Greatest Film Misquotes Greatest Film Misquotes Greatest Movie Misquotes (Part 2) Greatest Movie Mis-Quotes: Some of the most classic film lines or scenes are really only legendary and/or apocryphal, or they are merely movie misquotes, but after many years of repetition and being misquoted in subsequent films, they have become part of the filmgoing public's consciousness. Many of these examples are film quotes that were either commonly attributed wrongly, or in fact were never actually spoken. The top 10 most misquoted film lines are marked with an icon Rhett Butler's (Clark Gable) scandalous, swear-word farewell to Scarlett (Vivien Leigh) in Gone With the Wind (1939) did not include Scarlett's name. It was: "Frankly, my dear, I don't give a damn." (long version) It was NOT: "Frankly, Scarlett, I don't give a damn." The misquote was heard in Clue (1985), when Miss Scarlet (Lesley Ann Warren) begged Wadsworth (Tim Curry) to forgive her for trying to shoot him: Scarlet: "Wadsworth.

Don't hate me for trying to shoot you." Wadsworth: "Frankly, Scarlet, I don't give a damn." Play clip from Clue (1985): And in The Mask (1994), the Mask/Stanley Ipkiss (Jim Carrey) spoofed the line (along with other semi-familiar lines) after being shot: - "Tell Scarlett I do give a damn." Play clip from The Mask (1994): The other lines were referential: - "Hold me closer, Ed." Flo (Esther Muir): "I want to be near you. I want you to hold me. Hold me closer! Closer! Closer!" Dr. Hackenbush (Groucho Marx): "If I hold you any closer, I'll be in back of ya!" Referencing both The Wizard of Oz (1939) and Old Yeller (1957). - "Tell Tiny Tim I won't be comin' home this Christmas." Referencing A Christmas Carol.

- "Thank you, You love me, you really love me." This line misquoted the end of Sally Field's Oscar acceptance speech in 1985 for her performance in Places in the Heart (1984): "...The first time, I didn't feel it, but this time I feel it, and I can't deny the fact that you like me, right now. You like me!" Play end of Sally Field's speech: Contrary to popular opinion, Gone With the Wind (1939) was not the first use of the word 'damn' in a film. It reportedly was said a few times in Glorifying the American Girl (1929) and in Pygmalion (1938, UK). Also, the phrase "March and sweat the whole damned day" appeared on a dialogue card in the silent epic war film The Big Parade (1925) . In Only Angels Have Wings (1939) , Cary Grant said the name 'Judy' numerous times to costar Rita Hayworth (playing a character named Judith McPherson), such as: "Hello, Judy" - but never repeated her name in rapid succession.

"Helly, Judy." Play clip from Only Angels Have Wings (1939) : "Judy...Judy...Judy" - was falsely attributed to Cary Grant. Cary Grant vaguely recalled that at a party he attended, someone introduced Judy Garland by saying, "Judy, Judy, Judy" and the phrase was attributed to him. A 1960 New Yorker ad for several Judy Garland albums ("Judy! Judy! Judy!") reinforced the incorrect quote.

The most beloved family film, The Wizard of Oz (1939) has had problems with one of its most famous lines spoken by Judy Garland (as Dorothy Gale) to her dog Toto: "Toto, I've a feeling we're not in Kansas anymore." Play clip from The Wizard of Oz (1939) : It's generally misquoted as: "Toto, I've got a feeling we're not in Kansas anymore" or "I don't think we're in Kansas anymore, Toto." A misquote was heard in Honey, I Shrunk the Kids (1989), when the two Szalinski siblings, Amy (Amy O'Neill) and Nick (Robert Oliveri) realized that they had been miniaturized and trapped in a plastic garbage bag in their backyard: Amy Szalinski: "I don't think we're in Kansas anymore, Toto." Nick Szalinski: "I don't think we're in the food chain anymore, Dorothy." Play clip from Honey, I Shrunk the Kids (1989): Quite often, an actual quote has been adapted or abbreviated.

