Tom Barnes's Blog: Tom's 'RocktheTower' Blog - Posts Tagged "gable"

Let’s Go to the Movies

Selznick and Sam Goldwyn Not on Same Page
During the month of February 1938 Selznick and Sidney Howard were working hard on a script that would use every prominent line possible from the book.
Overall film length was a concern, but they hoped to have a script, that would meet their expectations as to content and running time, ready when cameras rolled. Selznick was so concerned with the overall length that he admonished Cukor to be careful not to add extra lines during the shooting process. Those line changes at the time might give the actors something fresh to work with, however in the long run they would be counter productive as they would end up adding dialogue and as a consequence too much to the overall length of the film.
Gary Cooper was high on Selznick’s list for the role of Rhett Butler and he was trying to put a deal together with Sam Goldwyn that would have United Artist distribute the film – but only as a package that included Gary Cooper. Sam Goldwyn was traveling to Europe and left on his trip before Selznick got any kind of agreement. And as a consequence Gary Cooper was taken off the number one prospect list to play Rhett Butler.
However, the concern over losing Cooper was short lived. The search teams out looking for Scarlett and supporting actors were being peppered with questions by book fans that were asking for Clark Gable. As the chorus grew louder the press picked up the fans enthusiasm and it soon became obvious that Gable was the public choice.
Selznick had not overlooked Gable, but in the early going he had little luck in making a deal with MGM for the loan of their biggest star. It was also known to Hollywood insiders that Gable didn’t want to be the stand-alone star in the film in case it was a dud. And secondly he didn’t want to do a Southern accent.
Of course Louis B. Mayer head of MGM might have something to say on the matter. And sometime in May 1938 Mayer posed the idea to Selznick to allow MGM to buy the property from Selznick International and produce the picture at MGM. The positive element in that proposal was the certainty that Clark Gable would play Rhett Butler and satisfy public demand.
David Selznick gave Mayer’s offer considerable thought, but after talking it over with Jock Whitney, the original champion of the film, Selznick said no.
Of course MGM had opened the door to possible negotiations and within a week they began to work on a deal. Louis B. Mayer had mentioned two of the most important issues in his original proposition to buy the film, Gable and distribution.
At the time those talks were going on between Selznick and Mayer the public was growing more vocal in its demand that Gable to play Rhett Butler. And in the end they got their wish because with the help of Jock Whitney securing more financing a deal was struck where MGM would loan Gable to Selznick International along with a million and a quarter dollars and distribution rights. Selznick International would in turn give up fifty percent of the films profit. A terrible deal on the surface, but the finance situation being what it was with Selznick, he likely figured half a loaf was better than none.
(To be continued)

