Wildtype 2023

Wildtype, the annual season of short films programmed by Wiwat Lertwiwatwongsa, returns next week. As in 2021 and 2022, Wildtype 2023 will take place at venues in several provinces: Doc Club and Pub in Bangkok, Mueang Thong Rama in Phayao, Chiang Mai University’s Department of Media Arts and Design, and Class Café in Korat. This year’s highlights include Koraphat Cheeradit’s Yesterday Is Another Day, Vichart Somkaew’s Cremation Ceremony (ประวัติย่อของบางสิ่งที่หายไป), and Chulayarnnon Siriphol’s ANG48.

In Yesterday Is Another Day, a teenage boy enjoys what could be his last day of freedom, as he prepares to appear in court on lèse-majesté charges. Cremation Ceremony condemns three Thai politicians—Anutin Charnvirakul, Abhisit Vejjajiva, and Prayut Chan-o-cha—by slowly burning their portraits in a metaphorical act of retribution. ANG48 reappropriates footage from Chulayarnnon’s recent video works, including his banned film Birth of Golden Snail (กำเนิดหอยทากทอง).

Yesterday Is Another Day and Cremation Ceremony will be screened in Bangkok on 1st October, and in Chiang Mai on 5th October. Yesterday Is Another Day will also be shown in Phayao on 1st October. ANG48 will be shown in Bangkok and Phayao on 1st October, and in Chiang Mai on 4th October. All three films will be screened in Korat on 1st October.

Yesterday Is Another Day had a previous screening at Silpakorn University in Bangkok. Cremation Ceremony has previously been shown at the AEY Space gallery in Songkla, at Lorem Ipsum in Hat Yai, and at the University of Phayao. Both films were also included in this year’s Chiang Mai Film Festival. ANG48 was first shown at the Jim Thompson Art Center in Bangkok.

Dragon Inn

King Hu’s Dragon Inn (龍門客棧) will be shown at Chulalongkorn University next week as part of a triple bill. The screening, organised by Nitade Movie Club, will be at the Faculty of Communication Arts on 19th September. Dragon Inn (also known as Dragon Gate Inn) set the template for the modern wuxia (martial-arts fantasy) film, and the genre was revived in the 2000s by Crouching Tiger, Hidden Dragon (臥虎藏龍) and Hero (英雄).

6ixtynin9: The Series

Pen-ek Ratanaruang’s 6ixtynin9: The Series (เรื่องตลก 69 เดอะซีรีส์) was released on Netflix on 6th September (6/9). Pen-ek has remade his 1999 thriller 6ixtynin9 (เรื่องตลก 69) as a six-episode series with a new cast. In an interview with the Bangkok Post two days before the release date, he denied that the project was a straightforward remake: “I wouldn’t call it a remake because that wasn’t what I intended to do... I think this is a new version of the story and not a remake. There are more storylines, new characters and locations.”

The plot has certainly been expanded, though the events of the original film are all repeated. (Even the 1990s technology has barely been updated: the characters now have smartphones, but landlines and cassettes are still significant to the plot.) As in the film version, a young woman (Toom) loses her job and finds ฿1 million in a box outside her door. Like the similar setup in Shallow Grave, this unexpected windfall soon leads to unwanted visitors and bodies piling up. Alfred Hitchcock is another clear influence, especially Rope (bodies in chests) and Psycho (the swamp). Pen-ek even has a Hitchcockian cameo in the series, as an advertising executive.

While Toom’s plotline sticks closely to the film version, there’s a new subplot involving a police drugs raid (which takes up most of the final episode), and a mysterious woman in white who greets the deceased at the pearly gates. (This female Saint Peter is played by Veeraporn Nitiprapha, author of The Blind Earthworm in the Labyrinth/ไส้เดือนตาบอดในเขาวงกต). The heavenly sequences take the series into Magical Realist territory, when two dead characters are—literally—given a new lease of life. This initially seems like a reprieve for one man, though he dies again when a joke from the film version is actually carried out in the series (in a reference to In the Realm of the Senses/愛のコリーダ).

