American Masters (1985–…): Season 26, Episode 4 - Margaret Mitchell: American Rebel - full transcript
The biography of Margaret Mitchell is a bit unusual because she wrote the best-selling book of the 20th century...and it was her only book! This installment of "American Masters" discusses her life, her legacy and her book "Gone With the Wind". The book begins with Mitchell's childhood, which seems rather sad considering how cold her mother was towards her. As she grew, Margaret was a bit of a wild girl and liked to walk to her own drummer. Then, as a marriage woman with husband #2, she settled down to a relatively normal life. But bored with reading, she decided to write a story herself and in 1936 "Gone With the Wind" debuted and America went nuts...and the rest you'll have to see for yourself.This is a relatively short biography but considering the subject, it seemed just fine. One of the better stories of Ms. Mitchell's life.
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BY AN AWARD FROM THE NATIONAL
ENDOWMENT FOR THE ARTS.
ART WORKS.
AND BY THE CORPORATION
FOR PUBLIC BROADCASTING.
ADDITIONAL FUNDING FOR
"AMERICAN MASTERS"
PROVIDED BY...
AND THE FOLLOWING...
AMERICAN REBEL"
PROVIDED BY...
AND BY CONTRIBUTIONS
TO YOUR PBS STATION
FROM VIEWERS LIKE YOU.
SHE WAS ALWAYS A WRITER
AND ALWAYS A REBEL
SHE WAS A DEBUTANTE WHO
CHALLENGED SOCIETY
WITH A BRAZEN DANCE,
A REPORTER WHO ROAMED TOWN
WHEN WOMEN STAYED AT HOME
A PHILANTHROPIST WHO RISKED
HER LIFE TO BE GENEROUS
A BORN STORYTELLER,
SHE PRODUCED JUST ONE BOOK,
BUT IT WOULD BECOME THE MOST
POPULAR NOVEL EVER WRITTEN
AND ONE OF THE MOST BELOVED FILMS
OF ALL TIME
SHE GAVE US SCARLETT O'HARA
AND RHETT BUTLER,
TWO OF THE WORLD'S
GREATEST LOVERS
LIKE SCARLETT,
SHE WAS BEAUTIFUL AND BRASH
LIKE SCARLETT,
SHE HAD GUMPTION
SHE WAS MARGARET MITCHELL,
AN AMERICAN REBEL
MARGARET MITCHELL
WAS BORN WITH THE NEW CENTURY
IN 1900
Woman as Margaret: MY PEOPLE
HAVE ALWAYS LIVED IN THE SOUTH,
MOST OF THEM IN GEORGIA.
Narrator: MITCHELL'S HOMETOWN,
ATLANTA,
WAS BURNED TO THE GROUND IN THE
CIVIL WAR
FIRE WOULD IMPACT
MITCHELL'S LIFE
WHEN SHE WAS JUST
3 YEARS OLD
Man: MARGARET MITCHELL HAD
A PECULIAR IDENTITY
SHE IS NOT
A TRADITIONAL SOUTHERN BELLE
WHY DID SHE NOT FIT
THAT MODEL?
HER BROTHER EXPLAINED
THE STORY
THAT WHEN SHE WAS
A LITTLE GIRL,
SHE'S PLAYING NEAR THE FIRE,
AND HER SKIRT CAUGHT FIRE
Narrator: THE FIRE DID NOT HARM
YOUNG MARGARET MITCHELL
BUT IT CHANGED HER IDENTITY
Woman: FROM THAT POINT ON,
IN HER CHILDHOOD, HER MOTHER
DRESSED HER IN PANTS
AND THE NEIGHBORS REFERRED
TO HER AS "JIMMY"
AND SHE WORE A LITTLE CAP
AND SHE WORE TROUSERS
AND SHE WAS A CUTE LITTLE CHILD
BECAUSE, OF COURSE,
MARGARET WAS VERY PETITE
Narrator: MITCHELL LIKED BEING CALLED
"JIMMY"
IN AN ERA WHEN LITTLE GIRLS WERE
EXPECTED TO PLAY WITH DOLLS,
SHE PLAYED BASEBALL AND WAS "ONE
OF THE BOYS"
THE ATLANTA OF MITCHELL'S
CHILDHOOD
WAS A CITY ON THE MAKE
ITS MOTTO WAS "THE PHOENIX RISING
FROM THE ASHES"
IT WAS A MAJOR RAILROAD CENTER,
THERE WAS LOTS OF MANUFACTURING
GOING ON HERE
IT WAS A HUSTLING, BUSTLING,
STRIVING COMMUNITY
Pyron: ATLANTA IS NOT
A GREAT BIG CITY
IN 1900
IT HAS A GREAT BIG IDEA
OF ITSELF IN 1900
Narrator: MITCHELL'S PARENTS
BOUGHT INTO THAT BIG IDEA
HER FATHER, EUGENE MITCHELL,
WAS A LAWYER
WHO HELPED BUILD ATLANTA'S
FIRST PUBLIC LIBRARY
AND COFOUNDED THE ATLANTA
HISTORICAL SOCIETY
HER FATHER WAS INTERESTED
IN HISTORY
AND PROBABLY
A VERY SMART MAN
HE SEEMS TO HAVE BEEN
A LITTLE DOUR
AND ILL-TEMPERED
Narrator: MITCHELL'S PARENTS WERE
EMOTIONAL OPPOSITES
HER MOTHER MAYBELLE WAS A FORCE
TO BE RECKONED WITH
MOTHER MAKES ME MAD!
SHE YELLS DUTY AT ME
ALL THE TIME.
Haskell: SHE WAS A VERY STERN
SORT OF MORALISTIC
AND INTELLECTUAL WOMAN
VERY WELL READ SHE SPOKE SEVERAL
LANGUAGES
HER GRANDFATHER WAS BORN IN
IRELAND
SHE HAS A VERY, VERY STRONG
IRISH IDENTITY
AND AN INTENSE
CATHOLIC IDENTITY
Narrator: MAYBELLE MITCHELL
EXPECTED
GREAT THINGS OF MARGARET,
AND MARGARET'S OLDER BROTHER,
STEPHENS
Pyron: STEPHENS MITCHELL SAID
HIS MOTHER SAW LIFE
AS A SOLDIER'S POST
IN A CLASSIC KIND OF SOUTHERN
IMAGERY,
HER BACK NEVER TOUCHED
THE BACK OF A CHAIR
SO, BACK STRAIGHT UP ALL THE TIME
Narrator: AS AN ADULT, MITCHELL
WROTE OF HER CHILDHOOD,
OF SUNDAYS SPENT IN THE COUNTRY,
WHERE SHE HEARD STORIES
OF THE CIVIL WAR
I SAT ON THE BONY KNEES
OF CONFEDERATE VETERANS
AND THE FAT, SLICK LAPS OF GREAT
AUNTS
WHO SURVIVED THE WAR
AND RECONSTRUCTION.
I HEARD HOW GRANDPA MITCHELL
WALKED NEARLY 50 MILES
AFTER THE BATTLE OF SHARPSBURG,
WITH HIS SKULL CRACKED
IN TWO PLACES FROM A BULLET.
Woman: SHE WAS STRUCK BY
THE TOUGHNESS OF HER MOM,
"TOUGH" MEANING RESISTANT,
STRONG, HAVING GREAT ENDURANCE
AND, IN FACT, SHE SAID
SHE WAS 10 YEARS OLD
BEFORE SHE REALIZED THE SOUTH
HAD ACTUALLY LOST THE WAR
IN "GONE WITH THE WIND,"
SCARLETT O'HARA REFUSES
TO BELIEVE
THAT WAR WILL COME TO THE SOUTH
FIDDLE-DEE-DEE. WAR, WAR, WAR!
THIS WAR TALK'S SPOILING
ALL THE FUN
AT EVERY PARTY THIS SPRING.
I GET SO BORED,
I COULD SCREAM!
BESIDES, THERE ISN'T
GOING TO BE ANY WAR.
NOT GOING TO BE
ANY WAR?!
WHY, HONEY, OF COURSE
THERE'S GOING TO BE...
Freer: MARGARET WAS BORN A WRITER
AS HER BROTHER PUT IT, SHE STARTED
WRITING
AT THE TIME SHE COULD
HOLD A PENCIL
Young Margaret: JULIA WESTON
WAITED WHERE SAM HAD LEFT HER,
ALONE, SHE THOUGHT,
IN THE GREAT WOODS.
SUDDENLY, SOMEONE CAUGHT
HER HANDS.
SHE FELT A ROPE BEING TIED
AROUND HER WRISTS!
Pyron: MARGARET MITCHELL IS
A NATURAL GENIUS
SHE HAS A SENSE THAT THE WORDS
ARE NOT JUST FOR CONVEYING DATA
BUT A MEANS OF CONVEYING FEELINGS
AS WELL
Narrator: MARGARET MITCHELL,
AS THE FREE-SPIRITED JIMMY,
WAS A WRITER
BUT NOT MUCH OF A STUDENT
Pyron: CLEARLY, SHE DID NOT LIKE
SCHOOL
SHE WAS TERRIBLE
IN THE CLASSROOM
SHE TALKS ALL THE TIME,
BAD ATTENTION SPAN
THIS ALSO SETS UP A PROBLEM OF
CONFLICT WITH HER MOTHER,
BECAUSE HER MOTHER BELIEVED IN
THIS KIND OF ABSOLUTE,
DISCIPLINED SORT OF EDUCATION
Haskell: SHE PAID HER 25 CENTS
TO READ DICKENS AND THACKERAY,
AND MARGARET MITCHELL REBELLED
BY NOT READING THEM AND READING
THRILLERS AND ROMANCES
SHE JUST ABOUT BEAT THE HIDE OFF OF
ME
FOR NOT READING TOLSTOY
OR THACKERAY OR AUSTEN,
BUT I PREFER TO BE BEATEN.
MARGARET MITCHELL HAS TWO REALLY
CLEAR NOTIONS ABOUT HER MOTHER,
SO THAT SHE ASSOCIATED
HER MOTHER WITH PUNISHMENT
BUT THE OTHER SIDE, SHE ALSO
DESCRIBED HER AS HER SAINT
Narrator: IN THE FIRST TWO
DECADES OF THE 20th CENTURY,
MAYBELLE MITCHELL WAS
AN IMPASSIONED LEADER
IN THE SOUTHERN SUFFRAGIST
MOVEMENT
Haskell: HER MOTHER WAS
A SUFFRAGETTE
MAYBELLE WAS AN ACTIVIST,
WHICH WAS VERY UNUSUAL
IN THAT DAY AND AGE
MARGARET MITCHELL WAS BORN
IN 1900,
SO THAT MEANS HER MOTHER WAS
AMONG THAT WAVE OF SUFFRAGETTES
THAT GOT WOMEN THE VOTE
IN 1920
Narrator: MITCHELL REVERED HER
MOTHER,
BUT IN HER JOURNAL, SHE WROTE OF A
LONGING
THAT WOULD NEVER BE
SATISFIED
MOTHER DOESN'T UNDERSTAND ME.
I LOVE MOTHER
AND I SUPPOSE SHE LOVES ME, BUT
SHE NEVER SHOWS HER FEELINGS,
HARDLY EVER.
I WOULD LIKE TO PUT MY HEAD
IN MOTHER'S LAP.
I FEEL LIKE I WANT TO CRY,
BUT I'LL BE DERNED IF I DO.
Narrator: MANY YEARS LATER,
MITCHELL WOULD WRITE
OF A DIFFERENT MOTHER IN "GONE
WITH THE WIND"
A MOTHER SO PERFECT, SHE WAS
UNREACHABLE
FOR THE LIKES
OF SCARLETT O'HARA
"ELLEN O'HARA WAS DIFFERENT
AND SCARLETT REGARDED HER
AS SOMETHING HOLY, APART FROM
ALL THE REST OF HUMANKIND.
WHEN SCARLETT WAS A CHILD,
SHE HAD CONFUSED HER MOTHER
WITH THE VIRGIN MARY
AND NOW THAT SHE WAS OLDER,
SHE SAW NO REASON
FOR CHANGING HER OPINION."
Narrator: AS A SIGN OF
THEIR GROWING PROSPERITY,
MITCHELL'S FAMILY MOVED
INTO A MANSION
ON ATLANTA'S PEACH TREE STREET
THE MOVE WAS UPSETTING TO
THE REBELLIOUS TOMBOY
AND MAY HAVE TRIGGERED
THE FIRST OF MANY ACCIDENTS
WHICH WOULD CAST A SHADOW
OVER HER LIFE
SHE HAD A VERY SERIOUS
ACCIDENT WITH THE HORSE
IT FELL ON HER
AND THAT WAS THE SAME LEG THAT
WAS LATER INJURED IN LIFE
AND I THINK
WAS VERY PROBLEMATIC
I'M NOT SURE THAT IT EVER
TRULY HEALED
MARGARET MITCHELL ALWAYS HAS
SOMETHING
GOING THE MATTER WITH HER
IT WAS SOMETHING LIKE
BEING ACCIDENT-PRONE
Narrator: ACCIDENT-PRONE OR NOT,
MITCHELL
HAD IRREPRESSIBLE ENERGY
AS A TEENAGER, SHE BEGAN WRITING
AND STAGING PLAYS
Haskell: SHE ADAPTED
PLAYWRIGHTS,
BUT SHE WROTE HER OWN PLAYS
AND A LOT OF THEM HAVE VERY
INTERESTING KIND OF
CROSS-GENDER THEMES
SHE HAS GIRLS ACTING
LIKE BOYS
SO SHE'S VERY ATTUNED TO KIND OF
CHANGING TIMES FOR WOMEN
Narrator: THE YOUNG PLAYWRIGHT
MAY HAVE BEEN AN EARLY FEMINIST,
BUT SHE WAS STILL PART OF
A RACIALLY DIVIDED CULTURE
IN 1915,
D W GRIFFITH'S
"THE BIRTH OF A NATION"
WAS ALL THE RAGE
HAILED AS A BREAKTHROUGH IN MOTION
PICTURES,
FEW IN MITCHELL'S WORLD SEEMED
TO NOTICE THE MOVIE'S RACISM
WE WANTED A PLAY.
"BIRTH OF A NATION" WAS IN TOWN,
AND WE WANTED
SOMETHING LIKE IT.
Narrator: MITCHELL'S NEW PLAY
WAS AN ADAPTATION
OF A NOVEL
CALLED "THE TRAITOR,"
ABOUT THE DECLINE OF THE KU KLUX
KLAN
SHE DECIDED TO PLAY THE VILLAIN
WHO BETRAYED THE HEROIC KKK
Haskell: THIS WAS JIM CROW,
AND EVEN NORTHERNERS
WHO BELIEVED IN INTEGRATION
DIDN'T NECESSARILY BELIEVE
IN EQUALITY,
SO THIS IS THE WORLD
SHE WAS IN, AND IT MAKES US VERY
UNCOMFORTABLE TODAY
Narrator: AS A CHILD, MITCHELL
HAD LIVED THROUGH
ATLANTA'S TERRIFYING RACE RIOT
OF 1906
SHE NEW RACIAL VIOLENCE AND
SEGREGATION FIRSTHAND
IN ONE WAY OR THE OTHER,
SHE WOULD DEAL WITH THESE ISSUES
FOR THE REST OF HER LIFE
RACE WAS NOT AN ISSUE
AT WASHINGTON SEMINARY,
WHERE MITCHELL ATTENDED
HIGH SCHOOL
BUT IT WAS NOT
HER KIND OF PLACE
Pyron: IT'S A VERY
CLIQUEY PLACE
RICH GIRLS,
RICH WHITE GIRLS
THE PRETTY ONES AND THE BRIGHT
ONES AND THE GOOD ONES
AND ALL THE REST WHO ABIDED BY
THE RULES AND SO FORTH
AND THERE'S A KIND
OF NATURAL DISHARMONY
BETWEEN MITCHELL
AND ALL OF THOSE PEOPLE
SHE WORE MEN'S CLOTHES
I MEAN, HER CLOTHES
WERE WAY-OUT
AND I THINK, FOR THAT REASON,
PEOPLE SORT OF LOOKED AT HER
LIKE,
"WHAT ARE YOU DOING?"
Pyron: SHE LIKES PLAYING AT THE EDGE
OF SOCIAL ORDER, WHICH IS ALSO
PLAYING AT THE EDGE
OF REVOLUTION
Narrator:
AT WASHINGTON SEMINARY,
MITCHELL’S WRITING REACHED
A NEW LEVEL OF MATURITY
AND INTENSITY
"WITH INFINITE CARE, PEGGY SLID
THE GUN UP TO HER EYES
AND FOUND THE MAN
ACROSS THE SIGHTS.
SHE MUST NOT MISS NOW.
SHE WOULD NOT MISS.
AND SHE DID NOT."
Narrator: IN HER STORY
"LITTLE SISTER,"
MITCHELL CREATED
THE CHARACTER OF PEGGY,
A NICKNAME FOR MARGARET
AFTER GRADUATING FROM
WASHINGTON SEMINARY,
PEGGY WOULD BE
HER NEW PERSONA
Pyron: SO THAT THIS IS A KIND OF
PERSONA
THAT ALLOWS HER TO BE CREATIVE,
TO BE
TO BE WILD
NOBODY IN HER FAMILY CALLED HER
PEGGY
Narrator: PEGGY WAS MITCHELL'S
DECLARATION OF INDEPENDENCE,
AND PEGGY WAS AMBITIOUS
I WANT TO BE FAMOUS IN SOME WAY.
ARTIST, WRITER,
SOLDIER, PRIZE FIGHTER.
ANYTHING FOR THE THRILLS!
