Evergreen classic
WHEN Louis B. Mayer, in 1936, suggested to friend Irving Thalberg that they make a movie about a headstrong southern girl who survives the Civil War but finally loses the only man she cares for, Thalberg said: 'Forget it, Louis. No Civil War movie ever made a nickel.' Well we now know different. Gone With The Wind (World, 9.35pm) is the only film in history which is still being profitably revived getting on for 50 years - 46 to be exact - after it was made.
Whole books have been written about it.
Its essential appeal is that of a romantic story with impeccable characters and strong production. In 1980 Time Out called it: 'The key plantation movie'.
Gone With The Wind is not flawless, but it is absolutely right. Two of the most right things about it are the leads: Clark Gable, who captures so effortlessly the charms of Rhett Butler, the reckless and finally lovable Casanova; and Vivien Leigh, who won the most coveted role in cinema history from a field which included Paulette Goddard, Norma Shearer, Bette Davis, Joan Crawford, Jean Harlow, Carole Lombard and Irene Dunne.
More than 2,000 women were tested in a much-ballyhooed two-year talent search. Leigh is only disappointing when we meet her on the porch in the film's opening (the scene was re-shot at the end of production when the rest was in the can, and Leigh understandably looks tired, haggard and sick of the whole damn thing).
The story, as if you didn't know, is classic romance, with some Civil War thrown in. It was based on Margaret Mitchell's novel, which itself is a wistful hymn to nostalgia, with inevitable touches of racism and sexism. However, for all the cliches of Scarlett - simpering Southern belle etc - she does turn out to be an amazingly resilient character.
It's a big film in every way, and you can tell that to Victor Fleming. He was one of five directors who worked on Gone With The Wind (his Wizard Of Oz was also released in 1939) and found the pressure so great he had a nervous breakdown. George Cukor began at the helm, but was replaced.
The others were Sam Wood, William Cameron Menzies and Sidney Franklin.
IF You can't face another viewing of GWTW The Governor (Pearl, 9.30pm), is at least a good alternative. This is the last episode and Helen (Janet McTeer) is about to find out whether or not she keeps her job.
Stephen Frears is a good choice to introduce the first in the new documentary series The Century Of Cinema. The first episode is British Cinema - A Class Act (World, 8.35pm), a subject Frears is as qualified as the next man to talk about; he directed My Beautiful Launderette (with Daniel Day-Lewis), Prick Up Your Ears and later broke into Hollywood with three relatively big budget productions, Dangerous Liaisons, The Grifters and Hero.
Francois Truffaut, Frears reminds, us once said that the words 'British' and 'cinema' seemed incompatible. Frears' celebration of 100 years of British cinema is an elegant and witty riposte to Truffaut.
THERE is nothing witty or elegant about Mommies (Pearl, 5.55pm) and Married . . . With Children (Pearl, 6.50pm), two situation comedies you should avoid if you can.
The first sees Marilyn Kentz trying to stop her teenage son moving in with estranged dad. The second is about the insufferable Bundys, who serve as a reminder of all the reasons not to go to America.
HIGHLIGHTS of films on Cable Movie Channel: Fathers And Sons (7.00am and 1.00pm). Jeff Goldblum and son (Rory Cochrane) face life together when Goldblum's wife dies of cancer.
The Trip To Bountiful (7.00pm). Leisurely, richly-textured fulmination of Horton Foote's 1953 television play about a widow (Geraldine Page) living unhappily with her son and daughter-in-law. Page won an Oscar in 1986 for her heartbreaking performance but the entire cast, including John Heard and Carlin Glynn, is excellent.