The series is more graphic than the film, as the film was made before Thailand’s movie rating system was introduced. (The sex scenes are framed similarly to those in Pen-ek’s Ploy/พลอย.) In an interview for Thai Cinema Uncensored, Pen-ek described how the censors instructed him to add a caption reassuring cinema audiences that Toom had been successfully apprehended by the police: “we were asked by the police to put the rolling credit saying that she was caught and went to jail.” Their justification wasn’t the usual crime-doesn’t-pay moral lesson; instead, it was a face-saving measure by the police: “if the girl could do this, the police look bad.”

The film was made, and set, in the aftermath of Thailand’s 1997 economic collapse (known here as the ‘tom yum goong crisis’). The new series was filmed shortly after the coronavirus pandemic, which has caused similar economic damage. Toom’s company goes bankrupt and—like real-life businesses such as Kaplan Thailand—its management tries to avoid giving its staff the severance pay they’re legally entitled to.

The show also has a political message: news reports of pro-reform student protests are seen on TV sets throughout the series, starting with footage from 16th October 2020. Similarly, Snap (แค่... ได้คิดถึง), The Island Funeral (มหาสมุทรและสุสาน), Tang Wong (ตั้งวง), and Pen-ek’s short film Two Little Soldiers (สาวสะเมิน) are also punctuated by news reports of political violence. The series ends with an ominous written epilogue speculating on another state crackdown: “THE WIND OF CHANGE HAS BLOWN AWAY... TEAR GAS A YEAR LATER. BUT HOW LONG WILL IT LAST? ONLY TIME WILL TELL.”

The film version of 6ixtynin9 was shown at Bangkok Screening Room in 2017. As part of a Pen-ek retrospective in 2018, it was screened on DVD at the Jam Factory and in 35mm at House RCA, and it was also shown at Alliançe Francaise as part of another Pen-ek retrospective that year. Pen-ek’s other films include Paradoxocracy (ประชาธิป'ไทย), Invisible Waves (คำพิพากษาของมหาสมุทร), Nymph (นางไม้, screened in two versions), Headshot (ฝนตกขึ้นฟ้า), and Samui Song (ไม่มีสมุยสำหรับเธอ).

Blade Runner

Ridley Scott’s dystopian science-fiction classic Blade Runner will be shown next month at House Samyan in Bangkok. The film has been released in five different versions: the workprint, the US theatrical cut (with a studio-imposed happy ending), the international theatrical cut (with slightly more violence), the director’s cut (with a unicorn dream sequence), and the 2007 ‘final cut’ (with some CGI enhancements).

House Samyan will show the 2007 version on 6th, 7th, and 8th October. (The screenings are organised by Doc Club and Pub.) Blade Runner was previously shown at Bangkok Screening Room in 2017, at the Jam Café in 2019, and at Arcadia this year. (In fact, the film inspired much of Arcadia’s décor and branding.)

The Exorcist

This month sees another theatrical rerelease of William Friedkin’s classic horror film The Exorcist, which returns to Thai cinemas on 28th September. (Strangely, not at Halloween.)

The film is being advertised as an ‘extended director’s cut’, though that label is rather misleading: at the request of the screenwriter, Friedkin reinstated some sequences he had previously left on the cutting-room floor, so it would be more accurate to call it an extended writer’s cut. Friedkin also took the opportunity to add subliminal CGI demon faces in several scenes, and made some tweaks to the soundtrack.

The extended cut, originally marketed as The Version You’ve Never Seen, was first shown in 2000. (In the UK at Halloween, even midnight screenings were sold out.) When this version was released on blu-ray in 2010, Friedkin removed two of the CGI demon faces. It’s the 2010 version that will be rereleased later this month.

The rerelease marks the film’s fiftieth anniversary, and is also part of Warner Bros. 100, as 2023 is the studio’s centenary. Casablanca and The Wizard of Oz were also rereleased earlier this year as part of Warner Bros. 100. The Exorcist has been shown in Bangkok several times before: at Cinema Winehouse in 2016 and 2018, at Scala in 2018, and at Bangkok Screening Room in 2019.

Taxi Driver

Martin Scorsese’s masterpiece Taxi Driver, starring Robert De Niro, will be showing at the House Samyan cinema in Bangkok next month. Screenings will take place on 29th and 30th September; and 1st, 6th, 7th, and 8th October.

Taxi Driver was previously shown at the Scala cinema in Bangkok in 2018, and at Bangkok Screening Room in 2019. Scorsese’s epic new film Killers of the Flower Moon, also starring De Niro, opens in Thai cinemas on 19th October.