Another part of ‘The Story Behind Gone With The Wind’
By Sally Trippett Rains author of ‘The Making of a Classic.’
Creative Book Publishers International
(Continued from last week)
“I was very close to Mr. Selznick,” Marcella Rabwin said. “People always said, ‘what did you do?’ and I say, ‘anything he didn’t have time for.’ I was involved in every phase of the production of his films from the beginning when you bought the thing to the time when it was finished and you could breathe again.” According to her (Marcella Rabwin) the film cost “four million, eighty-five thousand, seven hundred and ninety dollars.” Selznick’s original plan was for a movie that lasted 2 ½ hours and cost about two million. At that time it was the most expensive film ever made or even imagined. As noted by Tom Barnes, Selznick had originally turned away from buying the rights to Margaret Mitchell’s very famous book, but his money-man Jock Whitney--urged on by Kay Brown-- told him that if Selznick did not buy it, then Whitney was going to. “We had no idea of the enormous task ahead of us when we took it on,” said Marcella Rabwin. “That book (Gone With The Wind) had become such a Bible to so many people---there were 20 million copies of the book sold in the first year. The first time we ran it as a consecutive piece of work it was five hours, and I didn’t know how he was going to cut it. Every minute of it was a beauty but still he had to get it down to what it was; 3 hours and 45 minutes.” The year 2009 marks the 70th Anniversary of Gone With The Wind's movie premiere in Atlanta, Georgia. Author Sally Tippett Rains has interviewed over 70 people involved with the movie including actors, historians, and other authors. She was fortunate enough to work with one of Margaret Mitchell's cousins who has a scrapbook full of stories from her own family. Many of the stories that had been passed down from Mitchell's relatives who lived through the Civil War were similar to stories in Gone With The Wind. In her upcoming book The Making Of A Classic, Margaret Mitchell and Gone With The Wind. Rains gives insight into how Mitchell may have come to write about her various characters and stories. She worked with Tom Barnes on a chapter where there was a cross-over from one of his books, Doc Holliday's Road To Tombstone with Gone With The Wind. It seems Doc Holliday was a cousin to Margaret Mitchell. He had a special relationship with another of her cousins, Mattie Holliday (who was also his cousin.) Barnes' research tells him it was love, but it was unrequited, for he left to go out West. According to Barnes' book, after the Gunfight at OK Corral she realized he was never coming back. She joined the convent and changed her name to Sister Mary Melanie and she was called Sister Melanie. Was it a coincidence that there were at least two storylines which may have come from this Mitchell family story. There was a woman named Melanie (Melanie Wilkes)who married her cousin (Ashley); and in another part of the book, a memory of Scarlett's mother Ellen falling for her cousin, who left for the "west." Barnes has researched his book for many years and stands by his story.
Writers Notebook:
Maxwell Perkins, one of America’s best-known editors worked for Charles Scribner’s Sons, New York and edited works of such famous writers as F. Scott Fitzgerald, Ernest Hemingway and Thomas Wolf. Perkins wrote in answer to a letter, received from a young man in the Military, regarding the active pursuit of a writing career had this advice for the young man. ‘As to perhaps a couple of years in college, I should think that might be a great advantage, in the general sense, but don’t try to learn about writing there. Learn something else. Learn about writing from reading. That’s the right way to do it. But then it can only be done by those who have eyes and ears, and by seeing and listening. Very few of the great writers had that formal education, and many of them never mastered spelling or grammar. They got their vocabulary by reading and hearing. But the way they teach literature and writing in college is harmful…’
Writing courses have changed a lot since Perkins made those remarks, however much of his advice is still valid. Being a good observer and developing good reading habits will likely take you farther along the path to a writing career than anything else.
Tom Barnes -- Actor, Writer and Hurricane Hunter.
Check out my website for books, blogs, western legends, a literary icon, reviews and interviews. Also my novels The Goring Collection and Doc Holliday’s Road to Tombstone along with a non fiction remembrance of The Hurricane Hunters and Lost in the Bermuda Triangle.
www.tombarnes39.com
www.RocktheTower.com

Let’s Go to the Movies
Part 7
The summer of ‘38

From late March, when the deal for Gary Cooper fell through, until mid August when MGM signed an agreement for Clark Gable to play Rhett Butler, much of Selznick International’s pre production work on Gone With the Wind was slowed to a crawl. Of course that didn’t relieve any of the pressure on Selznick himself because other pictures took much of his time. He also had a couple of worrisome problems that required his attention, one was the GWTW script and the other was the film’s director George Cukor.
Cukor had apparently gone over the line refusing assignments to one picture after another. And it was that particular annoyance that caused Selznick to begin looking at Cukor as expendable to the production of Gone With the Wind. Considering long term and big money agreements with directors Selznick expected some loyalty and flexibility regarding picture assignments and he wasn’t getting that from Cukor.
With that in mind Selznick began to look around at possible replacements. MGM directors Jack Conway and Victor Fleming were both mentioned, but no preference was given at that time.