This original lengthy line was from Knute Rockne: All-American (1940) , spoken by team coach Knute Rockne (Pat O'Brien) as a pep-talk to his losing team during half-time: "And the last thing he said to me, 'Rock,' he said, 'sometime when the team is up against it and the breaks are beating the boys, tell them to go out there with all they got and win just one for the Gipper." Play clip from Knute Rockne: All-American (1940) : He was recalling what his most famous player, George Gipp (portrayed by Ronald Reagan), had said earlier in the film: "Ask 'em to go in there with all they've got, win just one for the Gipper." It has often been stated simply as: "Win one for the Gipper," or "Win this one for the Gipper." George Gipp was a real-life football star who died young of pneumonia and provided an inspiring anecdote to his coach.

The last line of the film noirish detective story The Maltese Falcon (1941) was a two-line conversation between Police Sergeant Tom Polhaus (Ward Bond) and Sam Spade (Humphrey Bogart): - "It's heavy. What is it?" - "The uh, stuff that dreams are made of." - "Huh?" Play clip from The Maltese Falcon (1941) : The actual final word of the film was the sergeant's puzzled response, "Huh?" The unusual reference paraphrased Prospero's speech in Act IV of Shakespeare's The Tempest, although it was a misquote of: "We are such stuff as dreams are made on" (NOT "made of"). "Play it again, Sam" - was a line never spoken by either Ingrid Bergman or Humphrey Bogart in Casablanca (1942) to Sam (Dooley Wilson), the nightclub pianist and reluctant performer of the sentimental song 'As Time Goes By' (written by Herman Hupfeld).

When "Play It Again Sam" became the title of a Woody Allen comedy Play It Again, Sam (1972) that, in part, spoofed the classic 1942 film, the misquote was further reinforced. Variations on the line were spoken, however, by both leads in the 1942 film: Ingrid Bergman (as Ilsa Lund) requested: "Play it once, Sam, for old time's sake...Play it, Sam. Play 'As Time Goes By'." I Want Candy (2007) - "Well, play it again, Sam." - "OK. I will...That was a misquote from Casablanca, by the way. I don't know if I can look at you." Play clip from I Want Candy (2007): (excerpt) In Casablanca (1942) , Humphrey Bogart never said: "Drop the gun, Louis." However, he did gave the following warning: "Not so fast, Louis. Nobody is gonna be arrested.

Not for a while yet." Play clip from Casablanca (1942) : The last line of Casablanca (1942) is also often misquoted (and the name Louis, pronounced 'Louie' (in French), is often mis-spelled as Louie) - the correct line, spoken by Humphrey Bogart, is: "Louis, I think this is the beginning of a beautiful friendship." Play clip from Casablanca (1942) : It is often mis-stated as: "This could be the beginning of a beautiful friendship," or "I think this is the start of a beautiful friendship." One of the most oft-quoted lines in cinema history was in director John Huston's The Treasure of the Sierra Madre (1948) : "Badges? We ain't got no badges. We don't need no badges. I don't have to show you any stinkin' badges!" (short) (long) It has often been misquoted or paraphrased, notably in director Mel Brooks' Blazing Saddles (1974) , spoken by a Mexican bandit (Rick Garcia) as: "Badges?

We don't need no stinkin' badges!" Play clip from Blazing Saddles (1974) : It was also misquoted in: The Ninth Configuration (1980) Manolo (Nick Corri): "Don't show me your badges, we don't know nothing about no stinking badges." "Weird Al" Yankovic's UHF (1989): Animal Deliveryman (Cliff Stephens): "Well, let's see. I got one aardvark, one flamingo, four porcupines, two armadillos, three badgers..." Raul Hernandez (Trinidad Silva): "Badgers??? Badgers??? We don't need no steenkin' badgers!" Play clip from UHF (1989): Troop Beverly Hills (1989): (regarding the patches of the Wilderness Girls Troop) Rosa the Maid (Shelley Morrison): "Patches? We don't need no stinkin' patches." The 1935 novel by B. Traven consisted of the following similar dialogue, with some Spanish obscenities thrown in: "All right, "Curtain shouted back.

