There are some films that anyone with a serious interest in American cinema has to see. “Citizen Kane.” “Vertigo.” “The Godfather.” No debates there. Then there’s “The Birth of a Nation.” Debate.
Released in 1915, D.W. Griffith’s silent epic fundamentally and forever changed what film can do. It’s also a racist, violently hateful depiction of the Civil War and Reconstruction. I have seen it once, in grad school. Luckily, I haven’t had to try particularly hard over the past 15 years not to see it.
What I have seen a lot — at least once every other year — is “Gone With the Wind,” which was released not even 25 years later. As I’ve gotten older, I’ve grown more and more uncomfortable with its depiction of African-Americans (whether it’s ironic that Hattie McDaniel became the first black woman to win an Oscar for this film or just weird, I don’t know. I’ll have to ask Alanis Morissette.). But I could squish that discomfort down and distract myself by thinking what an idiot Ashley is.
I can’t anymore. I can’t watch a movie that strongly insinuates two of the “good guys” — Ashley and poor, stupid, doomed Frank — are not only members of the Ku Klux Klan, but are gentlemen for being so. I can’t watch a movie where McDaniel’s Mammy is the only black character with any, well, character and all the rest are largely minstrel-esque caricatures.
I used to be willing to give “Gone With the Wind” a pass for depicting a part of American history that has many deeply shameful elements. Of course things had changed between the 1860s, when the film is set, and its 1939 premiere — but not so much that McDaniel and the other black actors were allowed to attend the film’s Atlanta premiere. They weren’t.
I loved “Gone With the Wind” so much, but I’m no longer willing to let “well, it’s a product of its time” cover its multitude of sins. It’s become the racist older relative that makes you cringe every Christmas dinner.
So I’ll never get to see it on the big screen. I won’t be staying up late to watch it on TNT for the zillionth time. I’m done silently rooting for Melanie to just give Scarlett one good smack. I’m not saying “Gone With the Wind” should be banned any more than I think the Confederate flag should be; I’m not even saying it’s unimportant (the long take revealing the casualties of the Battle of Atlanta ranks among the most powerful shots of any war movie, regardless of the fact that the Stars and Bars waves prominently when it ends). It’s just now I consider “Gone With the Wind” not as entertainment, but as representative of and a relic from times when what was acceptable is now rightfully judged as abhorrent.
Saying “Gone With the Wind” isn’t AS racist as “The Birth of a Nation” is true; it’s just, for me, that’s no longer enough.
Read more The Reelist columns:
‘Inside Out’ is a kids’ movie without villains, princesses or cool cars — and that’s a good thing
‘Jurassic World’ may not be good, but it’s good comfort food