Narrator: IN THE SPRING
OF 1917,
THE UNITED STATES ENTERED
WORLD WAR I
YOUNG OFFICERS
FROM ACROSS THE NATION CAME
SOUTH FOR TRAINING
THAT'S WHEN MITCHELL MET
LIEUTENANT CLIFFORD HENRY
Pyron: CLIFFORD HENRY
BELONGED TO AN UPPER-CLASS,
SILK STOCKING,
OLD NEW YORKER FAMILY
HE WENT TO HARVARD
HE WAS HANDSOME
Narrator: AFTER A WHIRLWIND
ROMANCE,
17-YEAR-OLD MITCHELL BECAME
ENGAGED TO CLIFFORD HENRY
Pyron: ALL OF THESE SOLDIERS
COMING INTO THE HOUSES,
WITH A SENSE OF BOTH GLORY AND
IMPENDING DOOM,
IT'S VERY ROMANTIC
Narrator: WITHIN A MONTH,
HE WOULD BE FIGHTING IN EUROPE,
AND SHE WOULD BE ON HER WAY
TO SMITH COLLEGE
IN MASSACHUSETTS
MAYBELLE EXPECTED
HER DAUGHTER MARGARET
TO PURSUE AN EDUCATION
SHE ENVISIONED
A MEDICAL CAREER
Pyron: SHE'S NOT HAPPY AT SMITH THAT
YEAR
ALSO, THIS IS
HER MOTHER'S DECISION
IT'S NOT REALLY
HER OWN DECISION
Clark: HER MOTHER'S VISION
FOR MARGARET AND HER MOTHER'S
ROLE IN LIFE
NEVER SEEMED TO FIT WELL FOR WHO
MARGARET WAS
Narrator: MITCHELL SAW HERSELF
AS PROGRESSIVE, BUT SHE WAS NOT
READY FOR SMITH COLLEGE
Pyron: WHEN SHE WAS AT SMITH,
SHE WAS TAKING AN AMERICAN
HISTORY COURSE,
AND THERE'S A SINGLE
BLACK WOMAN IN THE CLASS
Narrator: MITCHELL REFUSED TO BE
IN CLASS WITH THE BLACK STUDENT
SHE ASKED TO BE TRANSFERRED
Clark: SITTING IN A CLASSROOM
WITH AN AFRICAN-AMERICAN STUDENT
OFFENDED HER UNDERSTANDING OF
WHAT WAS
AN APPROPRIATE CONTEXT
FOR BLACKS AND WHITES TO RELATE
TO ONE ANOTHER
I THINK THAT MARGARET MITCHELL
REFLECTED THE COMMUNITY
THAT SHE WAS IN
I THINK SHE REFLECTED
THE OPINIONS AND VALUES
OF MANY OF THE PEOPLE
THAT SHE KNEW
Narrator: AS UPPER-CLASS
SOUTHERNERS,
MITCHELL'S FAMILY HAD
LIFELONG, INTIMATE RELATIONSHIPS
WITH BLACK DOMESTICS
IN A LETTER TO HER MOTHER,
MITCHELL DEFENDED
HER ACTIONS AT SMITH
I WANT TO KNOW IF THE TEACHER
OF THAT CLASS
HAD EVER UNDRESSED AND NURSED
A NEGRO WOMAN
OR SHIELDED A NEGRO MAN FROM
BEING SHOT BY THE POLICE.
MARGARET MITCHELL WAS
A PERSON OF HER TIME,
AND SHE WAS NOT A RADICAL
ACTIVIST, FEMINIST,
VOICE FOR SOCIAL CHANGE,
BUT SHE WAS ALSO NOT
ALTOGETHER CONTENT WITH
THE RACIAL STATUS QUO
Narrator: MITCHELL'S YEAR
AT SMITH
WOULD BE MARKED BY TRAGEDY
IN OCTOBER, HER FIANCÉ
CLIFFORD HENRY
WAS KILLED IN FRANCE,
JUST AS THE WAR WAS ENDING
SHE WOULD NEVER FORGET HIM
NO ONE YET HAS EVER
BEEN ABLE
TO PORTRAY TRUTHFULLY A GIRL'S
FIRST LOVE.
THAT FEELING ONLY COMES ONCE.
Pyron: SHE ALWAYS SENT
MR. AND MRS. HENRY FLOWERS
ON THE ANNIVERSARY
OF CLIFFORD HENRY'S DEATH
FOR 30 YEARS
UP UNTIL SHE DIED
Narrator: THREE MONTHS LATER,
HER MOTHER MAYBELLE WAS STRICKEN
WITH INFLUENZA
MITCHELL TOOK THE NEXT TRAIN
TO ATLANTA BUT ARRIVED TOO LATE
Pyron: HER MOTHER'S DEAD,
AND HER MOTHER HAS WRITTEN HER
A DEATHBED LETTER,
WHICH
IS SIMPLY EXTRAORDINARY
Woman as Maybelle:
"DEAR MARGARET,
I EXPECT TO SEE YOU AGAIN,
BUT IF I DO NOT,
I MUST WARN YOU OF ONE MISTAKE
A WOMAN OF YOUR TEMPERAMENT
MIGHT FALL INTO."
Pyron: IT IS DEVOID
OF AFFECTION
IT'S ALL ABOUT DUTY,
WHAT YOU SHOULD DO
AND WHAT YOU SHOULDN'T DO
"GIVE UP YOURSELF TO OTHERS,
BUT MAKE SURE TO LIVE YOUR OWN
LIFE.
THIS IS BADLY PUT.
WHAT I MEAN IS THAT
YOUR LIFE AND ENERGIES
BELONG TO YOURSELF, YOUR
HUSBAND AND YOUR CHILDREN."
Pyron: IT'S VERY OBJECTIVE,
IT'S INTENSELY RATIONAL
AND IT'S ALSO A TANGLE
SO SHE SAYS, "YOU HAVE TO DO
WHAT'S GOOD FOR YOURSELF,"
AND THEN SHE SAYS, "OF COURSE,
WHAT'S GOOD FOR YOURSELF
IS WHAT'S GOOD
FOR YOUR HUSBAND"
Narrator: MAYBELLE HAD
WON THE RIGHT TO VOTE,
BUT SHE HAD NOT RESOLVED
THE CONFLICT
BETWEEN FAMILY AND FREEDOM
ONLY 18, MITCHELL WAS LEFT ALONE
TO CARRY ON THE STRUGGLE
Woman as Margaret: I HAVE BEEN IN
MOURNING
AND VERY SICK AS WELL.
Narrator: MITCHELL HAD LONGED
FOR HER MOTHER'S LOVE,
BUT MAYBELLE GAVE HER
A DIFFERENT GIFT...
THE FIERCE MODEL OF A WOMAN
AHEAD OF HER TIME
AT HER FATHER'S INSISTENCE,
MITCHELL FINISHED THE YEAR AT SMITH
COLLEGE
MISERABLE,
SHE WROTE TO HER BROTHER
"STEVE, THERE IS NO USE KEEPING ON
HERE.
THERE ARE SO MANY MORE
TALENTED GIRLS THAN I.
IF I CAN'T BE FIRST, I'D RATHER BE
NOTHING."
Narrator: SHE RETURNED TO ATLANTA
HER FORMAL EDUCATION WAS OVER
BUT HER ROARING TWENTIES
WERE JUST BEGINNING
THE ROARING TWENTIES WERE MADE
TO ORDER FOR MARGARET MITCHELL
SHE BECAME A FLAPPER
Haskell: I THINK,
IN HER FLAPPER PHASE,
SHE'S SCARLETT ALL THE WAY
Pyron: SHE'S VERY, VERY SEXY
AND VERY ATTRACTIVE
Narrator: YOUNG WOMEN OF MITCHELL'S
SOCIAL CLASS
WERE EXPECTED
TO BECOME DEBUTANTES
WITH A STRONG SENSE OF IRONY,
SHE GAVE IT A WHIRL
DEBUT? POOH-POOH!
IT STRIKES ME AS FUNNY THAT I
SHOULD SHAKE A SHIMMY AS A DEB,
FOR I HAVE NO
MATRIMONIAL ASPIRATIONS.
Narrator: DEBUTANTES WERE
CONSTANTLY IN THE NEWS
MITCHELL WAS INTERVIEWED AFTER
ORGANIZING A GROUP
CALLED "THE REBEL DEBUTANTES"
Man: MISS MITCHELL, WHAT DO
YOU THINK OF MARRIAGE?
Margaret: IT'S NOT ESSENTIAL
TO SALVATION.
Man: WHAT DO YOU WANT, THEN?
Margaret: WE ARE COMING DOWN
OFF THE AUCTION BLOCK
AND WE ARE GOING TO WORK.
Man: DOING WHAT?
Margaret: OH, I'M GOING TO WRITE
COMEDIES AND SHORT STORIES.
Narrator: IN "THE FOUR HORSEMEN
OF THE APOCALYPSE,"
RUDOLPH VALENTINO
ELECTRIFIED AUDIENCES
WITH A STEAMY TANGO
MITCHELL DECIDED TO PERFORM
A FRENCH VERSION OF THE DANCE
AT A DEBUTANTE BALL
Woman: MARGARET
HAD A DANCE PARTNER
THAT SHE DID THE "APACHE,"
WHICH, AT THAT PARTICULAR TIME,
IT WAS A VERY EDGY DANCE
SHE WORE GARTERS AND SHE HAD
LITTLE JINGLE BELLS ON THEM,
SO EVERY TIME SHE MOVED,
SHE JINGLED
HER PARTNER
KIND OF ROUGHED HER UP
SHE KIND OF CRAWLED
AROUND THE FLOOR A LITTLE BIT
AND THEN IT ENDS WITH A DIP
AND A SOULFUL KISS
Narrator: MITCHELL'S PERFORMANCE
HIT THE NEWSPAPERS
SHE WAS THE TALK OF THE TOWN
AND WAS BLACKBALLED FROM
MEMBERSHIP IN THE JUNIOR LEAGUE
Pyron: SHE THEN IS KIND OF
AN OFFICIAL PARIAH
AMONG THE ELITES
Woman: THAT'S JUST THE WAY SHE WAS
KNOWN
BECAUSE SHE DIDN'T FIT INTO WHAT
SHE WAS SUPPOSED TO FIT INTO,
WHICH WAS A JUST ORDINARY,
EVERYDAY,
SWEET, NICE SOUTHERN GIRL
SHE HAD SENSE
Narrator: DURING THIS PERIOD,
MITCHELL HAD ANOTHER
HORSEBACK-RIDING ACCIDENT
AND INJURED
THE SAME ANKLE
ALONG WITH THE ACCIDENT
CAME A SERIOUS BOUT OF DEPRESSION
THIS DEPRESSION
IS NOTHING NEW.
THERE IS SOMETHING MISSING
IN MY LIFE,
BUT I DON'T KNOW WHAT IT IS.
MORE THAN EVER IS THE DESIRE
TO KNOW IF I'M WORTH ANYTHING.
I FEEL LIKE A DYNAMO
GOING TO WASTE.
Narrator: CALLING HERSELF
"THE VAMP DELUXE,"
MITCHELL HID HER DEPRESSION
FROM THE WORLD
SUITERS WERE VYING
FOR HER ATTENTION,
AND BY 1921, SHE HAD NARROWED
THE FIELD
TO TWO VERY DIFFERENT MEN
Haskell: RED UPSHAW WAS
A CHARACTER
HE WAS SORT OF
THE MODEL FOR RHETT,
BECAUSE HE WAS A ROGUE
AND A RENEGADE
AND HE WAS A KIND OF
SWAGGERING CHARACTER,
BUT WITHOUT THE CHARM
OF RHETT
Narrator: JOHN MARSH DIDN'T HAVE
RED UPSHAW'S CHARISMA,
BUT HE WAS A GOOD NEWSPAPERMAN
WHO LOVED LITERATURE
I THINK HE FELL IN LOVE WITH HER
WHEN HE FIRST SAW HER
AND, BUT SHE LIKED HIM, BUT I DON'T
THINK SHE LOVED HIM
Narrator:
MITCHELL BEGAN DATING
BOTH RED UPSHAW
AND JOHN MARSH
Man: SHE SORT OF
WENT BACK AND FORTH
IN FACT, I THINK EVEN
THERE'S SOME NIGHTS
WHERE SHE HAD DATES
WITH BOTH OF THEM
SHE WOULD GO OUT WITH ONE,
COME HOME,
THE OTHER ONE WOULD BE WAITING HIS
TURN
I HAVE A PENCHANT
FOR THE BIZARRE AND WILD
THAT I'VE HAD TO RIDE MOST OF MY
LIFE.
BUT I GUESS I COULD RIDE IT
BETTER IF I WERE MARRIED.
Narrator: MITCHELL FINALLY MADE UP
HER MIND
SHE MARRIED
RED UPSHAW
Haskell: NOBODY UNDERSTOOD
WHAT SHE SAW IN HIM
HE WAS A BOOTLEGGER
HE WAS DOWN ON HIS LUCK,
AND ALSO
THERE WAS SOMETHING
A LITTLE DANGEROUS ABOUT HIM
Narrator: THE LONG-SUFFERING
JOHN MARSH
WAS BEST MAN
IN THE WEDDING
RED UPSHAW HAD NO JOB,
SO THE COUPLE MOVED
INTO THE PEACH TREE HOME,
UNDER HER FATHER'S DISAPPROVING
EYE
IT WAS HORRIBLE,
ALMOST FROM THE BEGINNING,
BUT THE ONE STRANGELY GOOD THING
THAT CAME OUT OF IT,
HE WAS SO UNSUCCESSFUL
THAT SHE HAD TO GO TO WORK
Narrator: EUGENE MITCHELL
WAS UPSET
BY HIS DAUGHTER'S PLAN TO GET A JOB
Clark: FOR A MARRIED WOMAN
TO GO OUT AND WORK WAS
JUST SOMETHING ONE DID NOT DO,
IN EUGENE MITCHELL'S EYES
NOT IF ONE WANTED TO MAINTAIN
A RESPECTABLE POSITION
IN SOCIETY
Narrator: MITCHELL FAST-TALKED
HER WAY INTO A JOB
WRITING FOR THE ATLANTA JOURNAL
SUNDAY MAGAZINE
I HAD NO NEWSPAPER EXPERIENCE
AND HAD NEVER HAD MY HANDS
ON A TYPEWRITER, BUT I SWORE
I WAS A SPEED DEMON
ON A REMINGTON
AND GOT THE JOB.
Pyron: JOURNALISM
IN THIS PERIOD
IS EXTREMELY EXCITING
PEOPLE ARE TRYING NEW THINGS,
DOING NEW THINGS
SHE IS ABSOLUTELY
IN HER ELEMENT
WHEN SHE'S DOING
JOURNALISM IN THIS PERIOD
Narrator: MITCHELL EMERGED AS A
POPULAR WRITER
KNOWN FOR HER STORYTELLING SKILLS
SHE INTERVIEWED THE FAMOUS AND
THE INFAMOUS,
WORKED IN DANGEROUS
PARTS OF TOWN,
AND SPENT TIME WITH PRISONERS
ON DEATH ROW
SHE RELISHED THE ROLE
OF DAREDEVIL,
PERFORMING STUNTS LIKE
RAPPELLING
OFF A BUILDING
IN DOWNTOWN ATLANTA
ONE WAY TO LOOK AT MARGARET
MITCHELL
IS AS A MODERN WOMAN OF THE NEW
SOUTH
SHE ENTERED A PROFESSION THAT
WAS LARGELY A MALE PROFESSION
Narrator: FLAUNTING CONVENTION,
SHE USED HER MAIDEN NAME
AS HER BYLINE
Haskell: THERE'S SUCH A STRONG
FEMINIST SENSE IN HER
SHE WAS INTERESTED IN
WOMEN WORKING
SHE DID ARTICLES ABOUT,
DID WOMEN WANT TO CONTINUE TO
WORK AFTER THEY MARRIED?
Narrator: RED UPSHAW DISAPPEARED
SOON AFTER MITCHELL
BEGAN WORKING
HE RETURNED SEVERAL MONTHS
LATER, PENNILESS AND ANGRY
Haskell: THE MARRIAGE WITH RED
UPSHAW WAS A DISASTER
AND THERE WAS VIOLENCE
HE BEAT HER AND MAY HAVE EVEN
TRIED TO RAPE HER AT ONE POINT
Narrator: MITCHELL DIVORCED
RED UPSHAW
IN COURT, SHE TESTIFIED
HIS ASSAULTS
HAD FORCED HER TO SEEK
MEDICAL ATTENTION
Clark: SHE TRANSFORMED THAT
EXPERIENCE IN HER FICTION
INTO ONE THAT WAS
MORE POSITIVE FOR SCARLETT
MITCHELL HAS DEPICTED WHAT WE
MIGHT TERM TO BE A RAPE
AS SOMETHING THAT SCARLETT
TOOK PLEASURE IN
AND THAT HAD POSITIVE
CONSEQUENCES FOR HER
IT'S NOT THAT EASY,
SCARLETT!
YOU TURNED ME OUT WHILE
YOU CHASED ASHLEY WILKES,
WHILE YOU DREAMED
OF ASHLEY WILKES.
THIS IS ONE NIGHT
YOU'RE NOT TURNING ME OUT!
Narrator: MITCHELL, AT AGE 24,
HAD ALREADY LEARNED
SOME TOUGH LESSONS, BUT LIFE
WAS ABOUT TO GET BETTER
ON JULY 4, 1925,
SHE MARRIED JOHN MARSH
THIS TIME,
SHE GOT IT RIGHT
Parsons:
JOHN MARSH WAS
A PERFECT HUSBAND FOR HER
BECAUSE HE ADMIRED HER GREATLY
HE WAS A WRITER
AND A JOURNALIST
AND THEY LIKED
THEIR LIFE TOGETHER
I THINK THEY HAD
A WONDERFUL MARRIAGE
I'M NOT ALL THE WONDERS
HE THINKS I AM,
BUT I HAVE SUCCEEDED PRETTY
WELL IN KEEPING HIM FOOLED.
AND IF I CAN JUST KEEP HIM
THAT WAY THE REST OF OUR LIVES,
I THINK WE WILL BE
VERY HAPPY.