This Is Not a Just Image, It Is Just an Image

A partial Jean-Luc Godard retrospective will take place in Chiang Mai next month, organised by Dude, Movie. In addition to his extraordinary film career, Godard was famous for his aphorisms, one of which (“ce n’est pas une image juste, c’est juste une image”) provides the title for the retrospective: This Is Not a Just Image, It Is Just an Image.

The season begins on 2nd September with Godard’s masterpiece, Breathless (À bout de souffle). Screenings on 2nd and 3rd September will take place at Halo House, and the retrospective concludes with rooftop screenings hosted by Untitled for Film at Chiang Mai University’s Department of Media Arts and Design from 7th–9th September.

Breathless is one of the most influential films ever made, and one of a handful of essential classics of world cinema. It will also be shown at Alliance Française in Bangkok on 13th September, and it has previously been shown in Bangkok twice: in 16mm in 2010, and at an open-air screening in 2011.

๕๐ ปี ๑๔ ตุลา

This year marks the fiftieth anniversary of the 14th October 1973 protest, when half a million people gathered at Democracy Monument in Bangkok calling for an end to Thanom Kittikachorn’s military dictatorship. After King Rama IX intervened, Thanom fled into exile, though seventy-seven protesters were shot dead by the army. A screening programme at the Thai Film Archive in Salaya, ๕๐ ปี ๑๔ ตุลา (‘50 years of 14th Oct.’), will commemorate the anniversary next month.

The season includes The Moonhunter (14 ตุลา สงครามประชาชน), a prestigious biopic of protest leader Seksan Prasertkul. Sunset at Chaophraya II (คู่กรรม ภาค ๒) is overshadowed by The Moonhunter but is arguably a better film, ending with a realistic and violent recreation of the 1973 massacre. Angel (เทพธิดาโรงแรม) features documentary footage of the protest intercut with a social realist narrative. Tongpan (ทองปาน) was produced in the brief period of political freedom after the events of 1973.

The Moonhunter will be shown on 15th and 19th October, Sunset at Chaophraya II on 13th and 25th October, Angel on 13th and 24th October, and Tongpan on 21st October. Tongpan will be screened in 16mm. (It has been shown at the Film Archive before, and at Noir Row Art Space, Cinema Oasis, and the Bangkok Art and Culture Centre.)

The programme also includes two documentaries: the feature-length อนุทินวีรชน 14 ตุลาคม (‘diary of 14th October heroes’), showing on 14th October; and the short film วันมหาวิปโยค (‘the tragic day’), on 15th October. อนุทินวีรชน 14 ตุลาคม features unique colour and black-and-white footage of the massacre, while วันมหาวิปโยค includes colour footage of the atmosphere among the protesters.

Thai Cinema Uncensored includes a complete survey of films related to 14th October 1973 and its aftermath. Thai Film Archive director Chalida Uabumrungrit analysed the two documentaries in the Thai Film Journal (วารสารหนังไทย, vol. 18). The Colors of October (สีสันแห่งเดือนตุลา) exhibition at g23 in Bangkok also marks the 50th anniversary of the event.

Pink Flamingos

The Thai Film Archive at Salaya will show the classic exploitation film Pink Flamingos on 17th September. Directed by John Waters, Pink Flamingos is a masterpiece of bad taste. On its first release, it was compared to Luis Buñuel’s notorious silent film Un chien andalou (‘an Andalusian dog’). Fifty years later, it remains the ultimate example of transgressive cinema.

Pink Flamingos was previously shown in Bangkok in 2017, without a censors’ rating. But for next month’s screening, it was submitted to the censors and, surprisingly, rated ‘20’ without cuts. This sets a new precedent, as Pink Flamingos features hardcore content—admittedly, it’s more parody than pornography—that has never been passed by the Thai censors before. (Thai Cinema Uncensored examines the history of sex in Thai films.)

Songs of Angry People

Uruphong Raksasad’s documentary Songs of Angry People will have its world premiere at the DMZ International Documentary Film Festival in South Korea next month. The film, screening on 15th and 17th September, is a record of the protest movement that began in 2020, when students campaigned for reform of the monarchy and a return to democracy.

