
"To me, the best part about being famous is taking down phonies..." As God Bless America receives its UK TV premiere on Film4, writer/director Bobcat Goldthwait (World¿s Greatest Dad, Willow Creek) lo
Editor Chris Wyatt has worked on modern classics of film and TV including Dead Man¿s Shoes, Dreams Of A Life and Dead Set. Here, he talks about his work with Yann Demange on ¿71, out now on DVD and B
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