In the early planning stages of GWTW there was some talk of using black and white film, however, by mid summer of 1938 everyone was focused on Technicolor and who would be the best cameraman to shoot the picture. There were many top cameramen to draw from but not all of them had knowledge and experience in Technicolor. Several men under consideration were Hal Rosson, Oliver Marsh, and Ray June at MGM and Charlie Lang at Paramount. However, the possible front-runner for that position might have been Tony Gaudio mentioned in one of Selznick’s memos when he said, ‘Tony Gaudio’s work on Robin Hood was, in my opinion the best photographic job in color that has yet been done.’
And while those were major parts to the production of GWTW, getting a workable shooting script in place before cameras rolled was still the number one priority. Selznick needed some rest and decided to take a short working vacation in Bermuda. He hoped to be joined there by Sidney Howard, whose screenplay they were working from, along with Margaret Mitchell as a kind of on scene consultant. As it turned out they both declined his offer to join him and at the last minute Selznick chose Jo Swerling to work with him in Bermuda.
When the short working vacation was over Selznick returned to New York, still not satisfied with the script. At that time he put out a call for writers, he wanted Oliver Garrett to work on continuity and mentioned several writers he thought might be good for dialogue Robert Sherwood, Stark Young, James Boyd and F. Scott Fitzgerald were among them.
At that point in time as regards to casting -- of the four major players only Clark Gable was set for the film. There were too many candidates for Scarlett to even try to organize a list; in fact you might come just as close to a Scarlett by throwing darts at the pages of a Hollywood phone book.
Selznick ran hot and cold on Leslie Howard for the Ashley role, although some of that negativity was likely posturing for the benefit of Howard’s agent in order to get a better price.
The role of Melanie would be simple if Warner Brothers would play ball. Selznick wanted Olivia de Havilland but Warner Brothers was reluctant to loan out one of their stars for a secondary role.
(To be continued)

Before the film ‘Gone With the Wind ‘ there was the book:
And before the book there were lives and legends. Lenora Smalley makes the connection in her review of ‘Doc Holliday’s Road to Tombstone.’

“Who would have ever thought the legend of Doc Holliday could be connected in any way to Margaret Mitchell’s Gone With the Wind.
When Doc Holliday went west after he discovered he had tuberculosis… He left behind a sweetheart who thought he would return after he was cured…
During his incredible research into the life of Doc Holliday, Tom Barnes discovered that this sweetheart, besides being a cousin of Doc Holliday was a distant cousin of Margaret (Peggy) Mitchell. This beautiful girl, Mattie Holliday, wrote letters to Doc for a number of years before giving up and becoming a nun in the order of Sisters of Mercy. If you read the letters, which appear in this book, you will know almost immediately which of the main characters of Gone With the Wind was inspired by Mattie Holliday.”

Writers Notebook:
Fiction and nonfiction:
Nonfiction is a term loosely used to describe a factual happening or event. But is it all fact? No. During the recreation of actual events fiction techniques are often employed, and when those techniques are used today they are called creative non-fiction. For example – one of the most famous nonfiction books in the English language is Truman Capote’s ‘In Cold Blood,’ a book filled with passages of pure fiction. There are no clear-cut rules that state how far writers of nonfiction may legitimately go into the area of fiction. And while the ivory tower crowd mull over the changing rules of the English language, non fiction writers that feel a need to stray too far into fiction might keep Television’s famous cop Joe Friday’s admonition in mind – ‘Just the facts, ma’am.’

Tom Barnes -- Actor, Writer and Hurricane Hunter.
Check out my website for books, blogs, western legends, a literary icon, reviews and interviews. Also my novels The Goring Collection and Doc Holliday’s Road to Tombstone along with a non fiction remembrance of The Hurricane Hunters and Lost in the Bermuda Triangle.
www.tombarnes39.com
www.RocktheTower.com

Let’s Go to the Movies
Part 10
Quiet on the set – Roll Camera -- Action

January 26, 1939
Lowell V. Calvert
Selznick International Pictures
New York, NY
‘Started shooting “Gone With the Wind” today.’
David O. Selznick

Technicolor was still in its infancy in 1939. All the technical people cinematographers, camera operators, lighting, costume designers, set designers were all making the transition from black and white film to color. David Selznick was a tough taskmaster and didn’t make it easy for anyone working on GWTW. From the time he saw the first rushes and heard grumbling coming from the set Selznick was displeased with the color coordination of sets costumes and lighting. And on the third day of shooting he issued a memo to all concerned that the final word about color coordination would come from Bill Menzies.
Then within the first two weeks of production Selznick’s partner MGM began pushing him to pick up the pace. And while he didn’t want to admit it, he had to agree with them, the production pace was moving along at a crawl.
Director George Cukor was taking his time in rehearsals and setups and was resentful of Selznick’s hands on producer’s methods regarding script changes as well as his on-set presence.
David Selznick sensed a catastrophe in the making and decided to take drastic measures – call a temporary halt to production and change directors.
In a memo dated February 13, 1939 to Jock Whitney Selznick made this statement: ‘The following is being released immediately: George Cukor and David Selznick last night jointly issued the following statement: “As a result of a series of disagreements between us over many of the individual scenes of Gone With the Wind, we have mutually decided that the only solution is for a new director to be selected at as early a date as is practical.”