"If you are the police, where are your badges? Let's see them." "Badges, to god-damned hell with badges! We have no badges. In fact, we don't need badges. I don't have to show you any stinking badges, you god-damned cabrón and ching' tu madre! Come out there from that s--t-hole of yours. I have to speak to you." The following popular catchphrase has multiple origins, and probably goes way back. It was first heard in the movies in Otto Preminger's film-noir Fallen Angel (1945), and then was famously uttered by Bette Davis (as Rose Moline) in Beyond the Forest (1949) . Eric Stanton (Dana Andrews): "What a dump!" June Mills (Alice Faye): "It isn't so bad." Play clip from Fallen Angel (1945): Rose Moline (Bette Davis): "What a dump!" Play clip from Beyond the Forest (1949) : It was not popularized until heard in the opening scene of the 1961 Edward Albee play, upon which the highly-acclaimed film Who's Afraid of Virginia Woolf?

(1966) was based. In the film, the exact same line was uttered by actress Elizabeth Taylor (as 52 year-old wife Martha) who then berated her professor-husband Richard Burton (as George) for not remembering the film the line was from: "...What's it from, for Christ's sake?...some damn Bette Davis picture, some god-damned Warner Bros epic." Play clip from Who's Afraid of Virginia Woolf? (1966) : Actor John Derek (Bo Derek's future husband) in his first major film role (as young Italian hoodlum Nick Romano in the Chicago slums, who was accused of murdering a cop) stated the following line in the classic Humphrey Bogart film noir Knock on Any Door (1949), directed by Nicholas Ray. He told his girlfriend Emma (Allene Roberts) that his motto or credo in life remained as: "What I used to say still goes.

Live fast, die young and have a good-looking corpse!" Play clip from Knock on Any Door (1949): This saying, although wrongly modified as “Live fast, die young and leave a good-looking corpse!” has often been wrongly attributed to actor James Dean - a quintessential symbol of disenfranchised youth. The last part of the phrase is fairly original (derived from the text of the 1947 novel written by the African-American novelist Willard Motley), while the phrase "live fast and die young" dates back to the early 1900s. In the classic gangster film White Heat (1949) , James Cagney's triumphant shout atop a oil tank before blasting himself into oblivion has often been erroneously quoted. The actual line was: "Made it, Ma. Top of the world!" Play clip from White Heat (1949) : The line was not: "Top of the world, Ma!" Bette Davis' most famous film line as aging, jealous stage actress Margo Channing in All About Eve (1950) was delivered after she took another stiff drink during a birthday party.

She walked over to the staircase, turned, and told everyone to buckle up their airplane seatbelts (cars didn't have seatbelts in the 1950s!): "Fasten your seatbelts, it's going to be a bumpy night." The line has often been misquoted, substituting the word "ride" for "night." "Fasten your seatbelts, it's going to be a bumpy ride." "I'm ready for my closeup, Mr. DeMille" has often been presented as Norma Desmond's (Gloria Swanson) line, but it's actually a misquote of her original closing in Sunset Boulevard (1950) : "All right, Mr. DeMille, I'm ready for my closeup." Play clip from Sunset Boulevard (1950) : The line was misquoted in Mrs. Doubtfire (1993) by Daniel Hillard/Mrs.

Doubtfire (Robin Williams), while speaking to Frank (Harvey Fierstein) as he/she was made up: - "I feel like Gloria Swanson." - "You look like her mother." - "I'm ready for my close-up, Mr. DeMille." Play clip from Mrs. Doubtfire (1993): In Disney's animated classic Alice in Wonderland (1951), the Cheshire Cat (voice of Sterling Holloway) has often been thought to say, "We're all mad here." The actual lines in the film were: - "Of course, he's mad too." - "But I don't want to go among mad people." - "Oh, you can't help that. Most everyone's mad here. You may have noticed that I'm not all there myself." Play clip from Alice in Wonderland (1951): In Lewis Carroll's original novel, Alice's Adventures in Wonderland published in 1865 however, the extended quote was: "But I don't want to go among mad people," Alice remarked. "Oh, you can't help that," said the Cat: "We're all mad here. I'm mad.

