I know I am right for Scarlett. I can convince Mr. Selznick.
quote by Vivien Leigh
Submitted by Lucian Velea
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Scarlett Treat
Scarlett,
Treat me to your insights.
Your thoughts with wit,
So delight.
And Scarlett,
I must say
If not for you...
I would not feel as much encouraged,
Had not your comments
Made more sense and cleared my view!
Scarlett,
Treat me to your insights.
Your thoughts with wit,
So delight.
I just can not sit knowing you are right...
And knowing I had perhaps been wrong,
By not accepting a reflection of me,
With belief.
I see that clearly now...
Scarlett Treat.
And as I write,
High on a consciousness
I am blessed with that excites.
Thank you Scarlett for your 'wit treats'.
They have provided a wider vision,
For a mind like mine
That feeds to nourish
This mental appetite that loves to bite on wit!
poem by Lawrence S. Pertillar
Submitted by Poetry Lover
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Coltrane
Wakin' up at nine
Looks at his paper
Can't deal with what he sees
All the troubled lives
The talk of the ages
He's crawling back to bed
Don't take a walk outside
Don't make any new friends
He's crawling back to bed
You'd better convince me man
'Cause I, I don't know what I'm doing
You'd better convince me man
'Cause I, I don't know who I'm screwing
You'd better convince me man
'Cause I, I don't know what I'm doing
You'd better convince me man
'Cause I, I don't know who I'm screwing
Callin' all his friends
He's known 'em for ages
Can't deal with what they say
Connective alibis
Cold and contagious
He's crawling back to bed
So cut off the phone lines
Stock up on water
He's crawling back to bed
You'd better convince me man
'Cause I, I don't know what I'm doing
You'd better convince me man
'Cause I, I don't know who I'm screwing
You'd better convince me man
'Cause I, I don't know what I'm doing
You'd better convince me man
'Cause I, I don't know who I'm screwing
You'd better convince me man
'Cause I, I don't know what I'm doing
You'd better convince me man
'Cause I, I don't know who I'm screwing
You'd better convince me man
'Cause I, I don't know what I'm doing
You'd better convince me man
'Cause I, I don't know who I'm screwing
You'd better convince me man
Yessir
You'd better convince me man
Yessir
You'd better convince me man
Yessir
You'd better convince me man
Yessir
song performed by by Gomez
Submitted by Lucian Velea
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Birthday Song
Written by kim & ricki wilde
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
Theres a forest, a beautiful place
The sun always shines upon your face
And the wind blows away
The troubles inside your mind
Youll find your secret garden
A place that nobody knows (nobody knows)
Where you can go
(scarlett) the world looks bright today but one day youll want to cry
(scarlett) (ah-ah) and when your sky looks grey theres one thing I hope youll know
Theres a place you can go
In the distance, your life in the wings
Who knows what emotions it will bring
But the secrets you hold will help you through anything
(ah-ah) youll find your secret garden
(ah-ah) a place that nobody knows (nobody knows)
Where you can go
(scarlett) the world looks bright today but one day youll want to cry
(scarlett) (ah-ah) and when your sky looks grey theres one thing I hope youll know
Theres a place you can go
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
Oh so dont be afraid
If you trust the voice inside of you
Itll guide you on your way
On your way
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
(scarlett) the world looks bright today but one day youll want to cry
(scarlett) (ah-ah) and when your sky looks grey theres one thing I hope youll know
(scarlett) youll find your secret garden, somewhere that you can go
(scarlett) (ah-ah) somewhere where you can grow
Scarlett
Theres a place you can go
Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh
Ad lib to fade
song performed by by Kim Wilde
Submitted by Lucian Velea
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You know the passage where Scarlett voices her happiness that her mother is dead, so that she can't see what a bad girl Scarlett has become? Well, that's me.