There is no paper trail to give us a time line on Selznick’s decision-making process as to when he resolved to remove Cukor. Of course Selznick had known for months that the situation was going to be testy at best. But exactly when he started his search for a new director we just don’t know. However, the fact that within two or three days after announcing Cukor’s departure Selznick was fully engaged and talking over GWTW problems with Victor Fleming.
Fleming was a top MGM director and was just finishing work on ‘The Wizard of Oz’ when he was tapped for the GWTW assignment.
Something that might have played a part in the change of director’s and the Fleming choice might have been Clark Gable. With out a doubt Gable wanted a man’s director and likely touted Victor Fleming to Selznick.
‘Gone With the Wind’ resumed filming on Monday February 27th with the scene between the Tarleton twins and Scarlett on the front porch of Tara, and contains Scarlett’s memorable line ‘Fiddle le dee. War, War, War. This war talk is spoiling all the fun at every party…’
Then they went on to reshoot every scene Cukor had filmed during his tenure.
A minor problem, while Cukor was still working on the film, grew along with the pace demanded by Victor Fleming. Cinematographer Lee Garmes was having problems with
the Technicolor staff in the area of shadowing dark scenes. Several scenes that demanded dark tones came out too dark and would have to be reshot.
Selznick decided to make another change, but this time there would be no halt in production to accommodate the change.
Ten days after resuming production under the direction of Victor Fleming, Selznick decided to hire Oscar nominee Ernest (Ernie) Haller to replace Lee Garmes as cinematographer and not a shot was delayed or missed as Haller took his position behind the camera and continued the filming of ‘Gone With the Wind.
(To be continued)

Gone With the Wind and Doc Holliday Connection
Continued
I picked up a copy of Gone With the Wind and spent the weekend reading it from cover to cover. By the time I finished the book I had marked a dozen or more scenes of interest, most of which had a Savannah, Georgia location. Mattie Holliday had attended St. Vincent’s Academy in Savannah and that was where she eventually entered the nunnery and took the name Sister Mary Melanie.
In GWTW Ellen Robillard, later to become Ellen O’Hara, was part of a prominent Savannah family.
Referring to my notes I began reading where Pork tells Gerald O'Hara that he needs a wife. The little Irishmen seemed to agree and they travel from Tara to Savannah on a mission to remedy that need. I expect I had read less than a page of that scene when it all began to come back to me. And once I finished reading it the connection was perfectly clear. There was no question in my mind that John Henry Holliday was Margaret Mitchell’s “wild buck” Philippe Robillard. And using Ellen Robillard as the real character and Ashley’s Melanie to carry the name was absolutely brilliant. It’s obvious that Sister Melanie told cousin Margaret the whole story about her relationship with John Henry. (Doc Holliday)
(Continued next week)

Writers Notebook:
A piece of dialogue between Josh Logan and Maxwell Anderson from Logan’s out of print ‘My Up and Down, In and Out Life.’
‘It was working closely with Max Anderson – a man dedicated to the craft of playwriting – that taught me something that has been useful to me all my professional life. One day he casually mentioned that he had arrived at a theory for making a play a hit.’
My ears perked up. “You mean any play?”
“Any literate play, yes. I’ve made a study of what kind of story an audience accepts and what kind it rejects. I set out to discover if there is a single element in success that isn’t in failures. I started by examining my own plays. They were after all conceived by the same talent, yet some survived and the rest died quickly. Why? I searched for my answers in Aristotle and I reread Shakespeare, the great Greek masters and hit plays of the present. Eventually, I arrived at my little personal rule. I’m going to write about it some day and I’ll send it to you.”
“Max, you’re going to tell me now! What is it?”

Now this is called a cliffhanger – I’ll tell you Max’s rule next week.

