Is This The Number 1 Movie of all Time

Gone with the Wind

The setting is a Georgia plantation. The year is 1861, and sixteen-year-old Scarlett O'Hara is infatuated with the blond, drowsy-eyed Ashley Wilkes - the problem is, Ashley plans to marry another woman. Little matter that every other man in the county is courting Scarlett and that a charming scoundrel named Rhett Butler is staring at her with questionable intent - she cares only for Ashley.

Suddenly, the Civil War brakes out, changing the fates and fortunes of all. Scarlett, clever, manipulative, and charming, proves an adept survivor - but what will she have to do to survive? And will she ever learn whom it is that she really loves?

GWTW is one of the most meticulously cast films ever; with the possible exception of Leslie Howard as Ashley (in his forties, rather old to be playing a man half that age), every role was perfectly assigned. After you watch Vivien Leigh you will be unable to imagine anyone else playing Scarlett, and Hattie McDaniel's strong, unforgettable performance as "Mammy" netted her an academy award (the first for an African-American actor).

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Editors note

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GWTW's backdrop is the gruesome Civil War, and in the end this film is the story a woman and a civilization (the Old South) going through a war that will not leave either of them unchanged.

The cinematography is beautiful, memorable. Gone With the Wind was shot entirely in gorgeous technicolor; the scene of the fire in Atlanta required the use of all eight technicolor cameras in existence at the time.

The pragmatic may think Gone with the Wind overly dramatic; the restless may find it too long; the action-stimulated, too subtle. None of this, however, detracts from the fact that GWTW retains a lasting appeal as one of the crowning cinematic achievements of the 20th century. Those who see its ending as depressing - tragic, even - perhaps miss the point - which Scarlett O'Hara makes in her very last instant with us, tear-stained eyes uplifted in a sudden, curious burst of hope beneath all the turmoil; that .. . "After all, tomorrow is another day

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Sleuth

The plot details remain the same. Handsome hairdresser Tindle (Jude Law) turns up at the opulent, gadget-laden home of crime novelist Wyke (Michael Caine), whose wife he has been seeing for some time. Tindle wants Wyke to grant a divorce, but the crafty writer is having none of it, and he has his own plan for revenge against this cocky young philanderer. The stage is set for a battle of wits which grows increasingly tense and dangerous as the night drags on, and which ultimately ends in murder – or does it?

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Editors Note

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It's an inherently stagey setup – just as it was in Joseph L Mankiewicz's mildly entertaining 1972 film – but Branagh's attempts to spice it up visually just get in the way of the drama. He goes overload on the tricksy camera angles, garish lighting, and some bizarre production design which leaves Wyke's house resembling the lair of a 1970's Bond villain. The picture is cluttered, with the director failing to give his story enough breathing space to make an impact on the viewer. Branagh has also shorn over 50 minutes from the original film, but even at this brisk length his Sleuth can't sustain itself, with Pinter's coarse, blunt dialogue getting old very quickly, and the whole thing sliding into homoerotic lunacy in its final third.