Production still of Vivien Leigh as Scarlett and George Reeves and Fred Crane as the Tarleton Twins.
Image courtesy Harry Ransom Center
Film crew for the cotton field scene.
Image courtesy Harry Ransom Center
Makeup still of Vivien Leigh.
Image courtesy Harry Ransom Center
Production still of smoke machine used in the “Burning of Atlanta” scene.
Image courtesy Harry Ransom Center
Makeup still of the Tarleton twins.
Image courtesy Harry Ransom Center
Set still of Hattie McDaniel and Vivien Leigh for the drapery dress scene.
Image courtesy Harry Ransom Center
Set still of Vivien Leigh in the cotton field scene.
Image courtesy Harry Ransom Center
Monte Westmore applies makeup to Leslie Howard.
Image courtesy Harry Ransom Center
Makeup still of Laura Hope Crews as Aunt “Pittypat” Hamilton.
Image courtesy Harry Ransom Center
Makeup still of Hattie McDaniel.
Image courtesy Harry Ransom Center
Makeup still of Clark Gable.
Image courtesy Harry Ransom Center
The conserved green curtain dress and hat worn by Vivien Leigh as Scarlett O’Hara.
Photo by Pete Smith. Image courtesy Harry Ransom Center
Concept art of Scarlett at the Butler House by Dorothea Holt.
Image courtesy Harry Ransom Center
Gone with the Wind costume designer Walter Plunkett.
Image courtesy Harry Ransom Center
Set still of interior of Tara.
Image courtesy Harry Ransom Center
Production still of crew with clapboard during the “Burning of Atlanta” scene.
Image courtesy Harry Ransom Center
Makeup still of Vivien Leigh.
Image courtesy Harry Ransom Center
Movie poster for the original release of the American film classic Gone with the Wind, 1939.
Image courtesy Harry Ransom Center
Storyboard depicting “Burning of Atlanta” by production designer William Cameron Menzies.
Image courtesy Harry Ransom Center
Gone with the Wind producer David O. Selznick’s Jan. 4, 1937, memo to Daniel O’Shea, noting that Clark Gable, Gary Cooper, and Errol Flynn are top choices for the role of Rhett.
Image courtesy Harry Ransom Center
The Making of Gone with the Wind
By Ransom Center Film Curator Steve Wilson, with a foreword by Robert Osborne.