Songs of Angry People is only the second feature-length documentary covering the protests, after Supong Jitmuang’s Mob 2020–2021. Uruphong’s previous films include Agrarian Utopia (สวรรค์บ้านนา) and Worship (บูชา). The festival runs from 14th to 21st September, with screenings taking place near the demilitarised zone on the border with North Korea.

Thunska Pansittivorakul’s latest documentary, Damnatio Memoriae (ไม่พึงปรารถนา)—screening on 17th, 19th, and 20th September—will also have its world premiere at the festival. Thunska’s previous films include Danse Macabre (มรณสติ), Avalon (แดนศักดิ์สิทธิ์), Santikhiri Sonata (สันติคีรี โซนาตา), Homogeneous, Empty Time (สุญกาล), Supernatural (เหนือธรรมชาติ), The Terrorists (ผู้ก่อการร้าย), Reincarnate (จุติ), and This Area is Under Quarantine (บริเวณนี้อยู่ภายใต้การกักกัน).

Please... See Us

Chaweng Chaiyawan’s powerful short film Please... See Us (หว่างีมอละ) will be shown tonight in an outdoor screening at the Tha Phae Gate in Chiang Mai, as part of an all-day, all-night arts festival running for twenty-four hours. The event, organised by Neo Lanna, is raising awareness of a petition for a new, more democratic constitution.

The current charter was drafted by the military junta, and rewriting it was one of the manifesto policies of this year’s election winners, Move Forward. But they have since been relegated to the opposition by runner-up Pheu Thai, and Pheu Thai’s willingness to form a coalition with military parties such as United Thai Nation has raised doubts about the chances of the constitution being completely rewritten.

Please... See Us includes an extended sequence in which a real pig is killed and dismembered, the helpless animal being a metaphor for the plight of ethnic minorities in Thailand. This transgressive film was previously shown at Wildtype 2021, Signes de Nuit (‘signs of the night’), and the 25th Thai Short Film and Video Festival.

Don’t Expect Anything!

The entire cast of a new film have been arrested by the Burmese military government, on charges of blasphemy and insulting the dignity of the monkhood. Thirteen actors—including a twelve-year-old girl—and the film’s Swiss director, Didier Nusbaumer, were arrested on 8th August.

The feature-length drama Don’t Expect Anything! (ဘာမှမမျှော်လင့်ပါနဲ့) was uploaded to YouTube on 24th July, and remains online despite the arrests. It was produced by Dhamma Pictures, a non-profit organisation that promotes Buddhist teachings.

Representation of Buddhist monks is also a highly sensitive issue in the Thai film industry, most recently leading to censorship of the horror film Hoon Payon (หุ่นพยนต์). Thai Cinema Uncensored includes a complete history of the various controversies surrounding the depiction of Buddhist monks on film.

Barry Lyndon

Stanley Kubrick’s Barry Lyndon will be shown at Chulalongkorn University next week. The screening, organised by Nitade Movie Club, will be at the Faculty of Communication Arts. The film depicts the rise and fall of a rogue who inveigles his way into high society before being cast out in disgrace—coincidentally, it will be shown on 22nd August, the day that former prime minister Thaksin Shinawatra is planning to return to Thailand.

There has been a revival of critical interest in Barry Lyndon over the last decade, with three documentaries on the making of the film: the radio programme Castles, Candles, and Kubrick; an episode of the TV programme Hollywood in Éirinn; and Making Barry Lyndon on the Criterion blu-ray. There is also a book on the film, The Making of a Masterpiece, by Alison Castle.

The 100 Best Movies of the Past Ten Decades

The latest issue of Time magazine (vol. 202, no. 5), dated 14th August, features a list of the 100 greatest films of the past century. Stephanie Zacharek, one of Time’s film critics, compiled The 100 Best Movies of the Past Ten Decades: ten films from each decade, from the 1920s to the 2010s, in chronological order.

As Zacharek readily admits, the list is “marked by what some will see as glaring omissions,” such as Tokyo Story (東京物語), Citizen Kane, Casablanca, and The Godfather. Stanley Kubrick’s films are nowhere to be found. In fact, when compared to Dateline Bangkok’s list of the 100 greatest films, only a quarter of the entries are common to both lists.

Time published its first greatest-films list in 2005, compiled by Richard Corliss and Richard Schickel. From that selection of 100 titles, Corliss and Schickel chose Nine Great Movies from Nine Decades—none of which are included in Zacharek’s list.