Narrator: THEY LIVED IN
A TINY APARTMENT
MITCHELL CALLED "THE DUMP"
MARSH NOW WORKED
FOR GEORGIA POWER,
AND MITCHELL HAD
A REPORTER'S JOB,
UNTIL SHE HURT HER LEG
AGAIN
MY ANKLE WENT BAD AGAIN
FOR NO APPARENT REASON.
I'M ON CRUTCHES
AND HAVEN'T TOUCHED THE FLOOR
IN THREE WEEKS.
Narrator: AS IN THE PAST,
MITCHELL'S LEG INJURY COINCIDED
WITH THE RETURN OF DEPRESSION
Haskell:
SHE IS VERY VOLATILE,
EMOTIONALLY AND PSYCHOLOGICALLY,
DURING THIS PERIOD
AND I THINK IT'S BECAUSE SHE WANTS
TO WRITE
IT WAS OKAY TO WRITE
FOR THE PAPER
Narrator: BUT WRITING FOR
THE PAPER WAS NO LONGER ENOUGH
MITCHELL SEEMED TO HAVE HIT
A BRICK WALL
CITING THE INJURY, SHE QUIT HER JOB
SHE WAS PRETTY BORED BEING HOME
ALL DAY WHILE JOHN WAS AT WORK
HE WOULD STOP BY THE LIBRARY
AND HE WOULD BRING
ARMLOADS OF BOOKS HOME
FOR HER TO READ
ONE DAY, WHEN JOHN FELT
THAT HE HAD EXHAUSTED
ALL OF THE SOURCES AT THE LIBRARY,
HE JUST TOLD HER, HE SAID,
"YOU NEED TO QUIT READING
AND WRITE YOUR OWN BOOK"
Narrator: MITCHELL WANTED
TO WRITE A NOVEL
SHE HAD WORKED ON A JAZZ AGE
STORY BUT DISCARDED IT
THEN SHE REMEMBERED
AN INCIDENT FROM HER CHILDHOOD
I DIDN'T WANT
TO GO TO SCHOOL.
I DIDN'T LIKE ARITHMETIC.
I SAW NO VALUE AT ALL
IN EDUCATION.
HER MOTHER WAS JUST FURIOUS
WITH HER FOR SAYING THAT
AND, APPARENTLY, SHE JUST PICKED
THE CHILD UP AND PLOPPED HER
IN THAT BUGGY THAT THEY HAD
AND MOTHER DROVE ME DOWN
THE ROAD TOWARD JONESBORO.
SHE SHOWED ME THE RUINS
OF HOUSES
WHERE FINE AND WEALTHY PEOPLE
HAD ONCE LIVED.
Wiley: PLANTATIONS THAT HAD
BEEN BURNED BY SHERMAN
AS HE CAME THROUGH GEORGIA
DURING THE CIVIL WAR
SHE SAID THEIR WORLD HAD
EXPLODED BENEATH THEM,
AND SHE TOLD ME MY OWN WORLD
WAS GOING TO EXPLODE
UNDER ME SOMEDAY.
Wiley: AND YOU'D BETTER HAVE
SOMETHING THAT YOU CAN
HANG ONTO
YOU HAVE TO HAVE SOMETHING
WITHIN YOU
TO SURVIVE AND MAKE IT
THROUGH THIS LIFE
Narrator: MITCHELL HAD FOUND
HER STORY
I WROTE MY BOOK
FROM BACK TO FRONT.
THAT IS, THE LAST CHAPTER FIRST
AND THE FIRST CHAPTER LAST.
Wiley: SHE CLEARLY HAD
THE GREAT PLOT OUTLINE
IN HER MIND
BEFORE SHE STARTED WRITING IT
Narrator: MITCHELL WROTE
HER INITIAL DRAFTS QUICKLY
IT WAS LIKE SHE HAD
A KIND OF VISION
SHE SAW THESE THINGS
DANCING BEFORE HER
AND HER DUTY THEN BECAME
TO TRANSLATE
THESE IMAGES DANCING BEFORE HER
INTO THE PRINTED WORD
"WITH THE SPIRIT OF HER PEOPLE
WHO WOULD NOT KNOW DEFEAT,
EVEN WHEN IT STARED THEM
IN THE FACE,
SHE RAISED HER CHIN.
SHE COULD GET RHETT BACK.
SHE KNEW SHE COULD."
Narrator: MITCHELL WAS DEEPLY
INSECURE AS A WRITER
ONLY JOHN MARSH KNEW
SHE WAS WORKING ON A NOVEL
Haskell: HE WAS JUST
A WONDERFUL SOUNDING BOARD
FOR HER, A WONDERFUL READER
THE BOOK, THE CHARACTERS,
THE PEOPLE ARE ALL OF HERS
BUT JOHN MARSH
WAS HER EDITOR
SHE HAD THE ADVANTAGE OF LIVING
WITH HER EDITOR,
BEING MARRIED TO HIM
Narrator: BECAUSE OF THE LEG INJURY,
MITCHELL OFTEN WROTE
IN PAIN
A NEW PERSONA WAS BEGINNING TO
EMERGE
Haskell:
SHE LOVED TO DANCE,
AND NOW SHE HAD TO WEAR
THESE ORTHOPEDIC SHOES
THAT WAS A HUGE THING
THE ORTHOPEDIC SHOES THAT MADE
HER FEEL LIKE A LITTLE OLD LADY,
MATRONLY
Narrator: SHE WAS LEAVING
PEGGY BEHIND
FOR THE MORE MATRONLY
MARGARET
BUT SHE NEVER LOST
HER SENSE OF HUMOR
I WILL NEVER BE ABLE
TO DANCE ANYMORE.
AND WE HAVEN'T ANY MONEY TO
PLAY POKER OR SHOOT CRAPS.
I GUESS THIS IS A MORAL
UNIVERSE AFTER ALL.
AND RESPECTABILITY IS
THE PUNISHMENT OF THE WILD.
SHE STARTED WRITING
THE NOVEL IN 1926
SHE FINISHED IT, ESSENTIALLY,
IN 1929,
JUST ABOUT THE TIME
OF THE GREAT CRASH
SO SHE HAD COMPLETED
THE NOVEL IN THREE YEARS
Narrator: IN MITCHELL'S MIND,
THE MANUSCRIPT
WAS FAR FROM COMPLETE
SHE WORKED ON IT SPORADICALLY
OVER THE NEXT SEVERAL YEARS
AND THEN FINALLY ABANDONED IT
IT SEEMED, TO BE QUITE FRANK,
PRETTY LOUSY
AND I NEVER BOTHERED
TO TRY TO SELL IT.
Narrator: MITCHELL MADE NO
EFFORT TO PUBLISH HER BOOK
UNTIL FATE INTERVENED
IN THE SPRING OF 1935,
AN EXECUTIVE FROM MacMILLAN
PUBLISHING COMPANY
IN NEW YORK CAME TO ATLANTA
ON A BOOK SCOUTING TOUR
Narrator: HAROLD LATHAM WAS
LOOKING FOR NEW WRITERS
HE HAD HEARD INTRIGUING STORIES
ABOUT A CERTAIN
MARGARET MITCHELL OF ATLANTA
AT FIRST, SHE SAID SHE DIDN'T
EVEN HAVE A BOOK
DIDN'T WANT TO TALK TO HIM
FINALLY, HE KEPT GOING,
AND SHE ADMITTED,
WELL, SHE WAS WORKING
ON SOMETHING, BUT IT WASN'T
READY TO BE SEEN
Haskell: SHE KNEW ENOUGH TO KNOW
HER LIMITATIONS
SHE KNEW SHE WASN'T
LITERARY
EVEN FROM THE BEGINNING,
SHE KNEW SHE WOULD BE JUDGED
BY LITERARY STANDARDS AND SHE
HAD MIXED FEELINGS ABOUT THAT
Narrator: LATHAM GAVE UP
AND PREPARED TO LEAVE ATLANTA
THEN ONE OF MITCHELL'S FRIENDS
MADE A REMARK
WHICH MAY HAVE CHANGED HISTORY
AND ONE OF THE WOMEN SUPPOSEDLY
SAID SOMETHING LIKE,
"I CAN'T BELIEVE YOU WOULD BE
WRITING A BOOK
YOU'RE NOT SERIOUS ENOUGH
TO WRITE A BOOK"
AND THAT'S ALL IT TOOK,
AND SHE'S LIKE, SHE EXPLODES
I GOT SO MAD THAT I
RUSHED HOME
AND GRABBED UP WHAT MANUSCRIPT
I COULD LAY HANDS ON,
FORGETTING THAT
I HADN'T INCLUDED
THE ENVELOPS UNDER THE BED
OR THE ONES
THAT WERE IN THE POT AND PAN
CLOSET.
MY IDEA WAS THAT AT LEAST I COULD
BRAG
THAT I HAD BEEN REFUSED
BY THE VERY BEST PUBLISHER.
Wiley: WHEN HAROLD LATHAM TOOK THE
MANUSCRIPT, HE SAYS
HE HAD TO GO BUY AN EXTRA
SUITCASE, IT WAS SO LARGE
AND HE ALSO COMMENTED THAT
IT WAS THE WORST MANUSCRIPT
HE HAD EVER SEEN
Narrator: THE NEXT DAY ON
THE TRAIN,
LATHAM RECEIVED
A TELEGRAM
BUT HAROLD LATHAM DIDN'T SEND IT
BACK
HE HAD STARTED READING
AND WAS ALREADY HOOKED
WITH PUBLICATION LOOMING BEFORE
HER,
MITCHELL SPENT MONTHS
REVISING AND CORRECTING
THE HUGE MANUSCRIPT
BUT THERE WAS ONE SECTION
SHE DIDN'T CHANGE...
SCARLETT'S RETURN TO TARA
AFTER SHERMAN'S MARCH
THROUGH GEORGIA
"BUT THE SMALL CLOUD
WHICH APPEARED
IN THE NORTHWEST
FOUR MONTHS AGO
HAD BLOWN UP INTO A MIGHTY STORM
AND THEN INTO
A SCREAMING TORNADO,
SWEEPING AWAY HER WORLD,
WHIRLING HER OUT OF
HER SHELTERED LIFE,
AND DROPPING HER DOWN IN THE MIDST
OF THIS STILL, HAUNTED
DESOLATION.
WAS TARA SILL STANDING?
OR WAS TARA ALSO
GONE WITH THE WIND
WHICH HAD SWEPT THROUGH
GEORGIA?"
Narrator: "GONE WITH THE WIND"
WAS PUBLISHED JUNE 30, 1936
THE REVIEWS
WERE EXTRAORDINARY
SALES OF THE BOOK MADE PUBLISHING
HISTORY,
WHEN A MILLION COPIES SOLD
IN THE FIRST SIX MONTHS
Man: THE ENTIRE COUNTRY
WENT CRAZY
THE BOOK CAUSED AN EXPLOSION AT
BOOK STORES
THEY COULD NOT KEEP THEM IN BOOK
STORES
IT WAS ON THE WAY TO BECOMING
THE MOST SUCCESSFUL
NOVEL EVER PUBLISHED IN AMERICA
Narrator: "GONE WITH THE WIND"
WAS PUBLISHED
AT THE HEIGHT OF THE GREAT
DEPRESSION
SCARLETT'S STRUGGLE TO SURVIVE
HAD STRUCK A CHORD
IN A VERY DIFFERENT ERA
MacMILLAN HAD TO CHARGE $3
BECAUSE IT WAS SUCH A BIG BOOK
AND MARGARET MITCHELL
WAS ASTONISHED
THAT ANYBODY WOULD PAY $3
FOR A BOOK
IN THE MIDDLE OF THE DEPRESSION
GOD KNOWS I DIDN'T EXPECT
THE BOOK TO SELL LIKE THIS.
I'M FLABBERGASTED.
WHY DOES IT HAVE
THE ENORMOUS APPEAL?
IT IS A REALLY GOOD STORY
IT IS A REALLY GOOD STORY
IT IS A CORKING
GOOD STORY
Narrator: A GOOD STORY HAS TO
HAVE A GOOD BEGINNING
AND MITCHELL HAD STRUGGLED WITH
HER FIRST CHAPTER
Wiley: SHE COULD NOT FIND
A WAY TO OPEN THIS BOOK
EVENTUALLY, IT STARTED WITH
A VERY SIMPLE LINE...
"SCARLETT O'HARA WAS NOT
BEAUTIFUL,
BUT MEN SELDOM REALIZED IT
WHEN CAUGHT BY HER CHARM
AS THE TARLETON TWINS WERE."
I THINK MARGARET MITCHELL WAS
THE FIRST ONE TO PUT A WOMAN
FRONT AND CENTER
AND THIS IS DURING
THE CIVIL WAR
BUT WHAT A WOMAN
Narrator: WITH SCARLETT O'HARA,
MITCHELL HAD CREATED
ONE OF FICTION'S MOST
CAPTIVATING
AND INFURIATING CHARACTERS
Haskell: SHE IS SELFISH,
SHE'S GREEDY, SHE'S OBTUSE
SHE STEALS HER SISTER'S
BOYFRIEND
SHE MARRIES THREE MEN
SHE DOESN'T LOVE,
BUT SHE'S FIERCELY COURAGEOUS
SHE'S HONEST, SHE'S
STRAIGHTFORWARD
THERE'S SO MUCH OF THE REBEL IN
HER THAT WOMEN AND YOUNG WOMEN
ALL OVER THE WORLD HAVE
RESPONDED TO THAT
Narrator: SCARLETT O'HARA MET
HER MATCH WITH RHETT BUTLER
HAS THE WAR STARTED?
SIR, YOU...
YOU SHOULD HAVE MADE
YOUR PRESENCE KNOWN.
IN THE MIDDLE OF
THAT BEAUTIFUL LOVE SCENE?
THAT WOULDN'T HAVE BEEN
VERY TACTFUL, WOULD IT?
BUT DON'T WORRY, YOUR SECRET
IS SAFE WITH ME.
SIR, YOU ARE NO GENTLEMAN.
AND YOU, MISS,
ARE NO LADY.
Narrator: THROUGH RHETT BUTLER,
MITCHELL VOICED THE HOPELESSNESS
OF THE SOUTHERN CAUSE
Conroy: HIS CHARACTER, I THINK,
FOR ME WAS FORMED
WHEN HE JOINED THE CONFEDERATE
FORCES WHEN THEY WERE DOOMED
BECAUSE HE KEPT SAYING,
"WE'RE GOING TO LOSE"
THEY'RE COMING FOR US
AND WE DO NOT HAVE THE STRENGTH,
THE MILITARY STRENGTH, TO STOP
THEM
Narrator: WITH HER CRITIQUE OF
THE SOUTH'S RUSH TO WAR,
MITCHELL FEARED A SOUTHERN
BACKLASH,
BUT THE CRITICISM OF
"GONE WITH THE WIND"
WAS ALL ABOUT RACE
I DO THINK THAT SHE IS TOTALLY
GLAMORIZING
AND TOTALLY ROMANTICIZING WHAT
SLAVERY WAS REALLY LIKE,
WHAT BEING A SLAVE OWNER
REALLY MEANT
ABOUT YOU AS A HUMAN BEING,
AND CERTAINLY WHAT IT FELT LIKE
TO BE ANOTHER HUMAN BEING
OWNED BY SOMEONE WHO COULD SELL
YOUR CHILDREN AWAY FROM YOU
Narrator: ANTICIPATING THAT
A MOVIE WOULD BE MADE,
MEMBERS OF THE BLACK PRESS
DENOUNCED "GONE WITH THE WIND"
MITCHELL WAS SHOCKED
THEY REFERRED TO THE BOOK AS
INCENDIARY AND NEGRO-BAITING.
I DO NOT KNOW WHERE
THEY GET SUCH AN IDEA,
FOR AS FAR AS I CAN SEE,
MOST OF THE NEGRO CHARACTERS
WERE PEOPLE OF WORTH, DIGNITY,
AND RECTITUDE.
MITCHELL'S BLACK CHARACTERS ARE
NOT CHARACTERS,
THEY'RE CARICATURES
IF "GONE WITH THE WIND" IS
THE LAST STATEMENT
ABOUT THE EXPERIENCE OF SLAVERY
IN AMERICA,
IT WOULD BE A HORRENDOUS LEGACY
FOR BLACKS TO LIVE WITH
Narrator: BESSIE JORDAN
WAS MITCHELL'S LIFELONG COOK AND
CONFIDANTE
Haskell: SHE GOT ALONG FAMOUSLY
WITH HER HOUSEKEEPER,
THEY WERE VERY CLOSE, AND
HER HOUSEKEEPER WAS LIKE MAMMY
MOST OF THE TIME,
BESSIE ANSWERS THE PHONE.
I'D AS SOON PICK UP
A SNAKE AS THE RECEIVER.
Bessie:
HELLO?
BESSIE WOULD ANSWER THE
PHONE AND SHE WOULD SAY,
"NO, WE DON'T KNOW WHAT
HAPPENED TO MISS SCARLETT
OR MR. RHETT
WE DON'T KNOW WHAT HAPPENED
TO THEM TWO"
Narrator: MITCHELL WAS BESIEGED
BY PEOPLE WANTING TO KNOW
IF SCARLETT EVER GOT RHETT BACK
Bessie: LORD, HAVE MERCY
Haskell:
EVERYONE HAS A YEARNING
FOR RHETT AND SCARLETT AS WE ALL
DO AND ALL ROMANTIC STORIES,
BUT SHE WAS TOUGH, AND SHE DID
NOT HAVE THEM GET TOGETHER
IN THE END AND I THINK THAT EDGE
HAS REALLY GIVEN IT SOMETHING
THAT IS VERY UNCONVENTIONAL
RHETT!
RHETT! RHETT!
RHETT! IF YOU GO,
WHERE SHALL I GO, WHAT SHALL I DO?
FRANKLY, MY DEAR,
I DON'T GIVE A DAMN.
Narrator: FOREIGN SALES OF
"GONE WITH THE WIND"
SWEPT THE GLOBE
MITCHELL WAS SUDDENLY ONE OF
THE WORLD'S MOST FAMOUS PEOPLE
SHE WAS SO FAMOUS THAT SHE GOT
MAIL, ENVELOPES
THAT JUST SAID
"MARGARET MITCHELL...
