Gone With the Wind《飄》作者Margaret_Mitchell的故。電影影《亂世佳人》 Scarlett O'Hara
https://en.wikipedia.org/wiki/Margaret_Mitchell
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張華《飄 - Gone with the Wind 》: 世界上沒有圓滿無缺的人生
隨風而逝：她49歲因車禍離世，一生僅留一部作品， 卻成為傳世經典——《飄 - Gone with the Wind 》的作者瑪格麗特·米切爾傳奇戀情。
《飄》被譽為美國最偉大的小說。該書作者瑪格麗特·米切爾， 一生只寫了一部作品，就是這本經典的《飄》。而同書中主人公斯嘉麗一樣，瑪格麗特也曾經歷過曲折的感情路。
在荳蔻年華里，與一位年輕的少尉相愛。可戰爭奪去了他的生命， 童話般的戀情，化為心底的傷口。後來她披上婚紗，嫁給了母親朋友的兒子。然而，他卻是個酒鬼， 風流成性，對她打罵凌辱。三個月後，他們離婚了。此時，救她出苦海的不是別人， 而是婚禮上的伴郎約翰。那麼，伴郎約翰帶給她的，又是什麼樣的生活呢？
她曾從童話的初戀跌落，從黑暗的地獄中掙脫。約翰終於將她接回了 人間，讓她體會到了真切的溫暖。約翰不僅給她生活上的體貼，更能夠欣賞、尊重她的才華， 讓她的靈魂也開始有所歸依。那時，約翰供職於美聯社，是一名優秀的編輯。他早就傾慕瑪格麗特 的才華，便鼓勵她繼續寫作，還幫她在《亞特蘭大新聞報》，找了一份記者的工作。就這樣，瑪格麗特成了一名女記者，這是那個時代少有的。
她體重45公斤，個頭只有1米52，嬌小玲瓏。可她卻蘊含巨大能 量，不僅能出色完成採訪任務， 文筆也讓讀者和同行稱讚。不久以後，她就成了報社的大牌記者。總編也對她讚賞有加， 甚至讓人將桌腿鋸短，來適應瑪格麗特的身高。在充實、快樂的工作中，瑪格麗特終於再次恢復活力， 而她的第三段愛情，也燃燒起來了。
這次她愛上的不是別人，正是懂她也愛她的約翰。1925年，25歲的瑪格麗特，嫁給了30歲的約翰。婚後， 他們搬到了亞特蘭大一所三層小樓裡。和她從小長大的莊園相比，這所小樓甚至有點簡陋， 瑪格麗特給小樓起了個別名——垃圾堆。
瑪格麗特·米切爾與約翰的舊居，被她親切地稱為“垃圾堆”。然而，“垃圾堆”裡的生活，卻是溫暖而甜蜜的。夫妻倆在工作之餘 ，一起看書，一起寫作，一起暢談理想，“垃圾堆” 裡充滿了歡聲笑語。
約翰給了嬌妻極大的包容，甚至允許她不隨夫姓—— 這在當時的美國，可謂“離經叛道”。
瑪格麗特當了4年的記者，發表了129篇專題文章、 85篇新聞報導。她十分熱愛這份工作。然而，因為一次意外，她的腳踝受傷，留下了後遺症， 無法再去採訪，便只好回家當主婦。
習慣了東奔西跑的瑪格麗特，突然像被關在籠中的小鳥， 心裡真是難受極了。
她只能一本接一本地看書，讓靈魂在書海中徜徉。約翰便不辭辛苦， 一趟一趟地去圖書館為妻子借書。然而有一天，瑪格麗特再央求約翰借書時，他卻拒絕了。不是因為他厭煩了跑圖書館，而是因為他看穿了妻子的心， 看到了她無處安放的才華。這樣一個優秀的女子，怎能甘於做一個家庭主婦呢？
於是，他對妻子說：“與其一本接一本地看別人的書， 你為什麼不自己寫一本書呢？”
瑪格麗特驚呆了，丈夫的話突然打動了她的心。她想起了外婆講的那些故事，童年、少女時代的回憶， 潮水一般湧來……她坐在約翰給她買的打字機前，文字便在她腦海中吵嚷著、擁擠著， 她顫抖著敲下了第一行字……
因為是第一次寫長篇小說，背景又是宏大的南北戰爭， 她寫起來毫無頭緒，想到什麼情節就寫什麼情節。據說， 她最開始寫的那章文字，其實用在了書的最後一章。每當寫完一部分，丈夫就成了她的第一讀者。而約翰給出的意見， 總是既帶著鼓勵，又有專業建議，這讓她居然堅持寫了下去， 一寫就是8年……
而在這8年間，約翰不僅是她的讀者、他的老師， 還充當了她的秘書、她的編輯。那時，約翰已成為廣告經理人，工作十分繁忙。然而， 每天忙完自己的工作，他仍堅持幫妻子整理書稿。
有朋友問他累不累時，他說：“我願放棄一切，去擁抱妻子的天賦。
隨著小說的稿樣一頁頁加厚，夫妻的感情也越來越醇厚。也許這部小說永遠不會出版，可那又怎麼樣呢？他們已經在這個過程 中，獲得了沉甸甸的幸福。