Red Poetry

Supamok Silarak’s film Red Poetry (ความกวีสีแดง) will be shown in Chiang Mai this weekend, at a rooftop screening organised by Untitled for Film. The feature-length documentary profiles the activities of performance artist Vitthaya Klangnil, who formed the group Artn’t with fellow student Yotsunthon Ruttapradit. A shorter version—Red Poetry: Verse 1 (เราไป ไหน ได้)—was shown last year at Wildtype 2022.

The documentary, filmed in 2021, shows the level of endurance and commitment Vitthaya invests in his protest art. A durational performance—sitting in front of Chiang Mai’s Tha Pae Gate for nine full days—led to his collapse from exhaustion. In another action, he climbed onto Chiang Mai University’s main entrance, repeatedly slapped himself in the face, and jumped into a pond below. When he reported to the police to answer charges of sedition, he vomited blue paint outside the police station. The film ends with Vitthaya carving “112” into his chest, in protest at the lèse-majesté (article 112) charges he faced after he exhibited a modified version of the Thai flag in 2021.

Red Poetry will be screened on 13th August at Chiang Mai University’s Department of Media Arts and Design, followed by a Q&A with the director. This is its third under-the-radar screening in Chiang Mai, the city in which it was filmed: it was previously shown at Chiang Mai University Art Center and at Suan Anya. There are currently no plans to show it in Bangkok, where it might attract unwanted attention. It would almost certainly be cut or banned if submitted to the censors, not least because in one sequence, during the Tha Pae Gate performance, Vitthaya and a royalist passerby debate the hypothetical scenario of Thailand as a republic.

The Edge of Daybreak

Taiki Sakpisit’s The Edge of Daybreak (พญาโศกพิโยคค่ำ) will be shown in both Chiang Mai and Songkhla later this month, as part of the Chiang Mai Film Festival and Pak Taii Design Week’s Singorama programme. Like Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives (ลุงบุญมีระลึกชาติ) and Jakrawal Nilthamrong’s Anatomy of Time (เวลา), The Edge of Daybreak shows the twilight years of a former soldier who fought against the Communist insurgency. It begins with a flashback to that era, narrated by the old man: “I was leading my unit into the woods to catch the students.”

In all three films, the ex-soldiers are largely bedridden, and it’s implied that their lingering illnesses are the result of karma. In The Edge of Daybreak, the former general’s family believe that they are cursed and, as if to confirm this, the exquisite black-and-white camerawork lingers on images of decay, such as rotting food and their crumbling home. The violent legacy of the anti-Communist purge is also a curse on the country itself, and Taiki’s film offers a reckoning with Thailand’s past and a commentary on its continuing military rule.

The Edge of Daybreak will be shown at Thailand Creative and Design Center’s Chiang Mai branch on 11th August, and at the Songkhla Art Center on 19th August. The Chiang Mai Film Festival runs from 8th to 12th August. It also includes Vichart Somkaew’s Cremation Ceremony (ประวัติย่อของบางสิ่งที่หายไป) on 11th August; and Koraphat Cheeradit’s Yesterday Is Another Day and Weerapat Sakolvaree’s Nostalgia, both screening on 12th August. Pak Taii Design Week runs from 12th to 20th August.

Yesterday Is Another Day and Nostalgia were both previously shown as part of The Political Wanderer, a programme of short films at Silpakorn University. Nostalgia has also been shown at Wildtype 2022, Future Fest 2023, and the 26th Thai Short Film and Video Festival.

The Cost of Freedom

A new short film about student activist Panusaya Sithjirawattanakul will have its premiere in New York this weekend. The Cost of Freedom documents Panusaya’s protests calling for reform of the monarchy and the abolition of the lèse-majesté law (article 112 of the criminal code). The film’s poster shows “112” carved into Panusaya’s arm, and a similar photograph appears in Karntachat Raungratanaamporn’s photobook End in This Generation.

The Cost of Freedom, directed by Primrin Puarat and Onarisa Sapsompong, will be shown at the Chain Theatre on 6th August, as part of the Chain Film Festival. (The festival runs from 4th to 13th August.) Panusaya was also the subject of The Commoner’s single รุ้ง (‘rainbow’), and her portrait has been painted by Jirapatt Aungsumalee and Tawan Wattuya.