GONE WITH THE WIND"
Narrator: MITCHELL HAD ONCE
WANTED FAME,
BUT THE REALITY OF IT WAS
A SHATTERING EXPERIENCE
I LEFT TOWN THREE DAYS
AFTER I WAS PUBLISHED.
I'D LOST ABOUT 10 POUNDS IN
AN ALARMINGLY SHORT TIME.
I FELT DREADFULLY, WEPT WHEN THE
PHONE RANG,
AND IT RANG
EVERY FIVE MINUTES.
I WASN'T CUT OUT
TO BE A CELEBRITY.
I DON'T LIKE IT WORTH
A DAMN.
Narrator: "GONE WITH THE WIND"
WON THE PULITZER PRIZE
FOR LITERATURE IN 1937
THE BOOK'S PHENOMENAL SUCCESS
ATTRACTED HOLLYWOOD PRODUCER
DAVID O SELZNICK,
WHO PAID MITCHELL $50,000
FOR THE MOVIE RIGHTS,
A RECORD SUM
FOR A FIRST NOVEL
AFTER SELZNICK PURCHASED
THE FILM RIGHTS TO "GONE WITH THE
WIND,"
HE WANTED
MARGARET MITCHELL'S HELP,
WHETHER TO HELP HIM WRITE
THE SCREENPLAY
OR ANSWER QUESTIONS
ABOUT THINGS
SHE ABSOLUTELY REFUSED
IF SOUTHERNERS DIDN'T LIKE
THE PICTURE
AND KNEW I HAD WORKED ON THE
SCRIPT,
I'D NEVER LIVE IT DOWN.
Narrator: MITCHELL NEVER WENT
TO HOLLYWOOD
INSTEAD, HOLLYWOOD
CAME TO HER
Announcer:
GALA DAYS IN DIXIE
STREAMLINED WINGS OF THE WIND
BRING HOLLYWOOD TO ATLANTA
FOR A HISTORY-MAKING
WORLD PREMIERE
OF THE MOTION PICTURE EPIC "GONE
WITH THE WIND"
SOUTHERN HOSPITALITY IS AT FEVER
PITCH
AS DISTINGUISHED VISITORS
ARRIVE,
HEADED BY PRODUCER
DAVID SELZNICK AND SCREEN STARS
OLIVIA DE HAVILLAND
AND VIVIEN LEIGH
♪♪♪
Narrator: ON DECEMBER 15, 1939,
THE MOVIE
OF "GONE WITH THE WIND"
PREMIERED IN ATLANTA
AS CROWDS SWELLED
TO THE HUNDREDS OF THOUSANDS,
IT WAS APPARENT THE SOUTH HAD
BEEN WAITING A LONG TIME
FOR THIS MOMENT
Haskell: THE PREMIERE WAS
THE VINDICATION OF THE SOUTH
IT WAS AS IF THEY HAD FORCED
SHERMAN'S ARMY INTO RETREAT
YOU KNOW, THEIR VICTORY,
THE LONG DELAYED VICTORY
THIS WAS THE FIRST ARTICULATE
FIERY RESPONSE FROM THE SOUTH
AND FROM THE SOUTHERN WOMAN'S
POINT OF VIEW
THAT TOLD WHAT THEY CONSIDERED
THE TRUE STORY
Narrator: MITCHELL DID NOT
ATTEND THE GLAMOROUS
JUNIOR LEAGUE BALL ON THE NIGHT
BEFORE THE PREMIERE
YEARS EARLIER,
SHE HAD BEEN BLACKBALLED
BY THE JUNIOR LEAGUE
AND SOME WONDERED IF SHE WERE
GETTING HER REVENGE
BUT CLARK GABLE FOUND HER
AT A PRESS EVENT,
PULLED HER INTO A PRIVATE ROOM
AND SHUT THE DOOR
Wiley: WE DON'T KNOW WHAT THEY SAID,
BUT WHEN CLARK GABLE CAME OUT,
HE LATER TOLD PEOPLE THAT
SHE WAS THE MOST FASCINATING
WOMAN HE HAD EVER MET
THIS IS MARGARET MITCHELL'S
NIGHT
AND THE PEOPLE
OF ATLANTA'S NIGHT
Announcer: DIMINUTIVE
MARGARET MITCHELL, THE AUTHOR,
WHO RARELY APPEARS IN PUBLIC
ATTENDS TO SEE HER BRAINCHILD
Narrator: AT THE PREMIERE,
MITCHELL SHRANK
FROM THE LIMELIGHT,
BUT AFTER SEEING THE MOVIE,
SHE SAID A FEW WORDS
TO THE THEATER AUDIENCE
Mitchell: THIS PICTURE
WAS A GREAT EMOTIONAL EXPERIENCE
FOR ME
AND I WANT TO COMMEND MR.
SELZNICK'S COURAGE
AND HIS DETERMINATION
TO GET
THE EXACT CAST HE WANTED
I THINK YOU'LL ALL AGREE
WITH ME,
HE HAD THE ABSOLUTELY
PERFECT CAST
Narrator: THE MOVIE'S BLACK
ACTORS HAD NOT COME TO ATLANTA
IN THE ERA OF SEGREGATION,
THEY WOULD NOT BE ABLE
TO STAY IN THE SAME HOTEL AS
CLARK GABLE AND VIVIEN LEIGH
THE FOLLOWING YEAR, HATTIE
McDANIEL WOULD BECOME
THE FIRST AFRICAN-AMERICAN TO WIN
AN ACADEMY AWARD
FOR HER PORTRAYAL OF MAMMY
IN "GONE WITH THE WIND"
Haskell: I MEAN WE CANNOT BELIEVE
THAT HATTIE McDANIEL
WAS THE FIRST BLACK
TO WIN AN OSCAR
AND COULD NOT COME
TO ATLANTA TO THE PREMIERE
BUT AT THE SAME TIME,
EVEN IN HOLLYWOOD, WHEN SHE
WENT TO THE OSCARS,
SHE WAS AT A TABLE BY HERSELF
SHE COULDN'T BE WITH THE REST
OF THE CAST
Narrator: IN THE EARLY MORNING
HOURS AFTER THE PREMIERE,
MITCHELL WROTE
TO HATTIE McDANIEL
"THE PREMIERE AUDIENCE
LOVED YOU, AND SO DID I.
THE MAYOR OF ATLANTA
CALLED FOR A HAND
FOR "OUR HATTIE McDANlEL."
AND I WISH YOU COULD HAVE
HEARD THE CHEERS
Narrator: AS WORLD WAR II
RAGED IN EUROPE,
THE NAZIS BANNED
"GONE WITH THE WIND"
THEY CLAIMED IT INSPIRED
THE FRENCH RESISTANCE
Freer: I THINK THE NAZIS WHO BANNED
"GONE WITH THE WIND"
WERE AFRAID THAT IT WOULD
GIVE PEOPLE HOPE
IT WOULD GIVE PEOPLE
THE WILL TO SURVIVE
UNDER OCCUPATION
Narrator: THE RUSSIANS WOULD
LATER BAN "GONE WITH THE WIND"
THROUGHOUT THE SOVIET EMPIRE
SCARLETT O'HARA WAS NOT
A FAN OF WAR,
AND THAT MADE HER DANGEROUS
"THE CAUSE DIDN'T SEEM
SACRED TO HER.
THE WAR DIDN'T SEEM TO BE
A HOLY AFFAIR
BUT A NUISANCE THAT KILLED MEN
SENSELESSLY."
DURING THE WAR, SHE SENT
COUNTLESS NUMBERS OF BOXES,
PACKAGES,
TO VICTIMS IN
THE WAR-TORN COUNTRIES
BESSIE OFTEN HELPED HER
Narrator:
MITCHELL EMBRACED
THE ROLE OF RED CROSS VOLUNTEER
AND RAISED MILLIONS
FOR THE WAR EFFORT
Wiley: SHE, OF COURSE, WAS ASKED
TO CHRISTEN THE USS ATLANTA.
SHE RAISED MILLIONS
OF DOLLARS FOR THAT
AND WENT TO NEW JERSEY
TO CHRISTEN THAT SHIP
Announcer: THE VERY SAME MARGARET
MITCHELL
WHOSE NOVEL,
"GONE WITH THE WIND,"
MADE LITERARY
AND MOTION PICTURE HISTORY
WHAT MORE APPROPRIATE THAN TO
HAVE ATLANTA'S FAVORITE DAUGHTER
CHRISTEN THE ATLANTA?
I CHRISTEN THEE THE USS ATLANTA.
Wiley: WHEN IT WAS SUNK
DURING THE WAR,
SHE RAISED MONEY
AND SHE CHRISTENED
A SECOND USS ATLANTA.
Narrator: BY THE 1940s,
MARGARET MITCHELL WAS NOT JUST
FAMOUS, SHE WAS RICH
NOTHING ABOUT HER CHANGED
IN ANY SIGNIFICANT WAY
WITH THE INCOME FROM
"GONE WITH THE WIND"
NONE AT ALL
FRIENDS WONDER WHY IN HELL
I PERSIST IN DRIVING
A 1929 MODEL CAR AND WEARING
FOUR-YEAR-OLD COTTON DRESSES.
Walker: INSTEAD OF SPENDING IT
ON HERSELF,
SHE USED IT WISELY
TO HELP OTHER PEOPLE
Narrator: IN 1942, MITCHELL
RECEIVED A LETTER
FROM DR. BENJAMIN MAYS,
PRESIDENT OF ALL-BLACK
MOREHOUSE COLLEGE IN ATLANTA
HE SAID, "WILL YOU GIVE
ONE SCHOLARSHIP OF $80 FOR ONE
STUDENT?"
AND MARGARET MITCHELL WROTE BACK
AND SENT A CHECK,
SO THAT WAS THE BEGINNING
OF THE RELATIONSHIP
IT WAS ENOUGH TO SUPPORT A
STUDENT
FOR A YEAR'S WORTH OF TUITION
THAT'S
AN ATTRACTIVE SCHOLARSHIP
Narrator: BENJAMIN MAYS
WAS A POWERFUL FIGURE,
WHO WOULD BECOME THE MENTOR OF
MARTIN LUTHER KING, JR
HE SENSED THAT MARGARET MITCHELL
MIGHT BE OPEN
TO HIS IDEAS ON EDUCATION
HE WAS RIGHT
"DEAR PRESIDENT MAYS,
THANK YOU FOR YOUR IDEAS
ON THE BEST USE OF THE $2,000 I SENT
YOU
FOR MEDICAL
AND DENTAL STUDENTS."
Narrator: MITCHELL AND MAYS
BEGAN A SECRET CORRESPONDENCE
HE WOULD MAKE THE REQUEST AND SHE
WOULD SEND THE MONEY
TO EDUCATE
AFRICAN-AMERICAN DOCTORS
Johnson: RACIAL TENSIONS
WERE VERY DIFFICULT AND DEEP AT
THAT TIME
IT'S AMAZING THAT DR. MAYS AND
MARGARET MITCHELL
WERE ABLE TO MAINTAIN THAT
RELATIONSHIP IN SPITE OF IT
Narrator: A MOREHOUSE COLLEGE
STUDENT COURIERED THE LETTERS
BETWEEN MITCHELL AND MAYS
BECAUSE OF THE DANGEROUS TIMES,
THE TWO NEVER MET
I WOULD LIKEN IT TO
AN UNDERGROUND RAILROAD
IN THE SENSE OF HOW THEY SENT
THE LETTERS BACK AND FORTH
IF THE WORLD HAD DISCOVERED
THAT MARGARET MITCHELL
WAS SUPPORTING
MOREHOUSE COLLEGE,
THAT GESTURE COULD HAVE
THREATENED HER LIFE WITH THOSE
WHO MIGHT HAVE BEEN
INCLINED TO RETALIATE
AGAINST ANYONE WHO'S PROMOTING
BLACK EDUCATION
Narrator: FOR THE REST
OF HER LIFE,
MITCHELL WOULD SEND SCHOLARSHIP
MONEY TO DR. BENJAMIN MAYS
NONE OF THE AFRICAN-AMERICAN
DOCTORS KNEW
WHO THEIR BENEFACTOR WAS
LATER, SHE QUIETLY HELPED FUND
THE FIRST HOSPITAL FOR BLACKS
IN ATLANTA
THE TIME WILL COME
WHEN ATLANTA WILL BE
THE LARGEST NEGRO CITY
IN THE SOUTH.
WHEN THAT TIME COMES,
I HOPE WE WILL HAVE
EXCELLENT NEGRO DOCTORS
TO STAFF THIS HOSPITAL.
Franklin: AS TIME PASSED,
SHE GREW
SHE RELINQUISHED SOME
EARLY BELIEFS AND CONVICTIONS
WITH WHICH SHE HAD BEEN REARED
AND BEGAN TO SEE THE WORLD
THROUGH HER OWN EYES
Johnson: SHE MADE SUCH A GREAT
CONTRIBUTION TO MANKIND
IT WAS GREATER THAN MONEY
IT WAS SOMETHING SHE DID FOR
HUMANITY
Narrator: MITCHELL'S PERSONA WAS
SHIFTING AGAIN
NOW SHE IDENTIFIED HERSELF AS
MRS. JOHN MARSH
RATHER THAN MARGARET MITCHELL
Freer:
SHE COULD GO PLACES
AS MRS. JOHN MARSH WHERE PEOPLE
WOULDN'T KNOW MRS. JOHN MARSH
BUT THEY WOULD CERTAINLY KNOW
MARGARET MITCHELL
Haskell: MARGARET MITCHELL'S
SELF-IMAGE, HER PERSONA,
NEVER SETTLED INTO ONE FORM
Pyron: AM I A WRITER,
AM I A WIFE?
SHALL I BE FAMOUS ON MY OWN?
SHOULD I MAKE MORE MONEY
THAN MY HUSBAND?
WHAT HAPPENS IF I MAKE MORE
MONEY THAN MY HUSBAND?
IS HE MR. MARGARET MITCHELL?
Narrator: IN SPITE
OF HIS WIFE'S SUCCESS,
JOHN MARSH STILL WORKED
AT GEORGIA POWER
HE ALSO MANAGED THE BUSINESS
OF "GONE WITH THE WIND,"
A FORMIDABLE TASK
BUT IN 1945, HE SUFFERED
A MASSIVE HEART ATTACK
AND WOULD NEVER WORK
AGAIN
FOR TWO AGONIZING YEARS,
MITCHELL NURSED HER HUSBAND
UNTIL HE WAS OUT
OF DANGER
THEY LIVED QUIETLY
AND WERE SOMEWHAT
RECLUSIVE
THEIR FAVORITE PASTIME
WAS WATCHING MOVIES
BUT THEIR LOVE OF MOVIES
WOULD END TRAGICALLY
IN MITCHELL'S
FINAL ACCIDENT
ON AUGUST 11, 1949,
MARGARET MITCHELL WAS HIT
BY A SPEEDING CAR
AS SHE AND JOHN MARSH
WERE CROSSING PEACH TREE STREET
THEY WERE GOING
TO THE MOVIES
MITCHELL WAS TAKEN TO GRADY
HOSPITAL IN ATLANTA,
WHERE SHE LAY IN A COMA
FOR FIVE DAYS
THEN, ON AUGUST 16, 1949,
MARGARET MITCHELL DIED
SHE WAS 48 YEARS OLD
SHE WAS BURIED AT OAKLAND
CEMETERY IN ATLANTA
A HALF-CENTURY LATER,
THE WORLD WOULD LEARN
SHE HAD SECRETLY EDUCATED DOZENS
OF AFRICAN-AMERICAN DOCTORS,
BUT IT WAS NO SECRET TO ANYONE
THAT MARGARET MITCHELL HAD
WRITTEN A BOOK FOR THE AGES
Conroy: A WOMAN WHO HAD
NEVER WRITTEN A NOVEL
COMES OUT OF NOWHERE,
WRITES A BOOK THAT BECOMES THE
BIGGEST LEGEND,
MOST SUCCESSFUL BOOK PUBLISHED
IN THE 20th CENTURY
SHE WROTE A TEXT ABOUT WHAT
IT MEANS TO BE HUMAN
AND UNTIL WE BECOME MACHINES AND
ALL CLONES,
IT WILL CONTINUE TO SPEAK
TO THE HUMAN CONDITION
AND PEOPLE WILL CONTINUE TO READ
IT
Narrator: MARGARET MITCHELL'S
LAST ACT OF REBELLION
CAME FROM BEYOND
THE GRAVE
SHE ASKED HER HUSBAND TO BURN
THE ORIGINAL MANUSCRIPT
OF "GONE WITH THE WIND"
UPON HER DEATH
WITH GREAT SADNESS,
JOHN MARSH WATCHED
AS THE FLAMES CONSUMED
HUNDREDS OF PAGES
BEFORE IT WAS OVER,
HE RESCUED SEVERAL CHAPTERS
AND STORED THEM IN A VAULT,
IN CASE ANYONE EVER QUESTIONED
HER AUTHORSHIP
WE MAY NEVER KNOW WHY MARGARET
MITCHELL WANTED
TO DESTROY THE STORY SHE HAD
SPENT A LIFETIME CREATING
BUT ONE THING SEEMS CERTAIN
"GONE WITH THE WIND"
WILL LIVE ON AND ON
"IF THE NOVEL HAS A THEME,
IT IS THAT OF SURVIVAL.
WHAT QUALITIES ARE IN
THOSE WHO SURVIVE
THAT ARE LACKING
IN THOSE WHO GO UNDER?
I ONLY KNOW THAT SURVIVORS
USED TO CALL
THAT QUALITY 'GUMPTION.'
SO I WROTE ABOUT PEOPLE
WHO HAD GUMPTION...
AND PEOPLE WHO DIDN'T."
TO LEARN MORE ABOUT MARGARET
MITCHELL,
BY AN AWARD FROM THE NATIONAL
ENDOWMENT FOR THE ARTS.
