Enhance Your Quote Experience
Enjoy ad-free browsing, unlimited collections, and advanced search features with Premium.
It would seem that Gone With the Wind, written by a woman, concerned with a woman, and read by millions of women all over the world, is working out o… - C. A. Lejeune
" "It would seem that Gone With the Wind, written by a woman, concerned with a woman, and read by millions of women all over the world, is working out on form. That is to say, it is primarily a woman's picture.
I say that advisedly, not to suggest that men won't like it, but because I am so sure that women will. It may not be a great, significant picture, with a strong, central theme, but I don't honestly believe that women care so much about great, significant pictures with strong, central themes. What they prefer, and what they will get in Gone With the Wind is a vivid account of personal and intimate details of this meeting and that quarrel; [life] seen not broadly, in perspective, but urgently, from day to day, as if they were living it themselves. Women are only dimly concerned with the meaning of what is happening in the world, but passionately concerned with the effect of what is happening on So-and-So. The American Civil War. the abolition of slavery, the burning of a city, the end of a social order, even the birth of a nation, would hardly in themselves justify the film's three hours and forty minutes of running-time. But in order to discover what happened to Scarlett O'Hara, to Melanie. to Rhett Butler, to the black mammy, to Scarlett's baby, during these events, most women will sit through this enormous picture without a murmur.
Curiously enough, the dominant feminine interest in the picture has worked through even to the acting. The best performances are all women's.
English
Collect this quote
About C. A. Lejeune
Caroline Alice Lejeune (27 March 1897 – 31 March 1973) was a British writer remembered as The Observers film critic from 1928 to 1960. She was among the earliest newspaper film critics in Britain, and one of the first British women in the profession. She formed a friendship early in her career with Alfred Hitchcock, "when he was writing and ornamenting sub-titles for silent pictures," as she later wrote.
Also Known As
Alternative Names:
Caroline Alice Lejeune
•
C.A. L.
•
Mrs. Edward Roffe Thompson
•
Caroline Lejeune
•
C.A. Lejeune
•
C(aroline) A(nne) Lejeune
Related quotes. More quotes will automatically load as you scroll down, or you can use the load more buttons.
Additional quotes by C. A. Lejeune
Its true concern, however, is with something much larger and more impalpable; the relationship between the crowd and the individual; the impersonal, jubilant, clamorous voice of the multitude, and the personal, agonisingly articulated dumbshow of a man.
You have to go to literature, to the novels of Dickens and Dumas, to find crowd scenes so superbly and massively handled. The changing scene is packed with people; you fix your eye on an individual player, only to find him presently overwhelmed, submerged, drowned in a sea of faces. And rightly so, for that is the whole secret of Les Enfants du Paradis. The characters are initially thrown together by the crowd and eventually torn apart, like so much flotsam and jetsam.
The Cineguild director and producer, David Lean and Ronald Neame, have spared us nothing of the brutality of Oliver Twist.
All the ugliness is there: the filth and cold, humiliation and hunger; the thrashing of Oliver; the savage beating to death of Nancy; the special lust which Dickens describes in italics as "the passion for hunting something." All these things are realistically set out in the film in pictures as remorseless as a Cruikshank drawing. The producers have even added two special savageries of their own; an introduction in which Oliver's mother is seen battling through the storm in the last pangs of travail, and a climax in which the child is forced to climb to the chimney-stack and watch Bill Slkes hang himself. The introductory scene, as it happens, is magnificently done; the roof-tops sequence seems to me both distasteful and silly.
Try QuoteGPT
Chat naturally about what you need. Each answer links back to real quotes with citations.
[On the new CinemaScope process] The effect produced on the viewer is to make him feel he is sitting inside a monster pillar-box looking out through the slot at a world in the rough proportions of a dachshund.
For views of processions, or wide horizontal sweeps of plain or water this does not work out badly, but it comes hard-on actors who have to 'exchange confidences from the opposite, sides of a proscenium arch.
Loading...