The Scarlett O’Hara War

Gone with the Wind is published in 1936, becoming a nationwide sensation. Hollywood studios rush to secure the movie rights, and Louis B. Mayer talks with David O. Selznick about the deal during lunch in the MGM dining room. That lunch kickstarts Selznick's pursuit of film rights for the project.

In time, Selznick establishes Selznick International Pictures to finance and control the adaptation. The move signals his ambition to cement both the studio's prestige and his personal legacy with a landmark film. The creation of the company sets the stage for a distinctive production approach.

Joan Crawford advocates for portraying Scarlett and even spends the night at Selznick's place to seal the deal. The studio continues testing other actresses, keeping the door open to alternatives. The casting process remains competitive and high-stakes.

Paulette Goddard's screen test becomes one of the most praised, making her a top contender for Scarlett. The test highlights her screen presence and keeps her in the running despite ongoing auditions. The process demonstrates the difficulty of choosing the perfect star.

Tallulah Bankhead travels from New York to audition and is a strong candidate. Louella Parsons publicly misreports that Bankhead has won the part, prompting reactions from Crawford and Paulette. The misinformation illustrates how rumors influence casting.

Clark Gable is discussed as a potential Rhett Butler, with some concerns about George Cukor as director, often called 'a woman's director.' Gable hesitates at first, weighing the fit against the director's reputation. The studio debates whether to proceed with him in the role.

Gable's name remains a leading option, and soon Carole Lombard is also considered for the part, reflecting a star-driven strategy. The casting process intensifies as the pool of contenders expands. The producers press onward toward a final choice.

A party at the Selznick lot honors actresses closest to winning Scarlett, including Tallulah Bankhead and others. George Cukor conversations with the actresses reveal his interest in The Women post-Gone with the Wind. The mood mixes celebration with competitive tension among the contenders.

During dinner, Bankhead and Lombard stage a prank by pouring soup on Selznick's head and declare, 'Frankly, my dear we don't give a damn.' The moment captures the playful defiance underlying the grueling casting process. It becomes a memorable anecdote in the journey to choose Scarlett.

The Atlanta burning test sequence becomes a pivotal moment as Myron Selznick arrives with a new actress. David Selznick is initially reluctant but is finally won over when Vivien Leigh removes her hat, revealing herself as Scarlett. The choice marks the turning point in the casting saga.

With Vivien Leigh cast as Scarlett, the production seems assured to move forward, signaling the end of the casting turmoil. Leigh's presence becomes the defining element of the film's identity and a central factor in its eventual success. The rest becomes history as filming proceeds.

The meticulous, multi-candidate casting journey demonstrates Selznick's faith in a singular star to define an epic. Leigh's Scarlett becomes inseparable from the film's image, showing how casting can dictate a production's trajectory. The saga ends with the project entering production and shaping cinema history.