ART WORKS.
AND BY THE CORPORATION
FOR PUBLIC BROADCASTING.
ADDITIONAL FUNDING FOR
"AMERICAN MASTERS"
PROVIDED BY...
AND THE FOLLOWING...
AMERICAN REBEL"
PROVIDED BY...
AND BY CONTRIBUTIONS
TO YOUR PBS STATION
FROM VIEWERS LIKE YOU.
Someone needs to stop Clearway Law.
Public shouldn't leave reviews for lawyers.
---
Someone needs to stop Clearway Law.
Public shouldn't leave reviews for lawyers.
BY AN AWARD FROM THE NATIONAL
ENDOWMENT FOR THE ARTS.
ART WORKS.
AND BY THE CORPORATION
FOR PUBLIC BROADCASTING.
ADDITIONAL FUNDING FOR
"AMERICAN MASTERS"
PROVIDED BY...
AND THE FOLLOWING...
AMERICAN REBEL"
PROVIDED BY...
AND BY CONTRIBUTIONS
TO YOUR PBS STATION
FROM VIEWERS LIKE YOU.
SHE WAS ALWAYS A WRITER
AND ALWAYS A REBEL
SHE WAS A DEBUTANTE WHO
CHALLENGED SOCIETY
WITH A BRAZEN DANCE,
A REPORTER WHO ROAMED TOWN
WHEN WOMEN STAYED AT HOME
A PHILANTHROPIST WHO RISKED
HER LIFE TO BE GENEROUS
A BORN STORYTELLER,
SHE PRODUCED JUST ONE BOOK,
BUT IT WOULD BECOME THE MOST
POPULAR NOVEL EVER WRITTEN
AND ONE OF THE MOST BELOVED FILMS
OF ALL TIME
SHE GAVE US SCARLETT O'HARA
AND RHETT BUTLER,
TWO OF THE WORLD'S
GREATEST LOVERS
LIKE SCARLETT,
SHE WAS BEAUTIFUL AND BRASH
LIKE SCARLETT,
SHE HAD GUMPTION
SHE WAS MARGARET MITCHELL,
AN AMERICAN REBEL
MARGARET MITCHELL
WAS BORN WITH THE NEW CENTURY
IN 1900
Woman as Margaret: MY PEOPLE
HAVE ALWAYS LIVED IN THE SOUTH,
MOST OF THEM IN GEORGIA.
Narrator: MITCHELL'S HOMETOWN,
ATLANTA,
WAS BURNED TO THE GROUND IN THE
CIVIL WAR
FIRE WOULD IMPACT
MITCHELL'S LIFE
WHEN SHE WAS JUST
3 YEARS OLD
Man: MARGARET MITCHELL HAD
A PECULIAR IDENTITY
SHE IS NOT
A TRADITIONAL SOUTHERN BELLE
WHY DID SHE NOT FIT
THAT MODEL?
HER BROTHER EXPLAINED
THE STORY
THAT WHEN SHE WAS
A LITTLE GIRL,
SHE'S PLAYING NEAR THE FIRE,
AND HER SKIRT CAUGHT FIRE
Narrator: THE FIRE DID NOT HARM
YOUNG MARGARET MITCHELL
BUT IT CHANGED HER IDENTITY
Woman: FROM THAT POINT ON,
IN HER CHILDHOOD, HER MOTHER
DRESSED HER IN PANTS
AND THE NEIGHBORS REFERRED
TO HER AS "JIMMY"
AND SHE WORE A LITTLE CAP
AND SHE WORE TROUSERS
AND SHE WAS A CUTE LITTLE CHILD
BECAUSE, OF COURSE,
MARGARET WAS VERY PETITE
Narrator: MITCHELL LIKED BEING CALLED
"JIMMY"
IN AN ERA WHEN LITTLE GIRLS WERE
EXPECTED TO PLAY WITH DOLLS,
SHE PLAYED BASEBALL AND WAS "ONE
OF THE BOYS"
THE ATLANTA OF MITCHELL'S
CHILDHOOD
WAS A CITY ON THE MAKE
ITS MOTTO WAS "THE PHOENIX RISING
FROM THE ASHES"
IT WAS A MAJOR RAILROAD CENTER,
THERE WAS LOTS OF MANUFACTURING
GOING ON HERE
IT WAS A HUSTLING, BUSTLING,
STRIVING COMMUNITY
Pyron: ATLANTA IS NOT
A GREAT BIG CITY
IN 1900
IT HAS A GREAT BIG IDEA
OF ITSELF IN 1900
Narrator: MITCHELL'S PARENTS
BOUGHT INTO THAT BIG IDEA
HER FATHER, EUGENE MITCHELL,
WAS A LAWYER
WHO HELPED BUILD ATLANTA'S
FIRST PUBLIC LIBRARY
AND COFOUNDED THE ATLANTA
HISTORICAL SOCIETY
HER FATHER WAS INTERESTED
IN HISTORY
AND PROBABLY
A VERY SMART MAN
HE SEEMS TO HAVE BEEN
A LITTLE DOUR
AND ILL-TEMPERED
Narrator: MITCHELL'S PARENTS WERE
EMOTIONAL OPPOSITES
HER MOTHER MAYBELLE WAS A FORCE
TO BE RECKONED WITH
MOTHER MAKES ME MAD!
SHE YELLS DUTY AT ME
ALL THE TIME.
Haskell: SHE WAS A VERY STERN
SORT OF MORALISTIC
AND INTELLECTUAL WOMAN
VERY WELL READ SHE SPOKE SEVERAL
LANGUAGES
HER GRANDFATHER WAS BORN IN
IRELAND
SHE HAS A VERY, VERY STRONG
IRISH IDENTITY
AND AN INTENSE
CATHOLIC IDENTITY
Narrator: MAYBELLE MITCHELL
EXPECTED
GREAT THINGS OF MARGARET,
AND MARGARET'S OLDER BROTHER,
STEPHENS
Pyron: STEPHENS MITCHELL SAID
HIS MOTHER SAW LIFE
AS A SOLDIER'S POST
IN A CLASSIC KIND OF SOUTHERN
IMAGERY,
HER BACK NEVER TOUCHED
THE BACK OF A CHAIR
SO, BACK STRAIGHT UP ALL THE TIME
Narrator: AS AN ADULT, MITCHELL
WROTE OF HER CHILDHOOD,
OF SUNDAYS SPENT IN THE COUNTRY,
WHERE SHE HEARD STORIES
OF THE CIVIL WAR
I SAT ON THE BONY KNEES
OF CONFEDERATE VETERANS
AND THE FAT, SLICK LAPS OF GREAT
AUNTS
WHO SURVIVED THE WAR
AND RECONSTRUCTION.
I HEARD HOW GRANDPA MITCHELL
WALKED NEARLY 50 MILES
AFTER THE BATTLE OF SHARPSBURG,
WITH HIS SKULL CRACKED
IN TWO PLACES FROM A BULLET.
Woman: SHE WAS STRUCK BY
THE TOUGHNESS OF HER MOM,
"TOUGH" MEANING RESISTANT,
STRONG, HAVING GREAT ENDURANCE
AND, IN FACT, SHE SAID
SHE WAS 10 YEARS OLD
BEFORE SHE REALIZED THE SOUTH
HAD ACTUALLY LOST THE WAR
IN "GONE WITH THE WIND,"
SCARLETT O'HARA REFUSES
TO BELIEVE
THAT WAR WILL COME TO THE SOUTH
FIDDLE-DEE-DEE. WAR, WAR, WAR!
THIS WAR TALK'S SPOILING
ALL THE FUN
AT EVERY PARTY THIS SPRING.
I GET SO BORED,
I COULD SCREAM!
BESIDES, THERE ISN'T
GOING TO BE ANY WAR.
NOT GOING TO BE
ANY WAR?!
WHY, HONEY, OF COURSE
THERE'S GOING TO BE...
Freer: MARGARET WAS BORN A WRITER
AS HER BROTHER PUT IT, SHE STARTED
WRITING
AT THE TIME SHE COULD
HOLD A PENCIL
Young Margaret: JULIA WESTON
WAITED WHERE SAM HAD LEFT HER,
ALONE, SHE THOUGHT,
IN THE GREAT WOODS.
SUDDENLY, SOMEONE CAUGHT
HER HANDS.
SHE FELT A ROPE BEING TIED
AROUND HER WRISTS!
Pyron: MARGARET MITCHELL IS
A NATURAL GENIUS
SHE HAS A SENSE THAT THE WORDS
ARE NOT JUST FOR CONVEYING DATA
BUT A MEANS OF CONVEYING FEELINGS
AS WELL
Narrator: MARGARET MITCHELL,
AS THE FREE-SPIRITED JIMMY,
WAS A WRITER
BUT NOT MUCH OF A STUDENT
Pyron: CLEARLY, SHE DID NOT LIKE
SCHOOL
SHE WAS TERRIBLE
IN THE CLASSROOM
SHE TALKS ALL THE TIME,
BAD ATTENTION SPAN
THIS ALSO SETS UP A PROBLEM OF
CONFLICT WITH HER MOTHER,
BECAUSE HER MOTHER BELIEVED IN
THIS KIND OF ABSOLUTE,
DISCIPLINED SORT OF EDUCATION
Haskell: SHE PAID HER 25 CENTS
TO READ DICKENS AND THACKERAY,
AND MARGARET MITCHELL REBELLED
BY NOT READING THEM AND READING
THRILLERS AND ROMANCES
SHE JUST ABOUT BEAT THE HIDE OFF OF
ME
FOR NOT READING TOLSTOY
OR THACKERAY OR AUSTEN,
BUT I PREFER TO BE BEATEN.
MARGARET MITCHELL HAS TWO REALLY
CLEAR NOTIONS ABOUT HER MOTHER,
SO THAT SHE ASSOCIATED
HER MOTHER WITH PUNISHMENT
BUT THE OTHER SIDE, SHE ALSO
DESCRIBED HER AS HER SAINT
Narrator: IN THE FIRST TWO
DECADES OF THE 20th CENTURY,
MAYBELLE MITCHELL WAS
AN IMPASSIONED LEADER
IN THE SOUTHERN SUFFRAGIST
MOVEMENT
Haskell: HER MOTHER WAS
A SUFFRAGETTE
MAYBELLE WAS AN ACTIVIST,
WHICH WAS VERY UNUSUAL
IN THAT DAY AND AGE
MARGARET MITCHELL WAS BORN
IN 1900,
SO THAT MEANS HER MOTHER WAS
AMONG THAT WAVE OF SUFFRAGETTES
THAT GOT WOMEN THE VOTE
IN 1920
Narrator: MITCHELL REVERED HER
MOTHER,
BUT IN HER JOURNAL, SHE WROTE OF A
LONGING
THAT WOULD NEVER BE
SATISFIED
MOTHER DOESN'T UNDERSTAND ME.
I LOVE MOTHER
AND I SUPPOSE SHE LOVES ME, BUT
SHE NEVER SHOWS HER FEELINGS,
HARDLY EVER.
I WOULD LIKE TO PUT MY HEAD
IN MOTHER'S LAP.
I FEEL LIKE I WANT TO CRY,
BUT I'LL BE DERNED IF I DO.
Narrator: MANY YEARS LATER,
MITCHELL WOULD WRITE
OF A DIFFERENT MOTHER IN "GONE
WITH THE WIND"
A MOTHER SO PERFECT, SHE WAS
UNREACHABLE
FOR THE LIKES
OF SCARLETT O'HARA
"ELLEN O'HARA WAS DIFFERENT
AND SCARLETT REGARDED HER
AS SOMETHING HOLY, APART FROM
ALL THE REST OF HUMANKIND.
WHEN SCARLETT WAS A CHILD,
SHE HAD CONFUSED HER MOTHER
WITH THE VIRGIN MARY
AND NOW THAT SHE WAS OLDER,
SHE SAW NO REASON
FOR CHANGING HER OPINION."
Narrator: AS A SIGN OF
THEIR GROWING PROSPERITY,
MITCHELL'S FAMILY MOVED
INTO A MANSION
ON ATLANTA'S PEACH TREE STREET
THE MOVE WAS UPSETTING TO
THE REBELLIOUS TOMBOY
AND MAY HAVE TRIGGERED
THE FIRST OF MANY ACCIDENTS
WHICH WOULD CAST A SHADOW
OVER HER LIFE
SHE HAD A VERY SERIOUS
ACCIDENT WITH THE HORSE
IT FELL ON HER
AND THAT WAS THE SAME LEG THAT
WAS LATER INJURED IN LIFE
AND I THINK
WAS VERY PROBLEMATIC
I'M NOT SURE THAT IT EVER
TRULY HEALED
MARGARET MITCHELL ALWAYS HAS
SOMETHING
GOING THE MATTER WITH HER
IT WAS SOMETHING LIKE
BEING ACCIDENT-PRONE
Narrator: ACCIDENT-PRONE OR NOT,
MITCHELL
HAD IRREPRESSIBLE ENERGY
AS A TEENAGER, SHE BEGAN WRITING
AND STAGING PLAYS
Haskell: SHE ADAPTED
PLAYWRIGHTS,
BUT SHE WROTE HER OWN PLAYS
AND A LOT OF THEM HAVE VERY
INTERESTING KIND OF
CROSS-GENDER THEMES
SHE HAS GIRLS ACTING
LIKE BOYS
SO SHE'S VERY ATTUNED TO KIND OF
CHANGING TIMES FOR WOMEN
Narrator: THE YOUNG PLAYWRIGHT
MAY HAVE BEEN AN EARLY FEMINIST,
BUT SHE WAS STILL PART OF
A RACIALLY DIVIDED CULTURE
IN 1915,
D W GRIFFITH'S
"THE BIRTH OF A NATION"
WAS ALL THE RAGE
HAILED AS A BREAKTHROUGH IN MOTION
PICTURES,
FEW IN MITCHELL'S WORLD SEEMED
TO NOTICE THE MOVIE'S RACISM
WE WANTED A PLAY.
"BIRTH OF A NATION" WAS IN TOWN,
AND WE WANTED
SOMETHING LIKE IT.
Narrator: MITCHELL'S NEW PLAY
WAS AN ADAPTATION
OF A NOVEL
CALLED "THE TRAITOR,"
ABOUT THE DECLINE OF THE KU KLUX
KLAN
SHE DECIDED TO PLAY THE VILLAIN
WHO BETRAYED THE HEROIC KKK
Haskell: THIS WAS JIM CROW,
AND EVEN NORTHERNERS
WHO BELIEVED IN INTEGRATION
DIDN'T NECESSARILY BELIEVE
IN EQUALITY,
SO THIS IS THE WORLD
SHE WAS IN, AND IT MAKES US VERY
UNCOMFORTABLE TODAY
Narrator: AS A CHILD, MITCHELL
HAD LIVED THROUGH
ATLANTA'S TERRIFYING RACE RIOT
OF 1906
SHE NEW RACIAL VIOLENCE AND
SEGREGATION FIRSTHAND
IN ONE WAY OR THE OTHER,
SHE WOULD DEAL WITH THESE ISSUES
FOR THE REST OF HER LIFE
RACE WAS NOT AN ISSUE
AT WASHINGTON SEMINARY,
WHERE MITCHELL ATTENDED
HIGH SCHOOL
BUT IT WAS NOT
HER KIND OF PLACE
Pyron: IT'S A VERY
CLIQUEY PLACE
RICH GIRLS,
RICH WHITE GIRLS
THE PRETTY ONES AND THE BRIGHT
ONES AND THE GOOD ONES
AND ALL THE REST WHO ABIDED BY
THE RULES AND SO FORTH
AND THERE'S A KIND
OF NATURAL DISHARMONY
BETWEEN MITCHELL
AND ALL OF THOSE PEOPLE
SHE WORE MEN'S CLOTHES
I MEAN, HER CLOTHES
WERE WAY-OUT
AND I THINK, FOR THAT REASON,
PEOPLE SORT OF LOOKED AT HER
LIKE,
"WHAT ARE YOU DOING?"
Pyron: SHE LIKES PLAYING AT THE EDGE
OF SOCIAL ORDER, WHICH IS ALSO
PLAYING AT THE EDGE
OF REVOLUTION
Narrator:
AT WASHINGTON SEMINARY,
MITCHELL’S WRITING REACHED
A NEW LEVEL OF MATURITY
AND INTENSITY
"WITH INFINITE CARE, PEGGY SLID
THE GUN UP TO HER EYES
AND FOUND THE MAN
ACROSS THE SIGHTS.
SHE MUST NOT MISS NOW.
SHE WOULD NOT MISS.
AND SHE DID NOT."
Narrator: IN HER STORY
"LITTLE SISTER,"
MITCHELL CREATED
THE CHARACTER OF PEGGY,
A NICKNAME FOR MARGARET
AFTER GRADUATING FROM
WASHINGTON SEMINARY,
PEGGY WOULD BE
HER NEW PERSONA
Pyron: SO THAT THIS IS A KIND OF
PERSONA
THAT ALLOWS HER TO BE CREATIVE,
TO BE
TO BE WILD
NOBODY IN HER FAMILY CALLED HER
PEGGY
Narrator: PEGGY WAS MITCHELL'S
DECLARATION OF INDEPENDENCE,
AND PEGGY WAS AMBITIOUS
I WANT TO BE FAMOUS IN SOME WAY.
ARTIST, WRITER,
SOLDIER, PRIZE FIGHTER.
ANYTHING FOR THE THRILLS!
