The Times in June 2020 on this business of making moral judgements about the past, in particular with regard to slavery and the ways of thinking that made it possible:
But the 1939 classic — still the highest-grossing film of all time, adjusted for inflation — has enduringly shaped popular understanding of the Civil War and Reconstruction perhaps more than any other cultural artifact.
Before that of course it was The Birth of a Nation, as we talked about the other day. Both are disasters as shapers of popular understanding of the Civil War and Reconstruction. You might as well let Hitler’s favorite niece tell the story of the Holocaust. [Hitler had no niece. Hold the phone calls.]
The book was a surprise best-seller of massive proportions, and the movie broke all records. The thing mattered.
But even as white Americans embraced the moonlight and magnolias, African-Americans were registering objections. Soon after the producer David O. Selznick bought the rights, there were complaints that a movie version would incite violence, spread bigotry and even derail a proposed federal anti-lynching bill.
Something else it did, in my view, is plant and entrench an idea of Black people as born servants – as a kind of separate sub-species of human that is there to tighten the corsets and pick the cotton. Not bad, not necessarily officially inferior, just…destined. Destined to work for the white folks, and nothing else. All those movies and tv shows with a Mammy-equivalent in the kitchen and the nursery. She may even get some good lines, she may be shrewd or witty or both, but she is and always will be in service to the white folks. She won’t be doing the math for John Glenn, she won’t be Fanny Lou Hamer, she won’t be a doctor or lawyer or historian. She has her Place.
In 1936, Walter White, the secretary of the NAACP, wrote to [Selznick] expressing concern, and suggesting he hire someone, preferably an African-American, to check “possible errors” of fact and interpretation. “The writing of history of the Reconstruction period has been so completely confederatized during the last two or three generations that we naturally are somewhat anxious,” he wrote.
Selznick initially floated the name of one potential African-American adviser, but ultimately hired two whites, including a journalist friend of Mitchell’s, tasked with keeping the Southern speech authentic (a matter of great concern to some white fans of the novel who wrote to Selznick) and avoiding missteps on details like the appropriateness of Scarlett’s headgear at an evening party.
Point entirely missed.
[T]he film put the nostalgic Lost Cause mythology — by that point, the dominant national view of the Civil War — front and center, starting with the opening title cards paying tribute to “a land of Cavaliers and Cotton fields,” a “pretty world where Gallantry took its last bow.”
Are you able to hold on to your lunch? It’s a struggle here.
Among those who saw it around this time was a teenage Malcolm X. “I was the only Negro in the theater, and when Butterfly McQueen went into her act, I felt like crawling under the rug,” he wrote in his autobiography.
It is very very very cringe.
So. Sure, you can say that quarreling with GWTW is “virtue signaling” but you can also, or better yet instead, notice that the movie and the novel are full of racism signaling. Your call.