1935年，一位有遠見卓識的出版商，敲開了“垃圾堆”的門。他偶然聽說，有位家庭主婦在寫文章，並且是南北戰爭題材的， 便想親自登門拜訪。
瑪格麗特簡直不敢相信，自己第一次寫長篇小說， 就能引起出版商的注意。在約翰的鼓勵下， 她顫抖著將稿樣交給出版商。出版商讀著讀著，手也開始顫抖起來。他意識到，這將是一部偉大的暢銷作品！當場跟這對夫婦簽了合同 。
夫婦倆激動不已，他們加班加點編輯、校對，終於在第二年， 將完整的書稿，交給了出版社。果然，《飄》剛一出版，便迅速風靡。人們被小說的情節所震撼， 被女主角的倔強與勇氣而感動，信件像雪片般湧來……彷彿在一夜之 間，瑪格麗特成了一名巨星！
1937年，瑪格麗特相繼獲得了普利策獎和美國出版商協會獎。1939年根據《飄》改編的電影《亂世佳人》上映， 轟動效應，獲得近十項奧斯卡獎。瑪格麗特也從一位家庭主婦，搖身成為備受矚目的大作家， 頻頻出現在各類媒體上。而約翰則永遠站在她背後， 給予她默默的陪伴和鼓勵。
就這樣，瑪格麗特在第三段愛情中，尋找到了真正的自我， 彷彿是鳳凰振翅，翱翔天宇……這，不是童話般的愛情給予的，不是煉獄般的婚姻磨練的， 而是真實可觸的塵世的幸福呵護而成的。
瑪格麗特一生只寫了這一部小說，被稱為“美國最偉大作品” 的小說。幾十年來，《飄》成為文學經典，許多作家為它撰寫續集， 希望它永遠不會完結。然而，瑪格麗特的生命卻再也沒有續集了。
1949年8月11日晚上，她與約翰看完電影散步回家， 一輛疾馳而來的汽車，將她撞飛。她重重地摔在地上，溫熱的血從傷口湧出。漸漸地， 她聽不見愛人的呼喚了，她的靈魂就像那本書名：Gone with the wind……隨風而去，她彷彿完成了一項使命，昏迷幾天后生命也消散了。她甚 至還來不及對約翰最後說一次“我愛你”。約翰心如刀割，淚流成河。瑪格麗特沒有為他留下孩子，而《飄》就 是他們愛情的結晶。
在餘生，約翰一直守護著這個“孩子”，一直到他也歸於塵土……
1940年1月2日-24日 頁3 與李國親和其家人 去看
Gone with the Wind (film) - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Gone_with_the_Wind_(film)
Gone with the Wind《飄》《亂世佳人》「風と共に去りぬ」
https://www.youtube.com/watch?v=lxO3qqOXYCc&feature=youtu.be
adapted from Margaret Mitchell's Pulitzer-winning 1936 novel and produced by David O.
Published on May 1, 2014
Winner of eight Academy Awards - featuring the biggest stars from Hollywood's Golden Age and still number one in ticket sales - "Gone With The Wind" continues to captivate the world 75 years after it was made.
The Harry Ransom Center, a humanities research library and museum at The University of Texas at Austin, is organizing a major exhibition about the making of "Gone With The Wind", the 1939 blockbuster film based on the Pulitzer Prize-winning novel by Margaret Mitchell,
Opening in September 2014 the exhibition will be an historical examination into the making of this quintessential Hollywood film.