You're mad." "How do you know I'm mad?" said Alice. "You must be," said the Cat, "or you wouldn't have come here." One of the more interesting misquotes was attributed to actor Tony Curtis. In many tributes and obituaries when he died in the year 2010, he was quoted as having said the following line with a heavy New York accent: "Yonder lies the castle of my father." "Yonda (or yonda) lies da castle of my fodder (faddah, fodda, or fadda)." Although many sources claim that Curtis said the line in The Prince Who Was a Thief (1951) and/or The Black Shield of Falworth (1954), Curtis didn't utter the above quote in either film. However, a variation on the line was spoken by Curtis in Son of Ali Baba (1952): "This is my father’s palace.

And yonder lies the Valley of the Sun." Play clip from Son of Ali Baba (1952): Director Vincente Minnelli's melodramatic Tea and Sympathy (1956) began as playwright Robert Anderson's stage play, debuting in NYC in 1953. The controversial film was about bullying and social prejudice against an "unmanly" prep school student named Tom Lee (John Kerr), who was shown understanding and friendship by Laura Reynolds (Deborah Kerr) - the lonely, frustrated wife of Bill (Leif Erickson), the school's coach.

The film's title came from his description of his wife's role at the school, when she completed his sentence: - "All you're supposed to do is once in a while give the boys a little tea..." - "...tea and sympathy." Play clip from Tea and Sympathy (1956): The Rolling Stones 1969 song Let It Bleed, written by Mick Jagger and Keith Richards (and performed by Mick Jagger) modified the line in one of the verses: She said, "My breasts, they will always be open Baby, you can rest your weary head right on me And there will always be a space in my parking lot When you need a little coke and sympathy." Play clip of Let It Bleed (1969): The film, bowdlerized with a tacked-on ending, should have ended with Laura's advice to Tom: "Years from now, when you talk about this, and you will, be kind." Play clip from Tea and Sympathy (1956): There were a few variations on the famous James Bond 007 drink preference quote: "...shaken, not stirred," first heard uttered by the Bond character (Sean Connery) himself in Goldfinger (

1964) : "...Just a drink.

A martini, shaken, not stirred." Play clip from Goldfinger (1964) : Villain Dr. Julius No (Joseph Wiseman) offered the familiar drink to Bond in the earlier first Bond film Dr. No (1962) - with the words: "A medium dry martini, lemon peel. Shaken, not stirred." Play clip from Dr. No (1962) : In You Only Live Twice (1967) , the drink instructions were reversed, with Bond politely agreeing with his host Henderson (Charles Gray) and accepting the altered drink: "Perfect!" "Oh, that's, uh, stirred, not shaken. That was right, wasn't it?" In the UK film Alfie (1966), Michael Caine (as the title character) said: "Not many people know this." One of his many trivia books was titled, "Not Many People Know That." In the film, he never said: "(And) not a lot of people know that." The tagline from Cool Hand Luke (1967) has often been modified from its original.

In its most famous utterance, the Captain (Strother Martin) said to recalcitrant chain gang prisoner Luke (Paul Newman): "What we've got here is (pause) failure to communicate." Play clip from Cool Hand Luke (1967) : (Captain's line) It was NOT: "What we have here is a failure to communicate" (although the line with the word 'a' was later sarcastically repeated by character Luke to the prison warden before he was shot) -- as: "What we got here is a failure to communicate." Play clip from Cool Hand Luke (1967) : (Luke's line) In The Graduate (1967) , Benjamin Braddock (Dustin Hoffman) made a statement and then asked a question of the Mrs. Robinson (Anne Bancroft) character. As he naively asked his question, the camera shot under her upraised leg, framing Ben underneath: - "For God's sake, Mrs. Robinson, here we are, you've got me into your house. You give me a drink. You put on music, now you start opening up your personal life to me and tell me your husband won't be home for hours... Mrs.