Tom Barnes -- Actor, Writer and Hurricane Hunter.
Check out my website for books, blogs, western legends, a literary icon, reviews and interviews. Also my novels The Goring Collection and Doc Holliday’s Road to Tombstone along with a non fiction remembrance of The Hurricane Hunters and Lost in the Bermuda Triangle.
www.tombarnes39.com
www.RocktheTower.com

Let’s go to the Movies
Part 11
Cast in order of appearance:
Gerald O’Hara – Thomas Mitchell
Ellen O’Hara – Barbara O’Neil
Scarlett O’Hara – Vivien Leigh
Suellen O’Hara – Evelyn Keyes
Careen O’Hara – Ann Rutherford
Brent Tarleton – George Reeves
Stuart Tarleton – Fred Crane
Mammy – Hattie McDaniel
Pork – Oscar Polk
Prissy – Butterfly McQueen
Jonas Wilkerson – Victor Jory
Big Sam – Everett Brown
John Wilkes – Howard Hickman
India Wilkes – Alicia Rhett
Ashley Wilkes – Leslie Howard
Melanie Hamilton – Olivia de Havilland
Charles Hamilton – Rand Brooks
Frank Kennedy – Carroll Nye
Rhett Butler – Clark Gable
Aunt ‘Pittypat’ Hamilton – Laura Hope Crews
Dr. Meade – Harry Davenport
Uncle Peter – Eddie ‘Rochester’ Anderson
Mrs. Meade – Leona Roberts
Mrs. Dolly Merriwether – Jane Darwell
Belle Watling – Ona Munson
Yankee Deserter – Paul Hurst
Emmy Slattery – Isabel Jewell
Bonnie Blue Butler – Cammie King
Amputation Case – Eric Linden
Johnny Gallagher – J.M. Kerrigan
Tom – Yankee Captain -- Ward Bond
Phil Meade – Jackie Moran
Reminiscent Soldier – Cliff Edwards
Bonnie’s London Nurse L.Kemble-Cooper
Renegade -- Yakima Canutt
Cathleen Calvert – Marcella Martin
Beau Wilkes – Mickey Kuhn
Soldier Holding Beau Wilkes – Louis J. Heydt
A Carpetbagger – Olin Howland
Corporal – Irving Bacon
Yankee Major – Robert Elliott
Mounted Officer – William Bakewell
Maybell Merriwether – Mary Anderson

Stars, feature players, bits and extras were all carefully chosen for their parts in Gone With the Wind. It goes without saying that the stars and features had to meet the physical and emotional requirements laid out by Margaret Mitchell in her book. But Selznick took his strict casting model a bit further and included bits and extras.
He voiced some of his thoughts on the subject to production manager Ray Klune in one of his famous memos…’I’ve always felt that it is a false kind of economy to save on bit actors. The time that cheap and inexperienced actors cost through the director’s inability to get performances out of them alone more than makes up the difference between the salaries and the salaries of good actors…nothing is as important on the screen as the actor. To save money on actors and spend it on sets is silly – the audiences are looking at the actors, not at the sets, if our action means anything. And while a bit actor is on the screen, if it is only for two seconds, he is as important as the star…’

Small roles – Large talents
Some of the small, but memorable roles, among the credited actors were Everett Brown who played the loyal Big Sam. ‘Quitten’ time is when I say it’s quitten’ time.’-- ‘Quitten’ time.’ And later when Yakima Canutt the renegade stopped Scarlett’s carriage at the bridge Big Sam comes to her rescue. Canutt was typecast for his renegade role – he had dozens of credits playing heavies in the old Hollywood westerns. Yakima Canutt was a director as well, he was also one of Hollywood’s premiere stuntmen. Canutt contributed to GWTW as a second unit director and directed all those great chariot races in Ben Hur. He made movie history when he did the famous stagecoach stunt in John Ford’s Classic ‘Stagecoach.’
Aunt Pittypat’s coachman, Uncle Peter was none other than Jack Benny’s sidekick Eddie ‘Rochester’ Anderson.
Paul Hurst, the Yankee deserter shot by Scarlett had scores of acting credits in supporting roles that included ‘The Ox Bow Incident’ with Henry Fonda and Harry Davenport (Dr. Meade in GWTW) and ‘The Westerner’ with Gary Cooper, Dana Andrews and Walter Brennan.
Next week I’ll talk about some of the characters on the UNCREDITED roster of bits and extras that contains more than seventy names.