Before a single frame was shot, the film was embroiled in controversy for its depiction of race and violence in the Civil War-era Old South.
Drawn exclusively from the Ransom Center's David O. Selznick archive, the exhibition will include photographs, audition footage, storyboards, letters, and the legendary producer's own memos.
Visitors will get a behind-the-scenes view of the four year journey, from the purchase of the movie rights, to Hattie McDaniel's Oscar win as best supporting actress.
The exhibition will also feature three original gowns worn by Vivien Leigh, in her Oscar-winning performance as Scarlett O'Hara.
The newly conserved costumes will be displayed together for the first time in more than 25 years.
Visitors will be swept away by the tumultuous story behind the making of "Gone With The Wind" including issues of race and the film's depiction of history.
A beautifully illustrated book featuring never-before-seen images will serve as a permanent record to the exhibition.
A companion web exhibition will also be launched on the Ransom Center's website.
The 75th anniversary of this classic film provides an unique opportunity to showcase the Ransom Center's magnificent David O. Selznick collection and to provide a contemporary perspective on why "Gone With The Wind" remains one of the most iconic films of all time.
《我將是你的鏡子》( I'll Be Your Mirror: The Collected Andy Warhol Interviews)
頁258:".....有40個演員，她們每個都把 Scarlett O'Hara角色演得很不一樣。她們都有一套。那很有意思。" (我將原譯的他轉為她，因為譯者可能沒注意到性別。)Andy Warhol 可能指下一片子：
The Scarlett O'Hara War is a 1980 made for TV movie directed by John Erman. It is based on the novel Moviola by Garson Kanin. The film is set against the backdrop of late 1930s Hollywood as the search for Scarlett O'Hara begins to unfold.
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My love affair with Scarlett O'Hara
As Gone With the Wind is re-released, Hannah Betts explains why its leading lady – and the star who played her – was a pioneering influence
'Better to be all woman than a sappy lady’: among other lessons, Scarlett enlightened Hannah, above, about great love and taking responsibility for mistakes Photo: Andrew Crowley
By Hannah Betts
7:00AM BST 19 Oct 2013
4 Comments
New Zealand Cousin Carol entered my life when I was a gauche eight-year-old, she a barely less gauche (being from NZ) 22. She stayed with my family at weekends, the two of us becoming unlikely room-mates. At her hands I was initiated in such feminine arcana as scouring my face off with a Buf-Puf (tick), giggling about boys (fail), and the merits of sexy underwear (happily then something of a pass).
On one score, however, she proved the oracle. During one of our late-night conferences, she handed me a heavy tome, with a cover of a dancing girl in a jet crinoline. She was the most ravishing woman I had ever seen. “This is something you will need,” NZCC intoned, the weight of womanhood behind her. “Read it and you will understand why.” In one bound, I had been both Scarletted and Viviened.
And so began a lifelong romance. It is a love affair I will be reliving over the next few weeks. First, at the V & A’s new Leigh display, opening on November 5, the 100th anniversary of her birth. Second, at Starring Vivien Leigh: a Centenary Celebration at the National Portrait Gallery. And, finally, by losing myself in all the digitally remastered glory of Gone With the Wind (1939), released on November 22 nationwide as part of the British Film Institute Leigh season to mark the same centenary.
Once again, I will revel in Scarlett – and Leigh’s – life lessons. For what didn’t Gone With the Wind teach impressionable females, whether in prose or (extremely) glorious Technicolor? If Margaret Mitchell’s Pulitzer-winning epic schooled me about the American Civil War, it no less enlightened me in other matters. Mitchell gave us mothers and daughters, fathers and sons, feminine rivalries and grudging friendships.
One learns that great love may be merely an idea – and a wrong idea, at that. Scarlett World exemplifies the principle that no one can rescue you but yourself: that life means taking responsibility for – then clawing one’s way out of – a series of monumental mistakes; tomorrow, as ever, being another day. Better be all woman than some sappy lady. Not all heroines are blonde. Charm is more important than beauty (as the novel’s opening line asserts: “Scarlett O’Hara was not beautiful, but men seldom noticed it when caught by her charm...”) Flirting can be a girl’s most powerful weapon, for which the right outfit is key, even when one has to drag down one’s late mother’s curtains. Bosoms may indeed be strategically bared before noon.