Dear Victor Fleming,

I have a great weakness for Technicolor, perhaps because, like many people, I associate it with musicals, happiness, and freakishly bright hues. Your masterpiece, Gone with the Wind, however, takes advantage of the Technicolor palette’s richer tones, imbuing the story with a deep sense of history, longing, and meaning. For instance, Scarlett, despite her name, frequently wears green, the color of jealousy, deception, and Vivien Leigh’s eyes. She only wears red when she is being shamed or forced to face a brutal reality. That said, the landscape is usually marked by crimson shades and shadows; Tara, in particular, is characterized by its red soil, hinting at a fundamental connection to Scarlett’s being. I also must commend your employment of silhouettes, which is, to me, one of the most memorable uses of shadows by any director ever. The result is both idyllic and incredibly romantic.  The sweeping scenery that your huge budget afforded is made picturesque by your expert manipulation of colors and superb direction.

Good night, Mun

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