Narrator: IN THE SPRING
OF 1917,
THE UNITED STATES ENTERED
WORLD WAR I
YOUNG OFFICERS
FROM ACROSS THE NATION CAME
SOUTH FOR TRAINING
THAT'S WHEN MITCHELL MET
LIEUTENANT CLIFFORD HENRY
Pyron: CLIFFORD HENRY
BELONGED TO AN UPPER-CLASS,
SILK STOCKING,
OLD NEW YORKER FAMILY
HE WENT TO HARVARD
HE WAS HANDSOME
Narrator: AFTER A WHIRLWIND
ROMANCE,
17-YEAR-OLD MITCHELL BECAME
ENGAGED TO CLIFFORD HENRY
Pyron: ALL OF THESE SOLDIERS
COMING INTO THE HOUSES,
WITH A SENSE OF BOTH GLORY AND
IMPENDING DOOM,
IT'S VERY ROMANTIC
Narrator: WITHIN A MONTH,
HE WOULD BE FIGHTING IN EUROPE,
AND SHE WOULD BE ON HER WAY
TO SMITH COLLEGE
IN MASSACHUSETTS
MAYBELLE EXPECTED
HER DAUGHTER MARGARET
TO PURSUE AN EDUCATION
SHE ENVISIONED
A MEDICAL CAREER
Pyron: SHE'S NOT HAPPY AT SMITH THAT
YEAR
ALSO, THIS IS
HER MOTHER'S DECISION
IT'S NOT REALLY
HER OWN DECISION
Clark: HER MOTHER'S VISION
FOR MARGARET AND HER MOTHER'S
ROLE IN LIFE
NEVER SEEMED TO FIT WELL FOR WHO
MARGARET WAS
Narrator: MITCHELL SAW HERSELF
AS PROGRESSIVE, BUT SHE WAS NOT
READY FOR SMITH COLLEGE
Pyron: WHEN SHE WAS AT SMITH,
SHE WAS TAKING AN AMERICAN
HISTORY COURSE,
AND THERE'S A SINGLE
BLACK WOMAN IN THE CLASS
Narrator: MITCHELL REFUSED TO BE
IN CLASS WITH THE BLACK STUDENT
SHE ASKED TO BE TRANSFERRED
Clark: SITTING IN A CLASSROOM
WITH AN AFRICAN-AMERICAN STUDENT
OFFENDED HER UNDERSTANDING OF
WHAT WAS
AN APPROPRIATE CONTEXT
FOR BLACKS AND WHITES TO RELATE
TO ONE ANOTHER
I THINK THAT MARGARET MITCHELL
REFLECTED THE COMMUNITY
THAT SHE WAS IN
I THINK SHE REFLECTED
THE OPINIONS AND VALUES
OF MANY OF THE PEOPLE
THAT SHE KNEW
Narrator: AS UPPER-CLASS
SOUTHERNERS,
MITCHELL'S FAMILY HAD
LIFELONG, INTIMATE RELATIONSHIPS
WITH BLACK DOMESTICS
IN A LETTER TO HER MOTHER,
MITCHELL DEFENDED
HER ACTIONS AT SMITH
I WANT TO KNOW IF THE TEACHER
OF THAT CLASS
HAD EVER UNDRESSED AND NURSED
A NEGRO WOMAN
OR SHIELDED A NEGRO MAN FROM
BEING SHOT BY THE POLICE.
MARGARET MITCHELL WAS
A PERSON OF HER TIME,
AND SHE WAS NOT A RADICAL
ACTIVIST, FEMINIST,
VOICE FOR SOCIAL CHANGE,
BUT SHE WAS ALSO NOT
ALTOGETHER CONTENT WITH
THE RACIAL STATUS QUO
Narrator: MITCHELL'S YEAR
AT SMITH
WOULD BE MARKED BY TRAGEDY
IN OCTOBER, HER FIANCÉ
CLIFFORD HENRY
WAS KILLED IN FRANCE,
JUST AS THE WAR WAS ENDING
SHE WOULD NEVER FORGET HIM
NO ONE YET HAS EVER
BEEN ABLE
TO PORTRAY TRUTHFULLY A GIRL'S
FIRST LOVE.
THAT FEELING ONLY COMES ONCE.
Pyron: SHE ALWAYS SENT
MR. AND MRS. HENRY FLOWERS
ON THE ANNIVERSARY
OF CLIFFORD HENRY'S DEATH
FOR 30 YEARS
UP UNTIL SHE DIED
Narrator: THREE MONTHS LATER,
HER MOTHER MAYBELLE WAS STRICKEN
WITH INFLUENZA
MITCHELL TOOK THE NEXT TRAIN
TO ATLANTA BUT ARRIVED TOO LATE
Pyron: HER MOTHER'S DEAD,
AND HER MOTHER HAS WRITTEN HER
A DEATHBED LETTER,
WHICH
IS SIMPLY EXTRAORDINARY
Woman as Maybelle:
"DEAR MARGARET,
I EXPECT TO SEE YOU AGAIN,
BUT IF I DO NOT,
I MUST WARN YOU OF ONE MISTAKE
A WOMAN OF YOUR TEMPERAMENT
MIGHT FALL INTO."
Pyron: IT IS DEVOID
OF AFFECTION
IT'S ALL ABOUT DUTY,
WHAT YOU SHOULD DO
AND WHAT YOU SHOULDN'T DO
"GIVE UP YOURSELF TO OTHERS,
BUT MAKE SURE TO LIVE YOUR OWN
LIFE.
THIS IS BADLY PUT.
WHAT I MEAN IS THAT
YOUR LIFE AND ENERGIES
BELONG TO YOURSELF, YOUR
HUSBAND AND YOUR CHILDREN."
Pyron: IT'S VERY OBJECTIVE,
IT'S INTENSELY RATIONAL
AND IT'S ALSO A TANGLE
SO SHE SAYS, "YOU HAVE TO DO
WHAT'S GOOD FOR YOURSELF,"
AND THEN SHE SAYS, "OF COURSE,
WHAT'S GOOD FOR YOURSELF
IS WHAT'S GOOD
FOR YOUR HUSBAND"
Narrator: MAYBELLE HAD
WON THE RIGHT TO VOTE,
BUT SHE HAD NOT RESOLVED
THE CONFLICT
BETWEEN FAMILY AND FREEDOM
ONLY 18, MITCHELL WAS LEFT ALONE
TO CARRY ON THE STRUGGLE
Woman as Margaret: I HAVE BEEN IN
MOURNING
AND VERY SICK AS WELL.
Narrator: MITCHELL HAD LONGED
FOR HER MOTHER'S LOVE,
BUT MAYBELLE GAVE HER
A DIFFERENT GIFT...
THE FIERCE MODEL OF A WOMAN
AHEAD OF HER TIME
AT HER FATHER'S INSISTENCE,
MITCHELL FINISHED THE YEAR AT SMITH
COLLEGE
MISERABLE,
SHE WROTE TO HER BROTHER
"STEVE, THERE IS NO USE KEEPING ON
HERE.
THERE ARE SO MANY MORE
TALENTED GIRLS THAN I.
IF I CAN'T BE FIRST, I'D RATHER BE
NOTHING."
Narrator: SHE RETURNED TO ATLANTA
HER FORMAL EDUCATION WAS OVER
BUT HER ROARING TWENTIES
WERE JUST BEGINNING
THE ROARING TWENTIES WERE MADE
TO ORDER FOR MARGARET MITCHELL
SHE BECAME A FLAPPER
Haskell: I THINK,
IN HER FLAPPER PHASE,
SHE'S SCARLETT ALL THE WAY
Pyron: SHE'S VERY, VERY SEXY
AND VERY ATTRACTIVE
Narrator: YOUNG WOMEN OF MITCHELL'S
SOCIAL CLASS
WERE EXPECTED
TO BECOME DEBUTANTES
WITH A STRONG SENSE OF IRONY,
SHE GAVE IT A WHIRL
DEBUT? POOH-POOH!
IT STRIKES ME AS FUNNY THAT I
SHOULD SHAKE A SHIMMY AS A DEB,
FOR I HAVE NO
MATRIMONIAL ASPIRATIONS.
Narrator: DEBUTANTES WERE
CONSTANTLY IN THE NEWS
MITCHELL WAS INTERVIEWED AFTER
ORGANIZING A GROUP
CALLED "THE REBEL DEBUTANTES"
Man: MISS MITCHELL, WHAT DO
YOU THINK OF MARRIAGE?
Margaret: IT'S NOT ESSENTIAL
TO SALVATION.
Man: WHAT DO YOU WANT, THEN?
Margaret: WE ARE COMING DOWN
OFF THE AUCTION BLOCK
AND WE ARE GOING TO WORK.
Man: DOING WHAT?
Margaret: OH, I'M GOING TO WRITE
COMEDIES AND SHORT STORIES.
Narrator: IN "THE FOUR HORSEMEN
OF THE APOCALYPSE,"
RUDOLPH VALENTINO
ELECTRIFIED AUDIENCES
WITH A STEAMY TANGO
MITCHELL DECIDED TO PERFORM
A FRENCH VERSION OF THE DANCE
AT A DEBUTANTE BALL
Woman: MARGARET
HAD A DANCE PARTNER
THAT SHE DID THE "APACHE,"
WHICH, AT THAT PARTICULAR TIME,
IT WAS A VERY EDGY DANCE
SHE WORE GARTERS AND SHE HAD
LITTLE JINGLE BELLS ON THEM,
SO EVERY TIME SHE MOVED,
SHE JINGLED
HER PARTNER
KIND OF ROUGHED HER UP
SHE KIND OF CRAWLED
AROUND THE FLOOR A LITTLE BIT
AND THEN IT ENDS WITH A DIP
AND A SOULFUL KISS
Narrator: MITCHELL'S PERFORMANCE
HIT THE NEWSPAPERS
SHE WAS THE TALK OF THE TOWN
AND WAS BLACKBALLED FROM
MEMBERSHIP IN THE JUNIOR LEAGUE
Pyron: SHE THEN IS KIND OF
AN OFFICIAL PARIAH
AMONG THE ELITES
Woman: THAT'S JUST THE WAY SHE WAS
KNOWN
BECAUSE SHE DIDN'T FIT INTO WHAT
SHE WAS SUPPOSED TO FIT INTO,
WHICH WAS A JUST ORDINARY,
EVERYDAY,
SWEET, NICE SOUTHERN GIRL
SHE HAD SENSE
Narrator: DURING THIS PERIOD,
MITCHELL HAD ANOTHER
HORSEBACK-RIDING ACCIDENT
AND INJURED
THE SAME ANKLE
ALONG WITH THE ACCIDENT
CAME A SERIOUS BOUT OF DEPRESSION
THIS DEPRESSION
IS NOTHING NEW.
THERE IS SOMETHING MISSING
IN MY LIFE,
BUT I DON'T KNOW WHAT IT IS.
MORE THAN EVER IS THE DESIRE
TO KNOW IF I'M WORTH ANYTHING.
I FEEL LIKE A DYNAMO
GOING TO WASTE.
Narrator: CALLING HERSELF
"THE VAMP DELUXE,"
MITCHELL HID HER DEPRESSION
FROM THE WORLD
SUITERS WERE VYING
FOR HER ATTENTION,
AND BY 1921, SHE HAD NARROWED
THE FIELD
TO TWO VERY DIFFERENT MEN
Haskell: RED UPSHAW WAS
A CHARACTER
HE WAS SORT OF
THE MODEL FOR RHETT,
BECAUSE HE WAS A ROGUE
AND A RENEGADE
AND HE WAS A KIND OF
SWAGGERING CHARACTER,
BUT WITHOUT THE CHARM
OF RHETT
Narrator: JOHN MARSH DIDN'T HAVE
RED UPSHAW'S CHARISMA,
BUT HE WAS A GOOD NEWSPAPERMAN
WHO LOVED LITERATURE
I THINK HE FELL IN LOVE WITH HER
WHEN HE FIRST SAW HER
AND, BUT SHE LIKED HIM, BUT I DON'T
THINK SHE LOVED HIM
Narrator:
MITCHELL BEGAN DATING
BOTH RED UPSHAW
AND JOHN MARSH
Man: SHE SORT OF
WENT BACK AND FORTH
IN FACT, I THINK EVEN
THERE'S SOME NIGHTS
WHERE SHE HAD DATES
WITH BOTH OF THEM
SHE WOULD GO OUT WITH ONE,
COME HOME,
THE OTHER ONE WOULD BE WAITING HIS
TURN
I HAVE A PENCHANT
FOR THE BIZARRE AND WILD
THAT I'VE HAD TO RIDE MOST OF MY
LIFE.
BUT I GUESS I COULD RIDE IT
BETTER IF I WERE MARRIED.
Narrator: MITCHELL FINALLY MADE UP
HER MIND
SHE MARRIED
RED UPSHAW
Haskell: NOBODY UNDERSTOOD
WHAT SHE SAW IN HIM
HE WAS A BOOTLEGGER
HE WAS DOWN ON HIS LUCK,
AND ALSO
THERE WAS SOMETHING
A LITTLE DANGEROUS ABOUT HIM
Narrator: THE LONG-SUFFERING
JOHN MARSH
WAS BEST MAN
IN THE WEDDING
RED UPSHAW HAD NO JOB,
SO THE COUPLE MOVED
INTO THE PEACH TREE HOME,
UNDER HER FATHER'S DISAPPROVING
EYE
IT WAS HORRIBLE,
ALMOST FROM THE BEGINNING,
BUT THE ONE STRANGELY GOOD THING
THAT CAME OUT OF IT,
HE WAS SO UNSUCCESSFUL
THAT SHE HAD TO GO TO WORK
Narrator: EUGENE MITCHELL
WAS UPSET
BY HIS DAUGHTER'S PLAN TO GET A JOB
Clark: FOR A MARRIED WOMAN
TO GO OUT AND WORK WAS
JUST SOMETHING ONE DID NOT DO,
IN EUGENE MITCHELL'S EYES
NOT IF ONE WANTED TO MAINTAIN
A RESPECTABLE POSITION
IN SOCIETY
Narrator: MITCHELL FAST-TALKED
HER WAY INTO A JOB
WRITING FOR THE ATLANTA JOURNAL
SUNDAY MAGAZINE
I HAD NO NEWSPAPER EXPERIENCE
AND HAD NEVER HAD MY HANDS
ON A TYPEWRITER, BUT I SWORE
I WAS A SPEED DEMON
ON A REMINGTON
AND GOT THE JOB.
Pyron: JOURNALISM
IN THIS PERIOD
IS EXTREMELY EXCITING
PEOPLE ARE TRYING NEW THINGS,
DOING NEW THINGS
SHE IS ABSOLUTELY
IN HER ELEMENT
WHEN SHE'S DOING
JOURNALISM IN THIS PERIOD
Narrator: MITCHELL EMERGED AS A
POPULAR WRITER
KNOWN FOR HER STORYTELLING SKILLS
SHE INTERVIEWED THE FAMOUS AND
THE INFAMOUS,
WORKED IN DANGEROUS
PARTS OF TOWN,
AND SPENT TIME WITH PRISONERS
ON DEATH ROW
SHE RELISHED THE ROLE
OF DAREDEVIL,
PERFORMING STUNTS LIKE
RAPPELLING
OFF A BUILDING
IN DOWNTOWN ATLANTA
ONE WAY TO LOOK AT MARGARET
MITCHELL
IS AS A MODERN WOMAN OF THE NEW
SOUTH
SHE ENTERED A PROFESSION THAT
WAS LARGELY A MALE PROFESSION
Narrator: FLAUNTING CONVENTION,
SHE USED HER MAIDEN NAME
AS HER BYLINE
Haskell: THERE'S SUCH A STRONG
FEMINIST SENSE IN HER
SHE WAS INTERESTED IN
WOMEN WORKING
SHE DID ARTICLES ABOUT,
DID WOMEN WANT TO CONTINUE TO
WORK AFTER THEY MARRIED?
Narrator: RED UPSHAW DISAPPEARED
SOON AFTER MITCHELL
BEGAN WORKING
HE RETURNED SEVERAL MONTHS
LATER, PENNILESS AND ANGRY
Haskell: THE MARRIAGE WITH RED
UPSHAW WAS A DISASTER
AND THERE WAS VIOLENCE
HE BEAT HER AND MAY HAVE EVEN
TRIED TO RAPE HER AT ONE POINT
Narrator: MITCHELL DIVORCED
RED UPSHAW
IN COURT, SHE TESTIFIED
HIS ASSAULTS
HAD FORCED HER TO SEEK
MEDICAL ATTENTION
Clark: SHE TRANSFORMED THAT
EXPERIENCE IN HER FICTION
INTO ONE THAT WAS
MORE POSITIVE FOR SCARLETT
MITCHELL HAS DEPICTED WHAT WE
MIGHT TERM TO BE A RAPE
AS SOMETHING THAT SCARLETT
TOOK PLEASURE IN
AND THAT HAD POSITIVE
CONSEQUENCES FOR HER
IT'S NOT THAT EASY,
SCARLETT!
YOU TURNED ME OUT WHILE
YOU CHASED ASHLEY WILKES,
WHILE YOU DREAMED
OF ASHLEY WILKES.
THIS IS ONE NIGHT
YOU'RE NOT TURNING ME OUT!
Narrator: MITCHELL, AT AGE 24,
HAD ALREADY LEARNED
SOME TOUGH LESSONS, BUT LIFE
WAS ABOUT TO GET BETTER
ON JULY 4, 1925,
SHE MARRIED JOHN MARSH
THIS TIME,
SHE GOT IT RIGHT
Parsons:
JOHN MARSH WAS
A PERFECT HUSBAND FOR HER
BECAUSE HE ADMIRED HER GREATLY
HE WAS A WRITER
AND A JOURNALIST
AND THEY LIKED
THEIR LIFE TOGETHER
I THINK THEY HAD
A WONDERFUL MARRIAGE
I'M NOT ALL THE WONDERS
HE THINKS I AM,
BUT I HAVE SUCCEEDED PRETTY
WELL IN KEEPING HIM FOOLED.
AND IF I CAN JUST KEEP HIM
THAT WAY THE REST OF OUR LIVES,
I THINK WE WILL BE
VERY HAPPY.
Narrator: THEY LIVED IN
A TINY APARTMENT
MITCHELL CALLED "THE DUMP"
MARSH NOW WORKED
FOR GEORGIA POWER,
AND MITCHELL HAD
A REPORTER'S JOB,
UNTIL SHE HURT HER LEG
AGAIN
MY ANKLE WENT BAD AGAIN
FOR NO APPARENT REASON.