quote by Vivien Leigh
Submitted by Lucian Velea
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I really don't know why Scarlett has such appeal. When I began writing the sequel, I had a lot of trouble because Scarlett is not my kind of person. She's virtually illiterate, has no taste, never learns from her mistakes.
quote by Alexandra Ripley
Submitted by Lucian Velea
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Frankly, My Dear
Scarlett O’ and Melanie,
presenting the dichotomies
of feminine near-felony
and law, would need lobotomies
to reconcile. If, frankly, dear,
you give a damn, you must decide
to which of them your heart is near,
allowing it to be your guide,
for if you choose them both the wind
will see that you are gone. Life ain’t
like Hollywood. If you have sinned,
don’t try to make out with a saint,
because there always is a clash
when opposites attempt to meet,
and if they do they tend to crash,
since those who cannot change must cheat.
Inspired by Michiko Kakutani’s review of Molly Haskell’s “‘Frankly My Dear: Gone With the Wind’ Revisited” (“Frankly My Dear: ” NYT, April 24,2009) :
Just as the dichotomy between Scarlett and Melanie, Rhett and Ashley gave the movie a classic bipolar architecture, so Cukor and Fleming became, in Ms. Haskell’s words, the movie’s stylistic “yin and yang”: Cukor providing “the delicate gradations of feeling between lovers and family” while Fleming supplied the movie’s “bold, sweeping movement through time and history.” At the same time, Ms. Haskell observes, the art director William Cameron Menzies endowed the sprawling opus with a visual coherence: “The expressionistic landscapes and character positionings designed by Menzies and his staff keep certain images as touchstones, in the forefront of consciousness — like the horse collapsing on the bridge, the fire in the background, the use of the new moon, ” even as his masterful use of the new process of Technicolor worked to heighten the drama of the story. In the end the real reason this movie with too many cooks miraculously worked, Ms. Haskell says, was “the fire and desperation of three people with strangely overlapping tastes and eccentricities”: “In ‘Gone With the Wind, ’ Mitchell’s only book, every crisis and trauma of her life is transmuted into narrative; Selznick seized the reins and threw himself into the making of the movie like a man possessed; and Leigh, whose casting was less accidental than legend has it, invested Scarlett with something beyond beauty, something altogether uncanny — a demonic energy, a feverishness that would later tip over into illness and pathology.” All three of these people, Ms. Haskell argues, were “possessed of fire-and-ice opposites that they projected into their lives and careers”: “Leigh, the mesmerizing mixture of bawdy sexpot and exquisite doll, echoed the Scarlett-Melanie sides of Margaret Mitchell, flapper turned matron. Mitchell, in turn, was attracted in fiction and in life to male opposites: the blackguard and the saint (she created one of each; she married one of each) .” As for Selznick, Ms. Haskell says, he liked to cast his protégées as “wide-eyed innocents” or “palpitating sexpots, ” who in turn were attracted “to good boy-bad boy opposites.” “The intensely personal energy of this dividedness, the deep-down tension in Mitchell, Selznick and Leigh between vulgarity and refinement, ” she concludes, “is what gives the archetypes in ‘Gone With the Wind’ their extraordinary human resonance, ” and thanks to the way the three of them threw themselves into the project, “that historical ‘costume’ story” never feels remotely past.
4/24/09
poem by Gershon Hepner
Submitted by Poetry Lover
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Scarlett And Melanie
Scarlett O’ and Melanie,
presenting the dichotomies
of feminine near-felony
and law, would need lobotomies
to reconcile. If, frankly, dear,
you give a damn, you must decide
to which of them your heart is near,
allowing it to be your guide,
for if you choose them both the wind
will see that you are gone. Life ain’t
like Hollywood. If you have sinned,
don’t try to make out with a saint,
because there always is a clash
when opposites attempt to meet,
and if they do they tend to crash,
since those who cannot change must cheat.