Gone With the Wind and Doc Holliday Connection

In the novel Philippe Robillard is killed off during a barroom brawl in New Orleans, and a priest returned the locket and letters to Ellen in Savannah. When in fact a minister at Glenwood Springs, Colorado, where Doc Holliday died of tuberculosis, actually sent them to Sister Melanie at St. Vincent’s Academy in that same city.
What a savvy storyteller she was. Peggy Mitchell knew how to shut down controversy and illustrated that technique by killing off Philippe in a New Orleans barroom. It was
an absolutely brilliant piece of writing. She left no loose ends, nothing that could point toward Doc Holliday’s life west of the Mississippi.
There is no doubt that Peggy Mitchell was bright, and not to leave anything out, there is one final scene relative to the Robillard story in chapter twenty-four that makes the case even more convincing. Scarlett was a lot like her mother, but the daughter never came to realize just how much like Ellen she really was -- even after she was told.
In one of the late scenes it comes out that Mammy was the only one that knew the full extent of Ellen’s undying love for Philippe. When Scarlett returned to Tara and was mourning her mother's death the half-breed Dilcey told Scarlett her mother’s dying words. Feeleep! Feeleep! Scarlett assumed the name was Philippe and she asked the question, 'Who was he and what had he been to Mother that she died calling his name?' But Scarlett got no answers because Mammy kept her silence and Dilcey didn’t know.
So according to the words in “Gone With the Wind, Ellen never lost her love for Philippe Robillard. Which means, at least in Margaret Mitchell's mind, Sister Mary Melanie never got over John Henry.
And to find the rest of the story you have to look no further than Margaret Mitchell’s world of the Old South with its plantations, cotton fields and magnolias.

Writers Notebook:

Maxwell Anderson’s rule for making a hit play:
‘What is the rule, Max?’ Josh demanded.
‘Well it turns out it was Aristotle all the time. It’s also in all the great Shakespeare plays, and any strong play that takes the protagonist through a series of experiences that leads to a moment toward the end of the play where he discovers something about himself that he could have known all along, but didn’t. This discovery changes the entire course of his life – and that change must be for the better. If the change is for the worse the audience will reject the play. The audience must see and feel the leading man or woman become wiser and that doesn’t mean a happy ending. If the hero is to die, the revelation must come before the death.
People then leave the theatre feeling better. They’ve had an exciting and uplifting experience and that excitement gives life to the play.’
Josh Logan goes on to say ‘I’ve used this golden rule to some extent on every play and film I’ve done. It has strengthened the strong ones and quite often saved the weak ones from disaster.’

Tom Barnes -- Actor, Writer and Hurricane Hunter.
Check out my website for books, blogs, western legends, a literary icon, reviews and interviews. Also my novels The Goring Collection and Doc Holliday’s Road to Tombstone along with a non fiction remembrance of The Hurricane Hunters and Lost in the Bermuda Triangle.
www.tombarnes39.com
www.RocktheTower.com