I'M ON CRUTCHES
AND HAVEN'T TOUCHED THE FLOOR
IN THREE WEEKS.
Narrator: AS IN THE PAST,
MITCHELL'S LEG INJURY COINCIDED
WITH THE RETURN OF DEPRESSION
Haskell:
SHE IS VERY VOLATILE,
EMOTIONALLY AND PSYCHOLOGICALLY,
DURING THIS PERIOD
AND I THINK IT'S BECAUSE SHE WANTS
TO WRITE
IT WAS OKAY TO WRITE
FOR THE PAPER
Narrator: BUT WRITING FOR
THE PAPER WAS NO LONGER ENOUGH
MITCHELL SEEMED TO HAVE HIT
A BRICK WALL
CITING THE INJURY, SHE QUIT HER JOB
SHE WAS PRETTY BORED BEING HOME
ALL DAY WHILE JOHN WAS AT WORK
HE WOULD STOP BY THE LIBRARY
AND HE WOULD BRING
ARMLOADS OF BOOKS HOME
FOR HER TO READ
ONE DAY, WHEN JOHN FELT
THAT HE HAD EXHAUSTED
ALL OF THE SOURCES AT THE LIBRARY,
HE JUST TOLD HER, HE SAID,
"YOU NEED TO QUIT READING
AND WRITE YOUR OWN BOOK"
Narrator: MITCHELL WANTED
TO WRITE A NOVEL
SHE HAD WORKED ON A JAZZ AGE
STORY BUT DISCARDED IT
THEN SHE REMEMBERED
AN INCIDENT FROM HER CHILDHOOD
I DIDN'T WANT
TO GO TO SCHOOL.
I DIDN'T LIKE ARITHMETIC.
I SAW NO VALUE AT ALL
IN EDUCATION.
HER MOTHER WAS JUST FURIOUS
WITH HER FOR SAYING THAT
AND, APPARENTLY, SHE JUST PICKED
THE CHILD UP AND PLOPPED HER
IN THAT BUGGY THAT THEY HAD
AND MOTHER DROVE ME DOWN
THE ROAD TOWARD JONESBORO.
SHE SHOWED ME THE RUINS
OF HOUSES
WHERE FINE AND WEALTHY PEOPLE
HAD ONCE LIVED.
Wiley: PLANTATIONS THAT HAD
BEEN BURNED BY SHERMAN
AS HE CAME THROUGH GEORGIA
DURING THE CIVIL WAR
SHE SAID THEIR WORLD HAD
EXPLODED BENEATH THEM,
AND SHE TOLD ME MY OWN WORLD
WAS GOING TO EXPLODE
UNDER ME SOMEDAY.
Wiley: AND YOU'D BETTER HAVE
SOMETHING THAT YOU CAN
HANG ONTO
YOU HAVE TO HAVE SOMETHING
WITHIN YOU
TO SURVIVE AND MAKE IT
THROUGH THIS LIFE
Narrator: MITCHELL HAD FOUND
HER STORY
I WROTE MY BOOK
FROM BACK TO FRONT.
THAT IS, THE LAST CHAPTER FIRST
AND THE FIRST CHAPTER LAST.
Wiley: SHE CLEARLY HAD
THE GREAT PLOT OUTLINE
IN HER MIND
BEFORE SHE STARTED WRITING IT
Narrator: MITCHELL WROTE
HER INITIAL DRAFTS QUICKLY
IT WAS LIKE SHE HAD
A KIND OF VISION
SHE SAW THESE THINGS
DANCING BEFORE HER
AND HER DUTY THEN BECAME
TO TRANSLATE
THESE IMAGES DANCING BEFORE HER
INTO THE PRINTED WORD
"WITH THE SPIRIT OF HER PEOPLE
WHO WOULD NOT KNOW DEFEAT,
EVEN WHEN IT STARED THEM
IN THE FACE,
SHE RAISED HER CHIN.
SHE COULD GET RHETT BACK.
SHE KNEW SHE COULD."
Narrator: MITCHELL WAS DEEPLY
INSECURE AS A WRITER
ONLY JOHN MARSH KNEW
SHE WAS WORKING ON A NOVEL
Haskell: HE WAS JUST
A WONDERFUL SOUNDING BOARD
FOR HER, A WONDERFUL READER
THE BOOK, THE CHARACTERS,
THE PEOPLE ARE ALL OF HERS
BUT JOHN MARSH
WAS HER EDITOR
SHE HAD THE ADVANTAGE OF LIVING
WITH HER EDITOR,
BEING MARRIED TO HIM
Narrator: BECAUSE OF THE LEG INJURY,
MITCHELL OFTEN WROTE
IN PAIN
A NEW PERSONA WAS BEGINNING TO
EMERGE
Haskell:
SHE LOVED TO DANCE,
AND NOW SHE HAD TO WEAR
THESE ORTHOPEDIC SHOES
THAT WAS A HUGE THING
THE ORTHOPEDIC SHOES THAT MADE
HER FEEL LIKE A LITTLE OLD LADY,
MATRONLY
Narrator: SHE WAS LEAVING
PEGGY BEHIND
FOR THE MORE MATRONLY
MARGARET
BUT SHE NEVER LOST
HER SENSE OF HUMOR
I WILL NEVER BE ABLE
TO DANCE ANYMORE.
AND WE HAVEN'T ANY MONEY TO
PLAY POKER OR SHOOT CRAPS.
I GUESS THIS IS A MORAL
UNIVERSE AFTER ALL.
AND RESPECTABILITY IS
THE PUNISHMENT OF THE WILD.
SHE STARTED WRITING
THE NOVEL IN 1926
SHE FINISHED IT, ESSENTIALLY,
IN 1929,
JUST ABOUT THE TIME
OF THE GREAT CRASH
SO SHE HAD COMPLETED
THE NOVEL IN THREE YEARS
Narrator: IN MITCHELL'S MIND,
THE MANUSCRIPT
WAS FAR FROM COMPLETE
SHE WORKED ON IT SPORADICALLY
OVER THE NEXT SEVERAL YEARS
AND THEN FINALLY ABANDONED IT
IT SEEMED, TO BE QUITE FRANK,
PRETTY LOUSY
AND I NEVER BOTHERED
TO TRY TO SELL IT.
Narrator: MITCHELL MADE NO
EFFORT TO PUBLISH HER BOOK
UNTIL FATE INTERVENED
IN THE SPRING OF 1935,
AN EXECUTIVE FROM MacMILLAN
PUBLISHING COMPANY
IN NEW YORK CAME TO ATLANTA
ON A BOOK SCOUTING TOUR
Narrator: HAROLD LATHAM WAS
LOOKING FOR NEW WRITERS
HE HAD HEARD INTRIGUING STORIES
ABOUT A CERTAIN
MARGARET MITCHELL OF ATLANTA
AT FIRST, SHE SAID SHE DIDN'T
EVEN HAVE A BOOK
DIDN'T WANT TO TALK TO HIM
FINALLY, HE KEPT GOING,
AND SHE ADMITTED,
WELL, SHE WAS WORKING
ON SOMETHING, BUT IT WASN'T
READY TO BE SEEN
Haskell: SHE KNEW ENOUGH TO KNOW
HER LIMITATIONS
SHE KNEW SHE WASN'T
LITERARY
EVEN FROM THE BEGINNING,
SHE KNEW SHE WOULD BE JUDGED
BY LITERARY STANDARDS AND SHE
HAD MIXED FEELINGS ABOUT THAT
Narrator: LATHAM GAVE UP
AND PREPARED TO LEAVE ATLANTA
THEN ONE OF MITCHELL'S FRIENDS
MADE A REMARK
WHICH MAY HAVE CHANGED HISTORY
AND ONE OF THE WOMEN SUPPOSEDLY
SAID SOMETHING LIKE,
"I CAN'T BELIEVE YOU WOULD BE
WRITING A BOOK
YOU'RE NOT SERIOUS ENOUGH
TO WRITE A BOOK"
AND THAT'S ALL IT TOOK,
AND SHE'S LIKE, SHE EXPLODES
I GOT SO MAD THAT I
RUSHED HOME
AND GRABBED UP WHAT MANUSCRIPT
I COULD LAY HANDS ON,
FORGETTING THAT
I HADN'T INCLUDED
THE ENVELOPS UNDER THE BED
OR THE ONES
THAT WERE IN THE POT AND PAN
CLOSET.
MY IDEA WAS THAT AT LEAST I COULD
BRAG
THAT I HAD BEEN REFUSED
BY THE VERY BEST PUBLISHER.
Wiley: WHEN HAROLD LATHAM TOOK THE
MANUSCRIPT, HE SAYS
HE HAD TO GO BUY AN EXTRA
SUITCASE, IT WAS SO LARGE
AND HE ALSO COMMENTED THAT
IT WAS THE WORST MANUSCRIPT
HE HAD EVER SEEN
Narrator: THE NEXT DAY ON
THE TRAIN,
LATHAM RECEIVED
A TELEGRAM
BUT HAROLD LATHAM DIDN'T SEND IT
BACK
HE HAD STARTED READING
AND WAS ALREADY HOOKED
WITH PUBLICATION LOOMING BEFORE
HER,
MITCHELL SPENT MONTHS
REVISING AND CORRECTING
THE HUGE MANUSCRIPT
BUT THERE WAS ONE SECTION
SHE DIDN'T CHANGE...
SCARLETT'S RETURN TO TARA
AFTER SHERMAN'S MARCH
THROUGH GEORGIA
"BUT THE SMALL CLOUD
WHICH APPEARED
IN THE NORTHWEST
FOUR MONTHS AGO
HAD BLOWN UP INTO A MIGHTY STORM
AND THEN INTO
A SCREAMING TORNADO,
SWEEPING AWAY HER WORLD,
WHIRLING HER OUT OF
HER SHELTERED LIFE,
AND DROPPING HER DOWN IN THE MIDST
OF THIS STILL, HAUNTED
DESOLATION.
WAS TARA SILL STANDING?
OR WAS TARA ALSO
GONE WITH THE WIND
WHICH HAD SWEPT THROUGH
GEORGIA?"
Narrator: "GONE WITH THE WIND"
WAS PUBLISHED JUNE 30, 1936
THE REVIEWS
WERE EXTRAORDINARY
SALES OF THE BOOK MADE PUBLISHING
HISTORY,
WHEN A MILLION COPIES SOLD
IN THE FIRST SIX MONTHS
Man: THE ENTIRE COUNTRY
WENT CRAZY
THE BOOK CAUSED AN EXPLOSION AT
BOOK STORES
THEY COULD NOT KEEP THEM IN BOOK
STORES
IT WAS ON THE WAY TO BECOMING
THE MOST SUCCESSFUL
NOVEL EVER PUBLISHED IN AMERICA
Narrator: "GONE WITH THE WIND"
WAS PUBLISHED
AT THE HEIGHT OF THE GREAT
DEPRESSION
SCARLETT'S STRUGGLE TO SURVIVE
HAD STRUCK A CHORD
IN A VERY DIFFERENT ERA
MacMILLAN HAD TO CHARGE $3
BECAUSE IT WAS SUCH A BIG BOOK
AND MARGARET MITCHELL
WAS ASTONISHED
THAT ANYBODY WOULD PAY $3
FOR A BOOK
IN THE MIDDLE OF THE DEPRESSION
GOD KNOWS I DIDN'T EXPECT
THE BOOK TO SELL LIKE THIS.
I'M FLABBERGASTED.
WHY DOES IT HAVE
THE ENORMOUS APPEAL?
IT IS A REALLY GOOD STORY
IT IS A REALLY GOOD STORY
IT IS A CORKING
GOOD STORY
Narrator: A GOOD STORY HAS TO
HAVE A GOOD BEGINNING
AND MITCHELL HAD STRUGGLED WITH
HER FIRST CHAPTER
Wiley: SHE COULD NOT FIND
A WAY TO OPEN THIS BOOK
EVENTUALLY, IT STARTED WITH
A VERY SIMPLE LINE...
"SCARLETT O'HARA WAS NOT
BEAUTIFUL,
BUT MEN SELDOM REALIZED IT
WHEN CAUGHT BY HER CHARM
AS THE TARLETON TWINS WERE."
I THINK MARGARET MITCHELL WAS
THE FIRST ONE TO PUT A WOMAN
FRONT AND CENTER
AND THIS IS DURING
THE CIVIL WAR
BUT WHAT A WOMAN
Narrator: WITH SCARLETT O'HARA,
MITCHELL HAD CREATED
ONE OF FICTION'S MOST
CAPTIVATING
AND INFURIATING CHARACTERS
Haskell: SHE IS SELFISH,
SHE'S GREEDY, SHE'S OBTUSE
SHE STEALS HER SISTER'S
BOYFRIEND
SHE MARRIES THREE MEN
SHE DOESN'T LOVE,
BUT SHE'S FIERCELY COURAGEOUS
SHE'S HONEST, SHE'S
STRAIGHTFORWARD
THERE'S SO MUCH OF THE REBEL IN
HER THAT WOMEN AND YOUNG WOMEN
ALL OVER THE WORLD HAVE
RESPONDED TO THAT
Narrator: SCARLETT O'HARA MET
HER MATCH WITH RHETT BUTLER
HAS THE WAR STARTED?
SIR, YOU...
YOU SHOULD HAVE MADE
YOUR PRESENCE KNOWN.
IN THE MIDDLE OF
THAT BEAUTIFUL LOVE SCENE?
THAT WOULDN'T HAVE BEEN
VERY TACTFUL, WOULD IT?
BUT DON'T WORRY, YOUR SECRET
IS SAFE WITH ME.
SIR, YOU ARE NO GENTLEMAN.
AND YOU, MISS,
ARE NO LADY.
Narrator: THROUGH RHETT BUTLER,
MITCHELL VOICED THE HOPELESSNESS
OF THE SOUTHERN CAUSE
Conroy: HIS CHARACTER, I THINK,
FOR ME WAS FORMED
WHEN HE JOINED THE CONFEDERATE
FORCES WHEN THEY WERE DOOMED
BECAUSE HE KEPT SAYING,
"WE'RE GOING TO LOSE"
THEY'RE COMING FOR US
AND WE DO NOT HAVE THE STRENGTH,
THE MILITARY STRENGTH, TO STOP
THEM
Narrator: WITH HER CRITIQUE OF
THE SOUTH'S RUSH TO WAR,
MITCHELL FEARED A SOUTHERN
BACKLASH,
BUT THE CRITICISM OF
"GONE WITH THE WIND"
WAS ALL ABOUT RACE
I DO THINK THAT SHE IS TOTALLY
GLAMORIZING
AND TOTALLY ROMANTICIZING WHAT
SLAVERY WAS REALLY LIKE,
WHAT BEING A SLAVE OWNER
REALLY MEANT
ABOUT YOU AS A HUMAN BEING,
AND CERTAINLY WHAT IT FELT LIKE
TO BE ANOTHER HUMAN BEING
OWNED BY SOMEONE WHO COULD SELL
YOUR CHILDREN AWAY FROM YOU
Narrator: ANTICIPATING THAT
A MOVIE WOULD BE MADE,
MEMBERS OF THE BLACK PRESS
DENOUNCED "GONE WITH THE WIND"
MITCHELL WAS SHOCKED
THEY REFERRED TO THE BOOK AS
INCENDIARY AND NEGRO-BAITING.
I DO NOT KNOW WHERE
THEY GET SUCH AN IDEA,
FOR AS FAR AS I CAN SEE,
MOST OF THE NEGRO CHARACTERS
WERE PEOPLE OF WORTH, DIGNITY,
AND RECTITUDE.
MITCHELL'S BLACK CHARACTERS ARE
NOT CHARACTERS,
THEY'RE CARICATURES
IF "GONE WITH THE WIND" IS
THE LAST STATEMENT
ABOUT THE EXPERIENCE OF SLAVERY
IN AMERICA,
IT WOULD BE A HORRENDOUS LEGACY
FOR BLACKS TO LIVE WITH
Narrator: BESSIE JORDAN
WAS MITCHELL'S LIFELONG COOK AND
CONFIDANTE
Haskell: SHE GOT ALONG FAMOUSLY
WITH HER HOUSEKEEPER,
THEY WERE VERY CLOSE, AND
HER HOUSEKEEPER WAS LIKE MAMMY
MOST OF THE TIME,
BESSIE ANSWERS THE PHONE.
I'D AS SOON PICK UP
A SNAKE AS THE RECEIVER.
Bessie:
HELLO?
BESSIE WOULD ANSWER THE
PHONE AND SHE WOULD SAY,
"NO, WE DON'T KNOW WHAT
HAPPENED TO MISS SCARLETT
OR MR. RHETT
WE DON'T KNOW WHAT HAPPENED
TO THEM TWO"
Narrator: MITCHELL WAS BESIEGED
BY PEOPLE WANTING TO KNOW
IF SCARLETT EVER GOT RHETT BACK
Bessie: LORD, HAVE MERCY
Haskell:
EVERYONE HAS A YEARNING
FOR RHETT AND SCARLETT AS WE ALL
DO AND ALL ROMANTIC STORIES,
BUT SHE WAS TOUGH, AND SHE DID
NOT HAVE THEM GET TOGETHER
IN THE END AND I THINK THAT EDGE
HAS REALLY GIVEN IT SOMETHING
THAT IS VERY UNCONVENTIONAL
RHETT!
RHETT! RHETT!
RHETT! IF YOU GO,
WHERE SHALL I GO, WHAT SHALL I DO?
FRANKLY, MY DEAR,
I DON'T GIVE A DAMN.
Narrator: FOREIGN SALES OF
"GONE WITH THE WIND"
SWEPT THE GLOBE
MITCHELL WAS SUDDENLY ONE OF
THE WORLD'S MOST FAMOUS PEOPLE
SHE WAS SO FAMOUS THAT SHE GOT
MAIL, ENVELOPES
THAT JUST SAID
"MARGARET MITCHELL...