Inspired by Michiko Kakutani’s review of Molly Haskell’s “‘Frankly My Dear: Gone With the Wind’ Revisited” (“Frankly My Dear: ” NYT, April 24,2009) :
Just as the dichotomy between Scarlett and Melanie, Rhett and Ashley gave the movie a classic bipolar architecture, so Cukor and Fleming became, in Ms. Haskell’s words, the movie’s stylistic “yin and yang”: Cukor providing “the delicate gradations of feeling between lovers and family” while Fleming supplied the movie’s “bold, sweeping movement through time and history.” At the same time, Ms. Haskell observes, the art director William Cameron Menzies endowed the sprawling opus with a visual coherence: “The expressionistic landscapes and character positionings designed by Menzies and his staff keep certain images as touchstones, in the forefront of consciousness — like the horse collapsing on the bridge, the fire in the background, the use of the new moon, ” even as his masterful use of the new process of Technicolor worked to heighten the drama of the story. In the end the real reason this movie with too many cooks miraculously worked, Ms. Haskell says, was “the fire and desperation of three people with strangely overlapping tastes and eccentricities”: “In ‘Gone With the Wind, ’ Mitchell’s only book, every crisis and trauma of her life is transmuted into narrative; Selznick seized the reins and threw himself into the making of the movie like a man possessed; and Leigh, whose casting was less accidental than legend has it, invested Scarlett with something beyond beauty, something altogether uncanny — a demonic energy, a feverishness that would later tip over into illness and pathology.” All three of these people, Ms. Haskell argues, were “possessed of fire-and-ice opposites that they projected into their lives and careers”: “Leigh, the mesmerizing mixture of bawdy sexpot and exquisite doll, echoed the Scarlett-Melanie sides of Margaret Mitchell, flapper turned matron. Mitchell, in turn, was attracted in fiction and in life to male opposites: the blackguard and the saint (she created one of each; she married one of each) .” As for Selznick, Ms. Haskell says, he liked to cast his protégées as “wide-eyed innocents” or “palpitating sexpots, ” who in turn were attracted “to good boy-bad boy opposites.” “The intensely personal energy of this dividedness, the deep-down tension in Mitchell, Selznick and Leigh between vulgarity and refinement, ” she concludes, “is what gives the archetypes in ‘Gone With the Wind’ their extraordinary human resonance, ” and thanks to the way the three of them threw themselves into the project, “that historical ‘costume’ story” never feels remotely past.
4/24/09
poem by Gershon Hepner
Submitted by Poetry Lover
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Scarletts Melancholy
What did Scarlett know;
her green velvet dress
was made from draperies.
What did Scarlett feel;
hunger
more than Brett's love?
Did Love burn like Atlanta
in her breast;
did Hope incinerate there?
Or is it that flames
don't burn
because they're already afire?
Was Brett the ice and Scarlett the flame?
Does Fire Love more than it burns?
Are we all at base visceral
and Love a luxury
which cannot compete
with green dresses
made from draperies?
Is all of this Cruel Irony
which sears
the soul
as we choose
food and soil
instead of sweet Love's face
and instead hunker down
just outside our
Forsaken Dreams;
disheveled and confused?
Too sad this tale
but bright too
because Scarlett knew
that even as she
contemplated Love's Abandonment
for Security
that green drapes
don't really cuddle at night;
and while Brett was not her love
he was Love's Embodiment
and for her
the Soul's
the only True
Nourishment.
But she was weakened
by the Plantation Dream
that Princesses
Dream
turning away
from Love's Face.
How can a Princess be
without Love or Dream?
This is Scarlett's Melancholy.
poem by Lonnie Hicks
Submitted by Poetry Lover
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Happy Birthday Scarlett (Belated)
I meant to write this yesterday,
because yesterday was your birthday.
Therefore, it’s better late than never
as the old saying says.
Now Scarlett when I first saw her name appear,
it reminded me of Scarlet O’Hara
in that famous book Gone With The Wind.
However, this Scarlett is nothing like her at all.