Robinson, you're trying to seduce me. Aren't you?" Play clip from The Graduate (1967) : (short version) (long version) He did NOT ask either of these two questions: "Mrs. Robinson, are you trying to seduce me?" or "Are you trying to seduce me, Mrs. Robinson?" Shortly later upstairs in her home, Mrs. Robinson went further and asked Benjamin: "Would you like me to seduce you?...Is that what you're trying to tell me?" Play clip from The Graduate (1967) : The misquote (in a number of variations) was heard in, for example, The Ladies Man (2000), Van Wilder (2002), and A Walk to Remember (2002). "Mrs. Robinson, are you trying to seduce me?" (The Ladies Man (2000)) Ms. Doris Haver (Cynthia Fancher): "Mr. Wilder, are you trying to seduce me?" Van Wilder (Ryan Reynolds): "Who, me? No!

Hey, hey..." (Van Wilder (2002)) In Planet of the Apes (1968) , captured astronaut George Taylor (Charlton Heston) screamed: "Take your stinkin' paws off me, you damn dirty ape!" Play clip from Planet of the Apes (1968) : He did NOT say: "Get your stinkin' paws off me, you damn dirty ape." In the original British caper film The Italian Job (1969) about a gang stealing gold bullion from a bank vault in Turin, this famous quote was heard from Cockney gangster Charlie Croker (Michael Caine) as the film ended: "Hang on a minute, lads, I’ve got a great idea." Play clip from The Italian Job (1969): He did not say: "I've got an idea," or "Hang on, lads.

I've got a great idea." "You were only supposed to blow the bloody doors off!" Play clip from The Italian Job (1969): The above line by actor Michael Caine was voted the favorite film one-liner in a 2003 poll of 1,000 British film fans, reported in The Telegraph. It demoted the previous most favorite line down to the # 2 spot - Rhett Butler's (Clark Gable) retort to Scarlett O'Hara (Vivien Leigh): "Frankly, my dear, I don't give a damn!" Vigilante SF cop 'Dirty' Harry Callahan (Clint Eastwood), while holding his giant-sized .44 Magnum at a downed bank robber in the opening of Dirty Harry (1971) , said: "I know what you're thinkin'. 'Did he fire six shots or only five?' Well, to tell you the truth, in all this excitement, I've kinda lost track myself.

But being as this is a .44 Magnum, the most powerful handgun in the world, and would blow your head clean off, you've got to ask yourself one question: 'Do I feel lucky?' Well, do ya punk?" Play clip from Dirty Harry (1971) : (beginning of film) He never said: "Do you feel lucky, punk?" The same full quotation is ritualistically repeated again almost verbatim at the film's conclusion, when Callahan confronted the killer Scorpio: "I know what you're thinkin', punk. You're thinkin': 'Did he fire six shots or only five?' And to tell you the truth, I forgot myself in all this excitement.

But bein' this is a .44 Magnum, the most powerful handgun in the world, and will blow your head clean off, you could ask yourself a question: 'Do I feel lucky?' Well, do ya, punk?" Play clip from Dirty Harry (1971) : (end of film) Misquotes were heard in a number of films, including: Short Circuit 2 (1988) - Robot Johnny Five imitates both Sylvester Stallone and Clint Eastwood in one line - Johnny Five: "Yo, come on, you bug-eyed geek! Do you feel lucky, punk?" Play clip from Short Circuit 2 (1988): Scary Movie 2 (2001) - Dwight Hartman confronting the Hell House Ghost Dwight (David Cross): "I know what you're thinkin'. Did I fire three shots or a hundred and seventeen? Well, do you feel lucky, (pause) punk? Do you (pause) feel lucky?

Do you feel lucky, punk?" Hell House Ghost (Richard Moll): "Shoot me, motherf--ker." Play clip from Scary Movie 2 (2001): Showtime (2002) - "Confessional" Camera Scene Detective Mitch Preston (Robert DeNiro): "Do you feel lucky, punk? Who said that?" Frankly, my dear, I don't give a straw: 'Gone With the Wind's' secret curse history - TODAY.com Today.com Frankly, my dear, I don't give a straw: The secret history of 'Gone With the Wind's' curse 2014-12-15T12:14:00.000Z comment () "Frankly, my dear, I don't give a damn." That's a damn good line.

