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Fascinating archive of documents regarding the battle between David O. Selznick and Will Hays regarding use of the word ''damn'' in ''Gone With the Wind''. The word, of course, capped the most famous line of dialogue in all of movie history, uttered by Rhett Butler to Scarlett O'Hara: ''Frankly, my dear, I don't give a damn'', so integral to the story line that it now seems inseparable to the film itself. Not so, however, in October 1939, just weeks before ''Gone With the Wind'' premiered, with Selznick -- the famed producer of the film, and Hays -- architect of the Hays Code, battling over the word's inclusion. In the end, Selznick was so determined to keep the word in the film that he threatened resigning from the Producer's guild and then face decency lawsuits, causing Hays to relent and add an amendment to the Code allowing for the discretionary use of the word.
Lot of six documents includes, in chronological order: Memo from Selznick, on Selznick International Pictures letterhead, with the subject line of ''DAMN'', dated 20 October 1939, to his executives John Hay Whitney and Lowell Calvert. Selznick references a copy of a letter he's sending to Hays regarding the word (included in this archive). Memo reads, ''I send you each herewith copy of letter addressed today to Will Hays. Confidentially, this was after discussion with Joe Breen [Hays' LA-based executive who enforced the Code] who would appear to be not opposed to the use of the line, but whose hands are tied by the Code. Because of the urgency of the matter...I should be grateful if Mr. Calvert would press on Mr. Hays the first thing Monday morning...explaining...how violently he himself feels about the matter...If Mr. Hays should feel it necessary to call a Board meeting on this point, I think that Mr. Whitney should point out that this would delay us in getting the picture out, and that the whole thing is too trivial for this...Incidentally, there was a recent use of the line 'I don't give a damn for the United States' in a Warner Brothers shot, 'The Man Without a Country.' They cannot give the argument that this was historical since it is purely fictional, out of a book which holds no higher place in the affections of the American public certainly than does 'Gone With the Wind.' / DOS''.
The letter referenced by Selznick, also dated 20 October 1939, reads in part, ''Dear Mr. Hays: As you probably know, the punch line of 'Gone With the Wind,' the one bit of dialogue which forever establishes the future relationship between Scarlett and Rhett, is, 'Frankly, my dear, I don't give a damn.' / Naturally I am most desirous of keeping this line and, to judge from the reactions of two preview audiences, this line is remembered, loved and looked forward to by the millions who have read this new American classic. / Under the code, Joe Breen is unable to give me permission to use this sentence because it contains the word 'damn,' a word specifically forbidden by the code...A great deal of the force and drama of 'Gone With the Wind,' a project to which we have given three years of hard work and hard thought, is dependent upon that word. / It is my contention that this word as used in the picture is not an oath or a curse. The worst that could be said against it is that it is a vulgarism, and it is so described in the Oxford English Dictionary...I do not feel that your giving me permission to use 'damn' in this one sentence will open up the flood-gates and allow every gangster picture to be peppered with 'damns' from end to end...Since we are trying to put 'Gone With the Wind' into the laboratory this week, I should appreciate your taking this matter under immediate consideration. Mr. Lowell Calvert, our New York representative, has a print of the scene referred to which will take you, literally, only a few seconds to view...The original of the line referred to is on page 1035 of the novel, 'Gone With the Wind,' and you might have your secretary secure it for you. / We have been commended by preview audiences for our extremely faithful job on 'Gone With the Wind,' and practically the only point that has been commented on as being missing is the curious (to audiences) omission of this line. It spoils the punch at the end of the picture, and on our very fade-out gives an impression of unfaithfulness after three hours and forty-five minutes of extreme fidelity to Miss Mitchell's work which, as you know, has become an American Bible...''
Archive also includes a pair of telegrams, dated 21 and 22 October 1939, from and to Lowell Calvert regarding the logistics of showing '''THE FRANKLY I DONT GIVE A DAMN' FILM'' to the Censor Board (which Selznick couldn't avoid as Hays decided to call a meeting of the Board). Calvert writes in one telegram, ''Can run picture...at R.C.A.'s projection room. Our only trouble or delay will be in getting members Censor Board to go to this room. However they did it for us on Sawyer and I am sure they will do it again.''
A spirited memo follows, addressed to Selznick and Whitney from Calvert after the meeting of the Censor Board. Dated 27 October 1939, Calvert describes the contentiousness of the meeting, telling his colleagues which individuals spoke in support of their cause. He references several executives with United Artists Theatre Circuit (who owned movie theaters at the time), who were supportive of including the word ''damn''. Memo reads in part, ''At 4:45 Murray [Silverstone, one of the UA executives] called relative the meeting of the Directors at the Hays office this afternoon, and the discussion on the tag line and word in 'Gone With the Wind'. / Murray states that it was a very stormy session, with Hays in the beginning bitterly opposed to the word itself and to any changes to the Code...Nate Blumberg spoke on Hays' side, as did Barney Balaban and Michael, representing Fox, who stated that he was instructed by Sidney Kent to uphold the Code and keep the word out...undoubtedly Murray did a very grand job, as when I left him at luncheon this noon, he was determined to go through with a fight and, as stated before, there must have been some pretty tough talking throughout the two hour session. / The matter now stands that consideration is to be given to the amending of the Code...Another meeting has been called for Wednesday afternoon and Hays states that he is bringing Breen on to New York...Silverstone states that at the end of the meeting Hays weakened to a point of where he said that he was willing to do something helpful...''
The last document in the archive is a memo from Calvert to Editor Hal Kern, dated 14 November 1939 regarding ''Censorship of 'damn' line'', returning the film that Kern had sent him for the Censor Board. This memo was sent approximately two weeks after Will Hays relented, allowing for an amendment to be added to the Hays code. Hays agreed that the words ''damn'' or ''hell'' could be used in a film, if they ''shall be essential and required for portrayal, in proper historical context, of any scene or dialogue based upon historical fact or folklore...or a quotation from a literary work...'' Archive is in very good plus condition, with memos and letters running 8.5'' x 11'', and telegrams measuring 8.75'' x 7'', with one telegram stapled to a sheet measuring 17.25'' x 8.5''. Memos each run one page and letter from Selznick to Hays runs two pages.
Archive Regarding the Use of the Word ''Damn'' in ''Gone With the Wind'' -- Includes Letter From David O. Selznick to Will Hays, Architect of the Hays Code, & Also Memo From Selznick Entitled ''DAMN''
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