She is warm, friendly, charming and a friend to everyone.
As a good poet and a great friend
don’t worry about looking in the mirror
to find a wrinkle or two there,
from this side of the Atlantic there is none to be seen.
A belated Happy Birthday my friend.
I sincerely hope you had a happy one
surrounded with love from your family and friends.
Once again, I shall say
A BELATED HAPPY BIRTHDAY SCARLETT.
poem by David Harris
Submitted by Poetry Lover
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Together Apart
We're together...
But apart!
Together in body,
Apart in heart.
We have grown
Out of the love
Which we had
At the start.
Only the children
Hold us together,
And the lives
We live each day.
But when you lie beside me,
In our cold bed at night,
We just lie there, together, apart,
And nothing is right.
I long for what we had,
When all that we did,
We did together,
But your heart left me,
And we only remain
Together, Apart.
Scarlett Treat
December 28,2007
poem by Scarlett Treat
Submitted by Poetry Lover
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I See (Revised/Reposted)
I see
Death
Lurking
In their eyes....
There on the battlefields
That have a thousand names...
Iwo Jima, San Juan Hill,
Wounded Knee, Gettysburg,
London, Belfast,
Berlin, Africa, Jerusalem,
Viet Nam, Iraq....
The tide never stops....
And I see
Death
Lurking
In their eyes.
Scarlett Treat
October 14,2008
poem by Scarlett Treat
Submitted by Poetry Lover
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It's all right; it's not so much fun any more.
quote by David O. Selznick
Submitted by Lucian Velea
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Thank God for your mother.
quote by David O. Selznick
Submitted by Veronica Serbanoiu
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Why do you knock yourself out? Take it easy.
quote by David O. Selznick
Submitted by Veronica Serbanoiu
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I don't think I'm going to do any good work this morning.
quote by David O. Selznick
Submitted by Lucian Velea
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If you're not accurate, you'll cause untold trouble.
quote by David O. Selznick
Submitted by Lucian Velea
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I never ate of the grapes nor feared of the eruptions.
quote by David O. Selznick
Submitted by Veronica Serbanoiu
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At this rate, I'll live forever.
quote by David O. Selznick
Submitted by Lucian Velea
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Time Passes, Faces Change, The Heart Remains The Same
The face I see
In the looking glass
Is not the face I see
In my heart.
The woman I see
In the mirror now
Is not the girl I see
In my heart.
The face I see
In the looking glass
Is lined with the cares
Of the world,
The hair is silver,
The eyes dimmed,
The face is aged,
And the mouth is thin.....
But the face I see
In heart and memory
Is as radiant, as youthful,
As the day I met you.
Scarlett Treat
January 25,2008
poem by Scarlett Treat
Submitted by Poetry Lover
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Welcome To The Room... Sara
Written by stevie nicks.
It's not home
And it's not tara
If fact do i know you
Have i been here before
This is a dream, right
Deja vu
Did i come here on my own
Oh i see
Welcome to the room sara for scarlett
Welcome to the choir, sir
Ooooh
Missionary
Well i will be different
When i get back
And you can take all of the credit
You say everything's fine, baby
But sometimes at night
Where the first cut is the deepest one of all
And the second one
Well it's a worthless thing, so take it all the way back home
Take it home
Ooh, downstairs where the big old house is mine
Ohh, upstairs where the stars laugh and shine
Oh, oh well i thought that you were mine
Well i thought that you were mine
Welcome to the room sara, sara (for scarlett)
Welcome to the choir, sir
Well of course it was a problem (for scarlett)
Front line baby
Well you held her prisoner
And after all these years
Well as well as you knew her
In the never forgotten words of another one of your friends
In the never forgotten words of another one of your friends, baby
When you hang up that phone
Well you cease to exist
Welcome to the room sara
Welcome
Welcome to the room everyone
song performed by by Fleetwood Mac
Submitted by Lucian Velea
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