Gone with the Wind

The fate of the Old South as a Courths-Mahler saga, which at least manages to paint the causes and circumstances of the Civil War with magnolia-colored wardrobes, Technicolor close-ups of stars and an Atlanta burning red as scarlet. How rewarding historiography of a private nature on the level of Maxfield Parrish colorful postcards turns out to be. The “biggest box office hit of all time”, flattered by eight Academy Awards, was also voted “best film of all time” in 1977 as a matter of course. Legendsmiths with a more than healthy relationship to the dollar turned it into a “myth”, complete with instructions for cult worship. It can be assumed that the negative was kept in a gold box at MGM. (Harry Tomicek)

Photo: Austrian Film Museum