Let’s go to the Movies
Part 17
The flap with the Hays office over ‘Frankly, my dear, I don’t give a damn’ was just one of dozens of problems that David Selznick had to resolve between the time filming was complete in early July 1939 to the Atlanta Premier on December 15th.
If there were a problem it would eventually land on Selznick’s desk. But of course that’s the task you assume as motion picture producer.
Just to name a few items; editing the long film down to a reasonable time, hiring someone to write the onscreen titles, a kind of narration that sets up coming scenes. Ben Hecht took the assignment and did an excellent job, even with Selznick looking over his shoulder.
Writing the music and recording the score onto the film is a huge undertaking and is extremely important to the finished film. Max Steiner, a great talent, was hired for the job and as was Selznick’s practice he hired a back-up composer to write a second score just in case Steiner didn’t come through on time. Fortunately Steiner’s worked tirelessly and got it out on time.
His score for Gone With the Wind was much acclaimed and was nominated for an Oscar, but lost to The Wizard of Oz.
Distribution and ticket prices were an issue, remember box office tickets at the time were about a quarter but a special price structure had to be worked out for Gone With the Wind, general admission prices we seventy five cents for morning and afternoon showings, a dollar at night and a dollar fifty for preferred seating.
There was a protracted discussion with the Screen Directors Guild regarding the onscreen credit for director. Remember, several men worked on the film and were contenders for the screen credit. George Cukor, Victor Fleming and Sam Wood all contributed to the film and at one time it was thought all three might share in the credit, however in the end Victor Fleming was given the sole credit.
The film was officially completed on December the 11th with the World Premier scheduled for Atlanta, Georgia on December 15th.
Here’s a typical report of the event at the time:
The focus was on Atlanta last week when David Selznick brought his film version of Gone With the Wind to that Southern city. And he brought Vivien Leigh and Clark Gable with their spouses Lawrence Olivier and Carol Lombard along with a host of others.
I won’t try to name all the celebrities attending that great opening because I’d probably leave your favorite off the list and you’d be ticked off at me.
But I will say that Kay Brown, Selznick’s New York Representative, without whom there might not have been a movie version of Gone With the Wind, was in Atlanta.
This writer was also there. I lived with my family at 1424 South Gordon Street in West End Atlanta. And from the mind of that little boy I can still see those giant Klieg lights hurling those beams of light, crisscrossing the Atlanta skyline and into the sky. They looked so close I felt I could reach out and touch them. Of course I couldn’t because they were about five miles away. I felt the excitement though and was fully aware that they were lighting up the sky for a movie about the South called Gone With the Wind.
Something else, and I didn’t know the significance at the time but at the Cascade Theatre located just around the corner from our house, the current movie playing there was ‘The Wizard of Oz.’
Victor Fleming directed both ‘Oz’ and ‘Wind’ and years later I had the opportunity to work on stage opposite Bert Lahr (the Cowardly Lion) in the Pulitzer Prize winning play ‘Harvey.’
(To be continued)

Golf and Horse Racing – an Unlikely Paring

Honor and integrity seem to have vanished from the lexicon of the sports world save Golf and Horse Racing.
Are there ever any suspect moments in those two sports, of course there are, but they are rare compared to other sports.
My personal example of lost integrity is in baseball’s home run derby. I personally have put a mental asterisk after every name in the record book since Hank Aaron.
Of course that’s just my personal opinion about steroids and I expect it runs against the tide – but then I always was a rebel.
My point is jockey Calvin Borel who rode Mine that Bird to a whopping upset in the 2009 Kentucky Derby was aboard Rachel Alexandra the day before for the Kentucky Oaks Grade 1 race winning by 20 lengths.
Rachel Alexandra has won 7 out of 10 races and during the last five stakes wins Calvin Borel was the jockey. He made a commitment earlier in the year to ride the filly and he sticks by his word.
Hall of Fame and Eclipse award winning jockey Mike Smith gets the call to replace Borel on Mine that Bird – and from where I sit, not a bad call.
Bennie Woolley’s choice of veteran Mike Smith to pilot the Bird is backed up by past performance. Mike won the Kentucky Derby aboard Giacomo in 2005, and the Preakness aboard Prairie Bayou in 1993.
Excerpt from the Baltimore Sun tells what happened during the running of the 2005 Preakness:
‘At the time, Prairie Bayou, ridden by, Mike Smith was starting his move along the inside rail about 14 lengths off the pace and was moving up from 10th place to his eventual victory.’
Mike said, "I was lucky enough to miss him; he broke down right in front of me," Smith said of Union City. "When horses break down and fall, they usually fall right or left. But he stayed straight and I ducked around him at the last second."
Smith still had nearly half a mile to go, and a lot of traffic to negotiate in order to catch Personal Hope, who held the lead along the rail. But Smith made his move at the head of the stretch when he took Prairie Bayou outside, angling five-wide and circling the pack. He drew into the clear and ran straight down the track to eventually beat the favorite

Writers Notebook:
Here’s a plea for political writers and humorist to look back at a few examples of true humor and wit without malice.

Here are three by Will Rogers.
‘Be a politician, no training necessary.’
‘We’ve got the best politicians in this country that money can buy.’
‘With congress, every time they make a joke it’s a law; and every time they make a law it’s a joke.’
Now who would argue with that logic? Politicians of course.

Tom Barnes -- Actor, Writer and Hurricane Hunter.
Check out my website for books, blogs, western legends, a literary icon, reviews and interviews. Also my novels The Goring Collection and Doc Holliday’s Road to Tombstone along with a non fiction remembrance of The Hurricane Hunters and Lost in the Bermuda Triangle.
www.tombarnes39.com
www.RocktheTower.com