GONE WITH THE WIND"
Narrator: MITCHELL HAD ONCE
WANTED FAME,
BUT THE REALITY OF IT WAS
A SHATTERING EXPERIENCE
I LEFT TOWN THREE DAYS
AFTER I WAS PUBLISHED.
I'D LOST ABOUT 10 POUNDS IN
AN ALARMINGLY SHORT TIME.
I FELT DREADFULLY, WEPT WHEN THE
PHONE RANG,
AND IT RANG
EVERY FIVE MINUTES.
I WASN'T CUT OUT
TO BE A CELEBRITY.
I DON'T LIKE IT WORTH
A DAMN.
Narrator: "GONE WITH THE WIND"
WON THE PULITZER PRIZE
FOR LITERATURE IN 1937
THE BOOK'S PHENOMENAL SUCCESS
ATTRACTED HOLLYWOOD PRODUCER
DAVID O SELZNICK,
WHO PAID MITCHELL $50,000
FOR THE MOVIE RIGHTS,
A RECORD SUM
FOR A FIRST NOVEL
AFTER SELZNICK PURCHASED
THE FILM RIGHTS TO "GONE WITH THE
WIND,"
HE WANTED
MARGARET MITCHELL'S HELP,
WHETHER TO HELP HIM WRITE
THE SCREENPLAY
OR ANSWER QUESTIONS
ABOUT THINGS
SHE ABSOLUTELY REFUSED
IF SOUTHERNERS DIDN'T LIKE
THE PICTURE
AND KNEW I HAD WORKED ON THE
SCRIPT,
I'D NEVER LIVE IT DOWN.
Narrator: MITCHELL NEVER WENT
TO HOLLYWOOD
INSTEAD, HOLLYWOOD
CAME TO HER
Announcer:
GALA DAYS IN DIXIE
STREAMLINED WINGS OF THE WIND
BRING HOLLYWOOD TO ATLANTA
FOR A HISTORY-MAKING
WORLD PREMIERE
OF THE MOTION PICTURE EPIC "GONE
WITH THE WIND"
SOUTHERN HOSPITALITY IS AT FEVER
PITCH
AS DISTINGUISHED VISITORS
ARRIVE,
HEADED BY PRODUCER
DAVID SELZNICK AND SCREEN STARS
OLIVIA DE HAVILLAND
AND VIVIEN LEIGH
♪♪♪
Narrator: ON DECEMBER 15, 1939,
THE MOVIE
OF "GONE WITH THE WIND"
PREMIERED IN ATLANTA
AS CROWDS SWELLED
TO THE HUNDREDS OF THOUSANDS,
IT WAS APPARENT THE SOUTH HAD
BEEN WAITING A LONG TIME
FOR THIS MOMENT
Haskell: THE PREMIERE WAS
THE VINDICATION OF THE SOUTH
IT WAS AS IF THEY HAD FORCED
SHERMAN'S ARMY INTO RETREAT
YOU KNOW, THEIR VICTORY,
THE LONG DELAYED VICTORY
THIS WAS THE FIRST ARTICULATE
FIERY RESPONSE FROM THE SOUTH
AND FROM THE SOUTHERN WOMAN'S
POINT OF VIEW
THAT TOLD WHAT THEY CONSIDERED
THE TRUE STORY
Narrator: MITCHELL DID NOT
ATTEND THE GLAMOROUS
JUNIOR LEAGUE BALL ON THE NIGHT
BEFORE THE PREMIERE
YEARS EARLIER,
SHE HAD BEEN BLACKBALLED
BY THE JUNIOR LEAGUE
AND SOME WONDERED IF SHE WERE
GETTING HER REVENGE
BUT CLARK GABLE FOUND HER
AT A PRESS EVENT,
PULLED HER INTO A PRIVATE ROOM
AND SHUT THE DOOR
Wiley: WE DON'T KNOW WHAT THEY SAID,
BUT WHEN CLARK GABLE CAME OUT,
HE LATER TOLD PEOPLE THAT
SHE WAS THE MOST FASCINATING
WOMAN HE HAD EVER MET
THIS IS MARGARET MITCHELL'S
NIGHT
AND THE PEOPLE
OF ATLANTA'S NIGHT
Announcer: DIMINUTIVE
MARGARET MITCHELL, THE AUTHOR,
WHO RARELY APPEARS IN PUBLIC
ATTENDS TO SEE HER BRAINCHILD
Narrator: AT THE PREMIERE,
MITCHELL SHRANK
FROM THE LIMELIGHT,
BUT AFTER SEEING THE MOVIE,
SHE SAID A FEW WORDS
TO THE THEATER AUDIENCE
Mitchell: THIS PICTURE
WAS A GREAT EMOTIONAL EXPERIENCE
FOR ME
AND I WANT TO COMMEND MR.
SELZNICK'S COURAGE
AND HIS DETERMINATION
TO GET
THE EXACT CAST HE WANTED
I THINK YOU'LL ALL AGREE
WITH ME,
HE HAD THE ABSOLUTELY
PERFECT CAST
Narrator: THE MOVIE'S BLACK
ACTORS HAD NOT COME TO ATLANTA
IN THE ERA OF SEGREGATION,
THEY WOULD NOT BE ABLE
TO STAY IN THE SAME HOTEL AS
CLARK GABLE AND VIVIEN LEIGH
THE FOLLOWING YEAR, HATTIE
McDANIEL WOULD BECOME
THE FIRST AFRICAN-AMERICAN TO WIN
AN ACADEMY AWARD
FOR HER PORTRAYAL OF MAMMY
IN "GONE WITH THE WIND"
Haskell: I MEAN WE CANNOT BELIEVE
THAT HATTIE McDANIEL
WAS THE FIRST BLACK
TO WIN AN OSCAR
AND COULD NOT COME
TO ATLANTA TO THE PREMIERE
BUT AT THE SAME TIME,
EVEN IN HOLLYWOOD, WHEN SHE
WENT TO THE OSCARS,
SHE WAS AT A TABLE BY HERSELF
SHE COULDN'T BE WITH THE REST
OF THE CAST
Narrator: IN THE EARLY MORNING
HOURS AFTER THE PREMIERE,
MITCHELL WROTE
TO HATTIE McDANIEL
"THE PREMIERE AUDIENCE
LOVED YOU, AND SO DID I.
THE MAYOR OF ATLANTA
CALLED FOR A HAND
FOR "OUR HATTIE McDANlEL."
AND I WISH YOU COULD HAVE
HEARD THE CHEERS
Narrator: AS WORLD WAR II
RAGED IN EUROPE,
THE NAZIS BANNED
"GONE WITH THE WIND"
THEY CLAIMED IT INSPIRED
THE FRENCH RESISTANCE
Freer: I THINK THE NAZIS WHO BANNED
"GONE WITH THE WIND"
WERE AFRAID THAT IT WOULD
GIVE PEOPLE HOPE
IT WOULD GIVE PEOPLE
THE WILL TO SURVIVE
UNDER OCCUPATION
Narrator: THE RUSSIANS WOULD
LATER BAN "GONE WITH THE WIND"
THROUGHOUT THE SOVIET EMPIRE
SCARLETT O'HARA WAS NOT
A FAN OF WAR,
AND THAT MADE HER DANGEROUS
"THE CAUSE DIDN'T SEEM
SACRED TO HER.
THE WAR DIDN'T SEEM TO BE
A HOLY AFFAIR
BUT A NUISANCE THAT KILLED MEN
SENSELESSLY."
DURING THE WAR, SHE SENT
COUNTLESS NUMBERS OF BOXES,
PACKAGES,
TO VICTIMS IN
THE WAR-TORN COUNTRIES
BESSIE OFTEN HELPED HER
Narrator:
MITCHELL EMBRACED
THE ROLE OF RED CROSS VOLUNTEER
AND RAISED MILLIONS
FOR THE WAR EFFORT
Wiley: SHE, OF COURSE, WAS ASKED
TO CHRISTEN THE USS ATLANTA.
SHE RAISED MILLIONS
OF DOLLARS FOR THAT
AND WENT TO NEW JERSEY
TO CHRISTEN THAT SHIP
Announcer: THE VERY SAME MARGARET
MITCHELL
WHOSE NOVEL,
"GONE WITH THE WIND,"
MADE LITERARY
AND MOTION PICTURE HISTORY
WHAT MORE APPROPRIATE THAN TO
HAVE ATLANTA'S FAVORITE DAUGHTER
CHRISTEN THE ATLANTA?
I CHRISTEN THEE THE USS ATLANTA.
Wiley: WHEN IT WAS SUNK
DURING THE WAR,
SHE RAISED MONEY
AND SHE CHRISTENED
A SECOND USS ATLANTA.
Narrator: BY THE 1940s,
MARGARET MITCHELL WAS NOT JUST
FAMOUS, SHE WAS RICH
NOTHING ABOUT HER CHANGED
IN ANY SIGNIFICANT WAY
WITH THE INCOME FROM
"GONE WITH THE WIND"
NONE AT ALL
FRIENDS WONDER WHY IN HELL
I PERSIST IN DRIVING
A 1929 MODEL CAR AND WEARING
FOUR-YEAR-OLD COTTON DRESSES.
Walker: INSTEAD OF SPENDING IT
ON HERSELF,
SHE USED IT WISELY
TO HELP OTHER PEOPLE
Narrator: IN 1942, MITCHELL
RECEIVED A LETTER
FROM DR. BENJAMIN MAYS,
PRESIDENT OF ALL-BLACK
MOREHOUSE COLLEGE IN ATLANTA
HE SAID, "WILL YOU GIVE
ONE SCHOLARSHIP OF $80 FOR ONE
STUDENT?"
AND MARGARET MITCHELL WROTE BACK
AND SENT A CHECK,
SO THAT WAS THE BEGINNING
OF THE RELATIONSHIP
IT WAS ENOUGH TO SUPPORT A
STUDENT
FOR A YEAR'S WORTH OF TUITION
THAT'S
AN ATTRACTIVE SCHOLARSHIP
Narrator: BENJAMIN MAYS
WAS A POWERFUL FIGURE,
WHO WOULD BECOME THE MENTOR OF
MARTIN LUTHER KING, JR
HE SENSED THAT MARGARET MITCHELL
MIGHT BE OPEN
TO HIS IDEAS ON EDUCATION
HE WAS RIGHT
"DEAR PRESIDENT MAYS,
THANK YOU FOR YOUR IDEAS
ON THE BEST USE OF THE $2,000 I SENT
YOU
FOR MEDICAL
AND DENTAL STUDENTS."
Narrator: MITCHELL AND MAYS
BEGAN A SECRET CORRESPONDENCE
HE WOULD MAKE THE REQUEST AND SHE
WOULD SEND THE MONEY
TO EDUCATE
AFRICAN-AMERICAN DOCTORS
Johnson: RACIAL TENSIONS
WERE VERY DIFFICULT AND DEEP AT
THAT TIME
IT'S AMAZING THAT DR. MAYS AND
MARGARET MITCHELL
WERE ABLE TO MAINTAIN THAT
RELATIONSHIP IN SPITE OF IT
Narrator: A MOREHOUSE COLLEGE
STUDENT COURIERED THE LETTERS
BETWEEN MITCHELL AND MAYS
BECAUSE OF THE DANGEROUS TIMES,
THE TWO NEVER MET
I WOULD LIKEN IT TO
AN UNDERGROUND RAILROAD
IN THE SENSE OF HOW THEY SENT
THE LETTERS BACK AND FORTH
IF THE WORLD HAD DISCOVERED
THAT MARGARET MITCHELL
WAS SUPPORTING
MOREHOUSE COLLEGE,
THAT GESTURE COULD HAVE
THREATENED HER LIFE WITH THOSE
WHO MIGHT HAVE BEEN
INCLINED TO RETALIATE
AGAINST ANYONE WHO'S PROMOTING
BLACK EDUCATION
Narrator: FOR THE REST
OF HER LIFE,
MITCHELL WOULD SEND SCHOLARSHIP
MONEY TO DR. BENJAMIN MAYS
NONE OF THE AFRICAN-AMERICAN
DOCTORS KNEW
WHO THEIR BENEFACTOR WAS
LATER, SHE QUIETLY HELPED FUND
THE FIRST HOSPITAL FOR BLACKS
IN ATLANTA
THE TIME WILL COME
WHEN ATLANTA WILL BE
THE LARGEST NEGRO CITY
IN THE SOUTH.
WHEN THAT TIME COMES,
I HOPE WE WILL HAVE
EXCELLENT NEGRO DOCTORS
TO STAFF THIS HOSPITAL.
Franklin: AS TIME PASSED,
SHE GREW
SHE RELINQUISHED SOME
EARLY BELIEFS AND CONVICTIONS
WITH WHICH SHE HAD BEEN REARED
AND BEGAN TO SEE THE WORLD
THROUGH HER OWN EYES
Johnson: SHE MADE SUCH A GREAT
CONTRIBUTION TO MANKIND
IT WAS GREATER THAN MONEY
IT WAS SOMETHING SHE DID FOR
HUMANITY
Narrator: MITCHELL'S PERSONA WAS
SHIFTING AGAIN
NOW SHE IDENTIFIED HERSELF AS
MRS. JOHN MARSH
RATHER THAN MARGARET MITCHELL
Freer:
SHE COULD GO PLACES
AS MRS. JOHN MARSH WHERE PEOPLE
WOULDN'T KNOW MRS. JOHN MARSH
BUT THEY WOULD CERTAINLY KNOW
MARGARET MITCHELL
Haskell: MARGARET MITCHELL'S
SELF-IMAGE, HER PERSONA,
NEVER SETTLED INTO ONE FORM
Pyron: AM I A WRITER,
AM I A WIFE?
SHALL I BE FAMOUS ON MY OWN?
SHOULD I MAKE MORE MONEY
THAN MY HUSBAND?
WHAT HAPPENS IF I MAKE MORE
MONEY THAN MY HUSBAND?
IS HE MR. MARGARET MITCHELL?
Narrator: IN SPITE
OF HIS WIFE'S SUCCESS,
JOHN MARSH STILL WORKED
AT GEORGIA POWER
HE ALSO MANAGED THE BUSINESS
OF "GONE WITH THE WIND,"
A FORMIDABLE TASK
BUT IN 1945, HE SUFFERED
A MASSIVE HEART ATTACK
AND WOULD NEVER WORK
AGAIN
FOR TWO AGONIZING YEARS,
MITCHELL NURSED HER HUSBAND
UNTIL HE WAS OUT
OF DANGER
THEY LIVED QUIETLY
AND WERE SOMEWHAT
RECLUSIVE
THEIR FAVORITE PASTIME
WAS WATCHING MOVIES
BUT THEIR LOVE OF MOVIES
WOULD END TRAGICALLY
IN MITCHELL'S
FINAL ACCIDENT
ON AUGUST 11, 1949,
MARGARET MITCHELL WAS HIT
BY A SPEEDING CAR
AS SHE AND JOHN MARSH
WERE CROSSING PEACH TREE STREET
THEY WERE GOING
TO THE MOVIES
MITCHELL WAS TAKEN TO GRADY
HOSPITAL IN ATLANTA,
WHERE SHE LAY IN A COMA
FOR FIVE DAYS
THEN, ON AUGUST 16, 1949,
MARGARET MITCHELL DIED
SHE WAS 48 YEARS OLD
SHE WAS BURIED AT OAKLAND
CEMETERY IN ATLANTA
A HALF-CENTURY LATER,
THE WORLD WOULD LEARN
SHE HAD SECRETLY EDUCATED DOZENS
OF AFRICAN-AMERICAN DOCTORS,
BUT IT WAS NO SECRET TO ANYONE
THAT MARGARET MITCHELL HAD
WRITTEN A BOOK FOR THE AGES
Conroy: A WOMAN WHO HAD
NEVER WRITTEN A NOVEL
COMES OUT OF NOWHERE,
WRITES A BOOK THAT BECOMES THE
BIGGEST LEGEND,
MOST SUCCESSFUL BOOK PUBLISHED
IN THE 20th CENTURY
SHE WROTE A TEXT ABOUT WHAT
IT MEANS TO BE HUMAN
AND UNTIL WE BECOME MACHINES AND
ALL CLONES,
IT WILL CONTINUE TO SPEAK
TO THE HUMAN CONDITION
AND PEOPLE WILL CONTINUE TO READ
IT
Narrator: MARGARET MITCHELL'S
LAST ACT OF REBELLION
CAME FROM BEYOND
THE GRAVE
SHE ASKED HER HUSBAND TO BURN
THE ORIGINAL MANUSCRIPT
OF "GONE WITH THE WIND"
UPON HER DEATH
WITH GREAT SADNESS,
JOHN MARSH WATCHED
AS THE FLAMES CONSUMED
HUNDREDS OF PAGES
BEFORE IT WAS OVER,
HE RESCUED SEVERAL CHAPTERS
AND STORED THEM IN A VAULT,
IN CASE ANYONE EVER QUESTIONED
HER AUTHORSHIP
WE MAY NEVER KNOW WHY MARGARET
MITCHELL WANTED
TO DESTROY THE STORY SHE HAD
SPENT A LIFETIME CREATING
BUT ONE THING SEEMS CERTAIN
"GONE WITH THE WIND"
WILL LIVE ON AND ON
"IF THE NOVEL HAS A THEME,
IT IS THAT OF SURVIVAL.
WHAT QUALITIES ARE IN
THOSE WHO SURVIVE
THAT ARE LACKING
IN THOSE WHO GO UNDER?
I ONLY KNOW THAT SURVIVORS
USED TO CALL
THAT QUALITY 'GUMPTION.'
SO I WROTE ABOUT PEOPLE
WHO HAD GUMPTION...
AND PEOPLE WHO DIDN'T."
TO LEARN MORE ABOUT MARGARET
MITCHELL,
BY AN AWARD FROM THE NATIONAL
ENDOWMENT FOR THE ARTS.
ART WORKS.
AND BY THE CORPORATION
FOR PUBLIC BROADCASTING.
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FROM VIEWERS LIKE YOU.
Someone needs to stop Clearway Law.
Public shouldn't leave reviews for lawyers.