The Murderer

Wisit Sasanatieng’s The Murderer (เมอร์เด้อเหรอ ฆาตกรรมอิหยังวะ) is his second film made for Netflix, after The Whole Truth (ปริศนารูหลอน). With The Murderer, he moves away from supernatural horror—his most consistent subject matter, in films such as Reside (สิงสู่), Senior (รุ่นพี่), and The Unseeable (เปนชู้กับผี)—and delivers his first horror-comedy (a Thai genre hybrid popularised by Yuthlert Sippapak’s Buppah Rahtree/บุปผาราตรี franchise).

The film’s greatest impact comes from its colour grading, a welcome return to the oversaturated palettes of Wisit’s Tears of the Black Tiger (ฟ้าทะลายโจร) and Citizen Dog (หมานคร). It also makes some pointed observations on xenophobia in Thai society: the Western protagonist, visiting his bigoted inlaws, is discriminated against throughout the entire film. Comedian Mum Jokmok gives a great performance as a frustrated cop; like the Joker in Christopher Nolan’s The Dark Knight, he gives conflicting explanations for the origin of his facial scar.

The Murderer is structured like Akira Kurosawa’s Rashomon (羅生門), with each surviving character narrating their own unreliable account of how a sequence of improbable killings took place, dramatised in a series of flashbacks. The moral of the tale is spoon-fed to the audience in the final moments: “You can’t just blindly believe what people say. Pay no attention to all the noise out there. Make up your own mind.”

Democracy after Death:The Tragedy of Uncle Nuamthong Praiwan

There will be a rare screening of Neti Wichiansaen’s film Democracy after Death: The Tragedy of Uncle Nuamthong Praiwan (ประชาธิปไตยหลังความตาย เรื่องเศร้าของลุงนวมทอง) this evening. The rooftop screening, at Chiang Mai University’s Department of Media Arts and Design, was organised by Untitled for Film. (Democracy after Death was also shown in Chiang Mai last year.)

Democracy after Death’s voiceover narration is addressed to Nuamthong Praiwan, a pro-democracy protester who committed suicide in 2006. Nuamthong was also the subject of Prap Boonpan’s short film Letter from the Silence (จดหมายจากความเงียบ) and Rap Against Dictatorship’s music video 16 ปีแล้วไอ้สัส (‘it’s been 16 years, ai sat’).

Yesterday Is Another Day

Koraphat Cheeradit’s short film Yesterday Is Another Day is being shown today as part of The Political Wanderer, a programme of short films at Silpakorn University’s Faculty of Information and Communication Technology. (The programme also includes Weerapat Sakolvaree’s Nostalgia.)

In Yesterday Is Another Day, a high school student plays hooky and meets his girlfriend in a woodland. They take a walk, and joke about their future together, seemingly without a care in the world. But there are ominous signs of impending threats: they find a discarded handgun, and Koraphat inserts shots of a JCB digging up the forest.

Eventually, we learn that the student is being charged with lèse-majesté, for sharing Facebook posts. His court hearing is the following day, and he is likely to be jailed. (The film doesn’t state directly that he’s facing royal defamation charges, though it’s clear from the couple’s conversation: he explains that the sentence is three years per offence, which is the minimum jail term for lèse-majesté.)

The prospect of criminal charges for posting on social media is a reality for hundreds of people in Thailand today, many of whom are students. As the boy in Koraphat’s film says to his girlfriend, he has to face changing from “being a teenager to being a prisoner.” Recent student protests have called for the abolition of the lèse-majesté law, and the Move Forward Party’s manifesto includes a proposal to amend it, though this faced overwhelming opposition in parliament.

Yesterday Is Another Day is a powerful and moving reminder of the severe consequences of lèse-majesté, and what it must feel like to be criminalised at a young age for expressing opinions online. It’s a less angry film than Koraphat’s Tomorrow I Fuck with Yesterday Now! (ฉันแต่งงานกับปัจจุบัน ช่วยตัวเองด้วยเมื่อวาน และมีเพศสัมพันธ์กับวันพรุ่งนี้), though the two films do have something in common: their titles are both puns on ‘yesterday’ and ‘tomorrow’. (Yesterday Is Another Day refers to ‘tomorrow is another day’, popularised by Gone with the Wind).