And a damn enduring one, which was delivered by Clark Gable's Rhett Butler to his never-satisfied wife Scarlett O'Hara (played by Vivien Leigh) in 1939's "Gone With the Wind." Today Scarlett O'Hara (Vivien Leigh) does fall for Rhett Butler (Clark Gable) in "Gone With the Wind," but alas, it cannot last. But the most famous line from the classic movie, which premiered in Atlanta 75 years ago on Dec. 15, almost didn't make it into the movie. In the early days of cinema, there was no ratings system. But moviemakers didn't want the government telling them what they could film, so starting in 1930 they agreed to self-regulate through rules that became known as the Hays Code. Still, a movie like "Gone With the Wind" sent up a lot of red flags: the portrayal of a prostitute! Amputation! Battlefield violence! Painful childbirth! And, of course, a certain important line taken (almost directly) from Margaret Mitchell's 1936 bestselling book.

(In the book, it's "My dear, I don't give a damn.") Movie producer David O. Selznick and his story editor Val Lewton worked hard to keep the movie close to the book. Selznick knew when to make concessions (the use of the n-word was a serious concern, even in 1939) and when it was important to stick to the original. As he told regulators of the now iconic-line, "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 of it is that it’s a vulgarism." In the end, the film got special dispensation to use "damn" and "hell" in specific situations. But before they got the OK, Selznick and Lewton went around their offices soliciting alternate suggestions. What did they come up with? Just check out the sheet: Today Hard to imagine these lines could have become as immortal as what Rhett Butler actually said to Scarlett O'Hara. But what's behind that marked line? No one knows. Our favorites?

"Frankly my dear, I don't give a straw" and "Frankly my dear, my indifference is boundless." "Frankly, my dear, I don't give a Continental" is just plain confusing (unless you just happen to be hep to the currency that was passed around during the American Revolution)! And according to Steve Wilson, curator of film at the University of Texas' Harry Ransom Center (which is hosting an exhibit of rare "GWTW" items), no one really knows what the scratched-out one says. "As Selznick put it, it's the punchline to the whole story," Wilson told TODAY.com. "The movie is about Scarlett and her insecurities, a woman who makes all of these questionable decisions and here's the guy who really loves her and she blows it." And it made it into film history because Selznick and Lewton did give a damn. The rare archive collection can be viewed online or at the Harry Ransom Center in Austin through January 4, 2015. Follow Randee Dawn on Google+ and Twitter .

Frankly My Dear, I Don't Give a Damn - Gone with the Wind (6/6) Movie CLIP (1939) HD - YouTube Close Frankly My Dear, I Don't Give a Damn - Gone with the Wind (6/6) Movie CLIP (1939) HD Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on May 26, 2011 Gone with the Wind movie clips: BUY THE MOVIE: Don't miss the HOTTEST NEW TRAILERS: CLIP DESCRIPTION: Rhett (Clark Gable) leaves Scarlett (Vivien Leigh) in tears, but she still finds hope in tomorrow. FILM DESCRIPTION: Gone With the Wind boils down to a story about a spoiled Southern girl's hopeless love for a married man. Producer David O.

Selznick managed to expand this concept, and Margaret Mitchell's best-selling novel, into nearly four hours' worth of screen time, on a then-astronomical 3.7-million-dollar budget, creating what would become one of the most beloved movies of all time. Gone With the Wind opens in April of 1861, at the palatial Southern estate of Tara, where Scarlett O'Hara (Vivien Leigh) hears that her casual beau Ashley Wilkes (Leslie Howard) plans to marry "mealy mouthed" Melanie Hamilton (Olivia de Havilland). Despite warnings from her father (Thomas Mitchell) and her faithful servant Mammy (Hattie McDaniel), Scarlett intends to throw herself at Ashley at an upcoming barbecue at Twelve Oaks.

Alone with Ashley, she goes into a fit of histrionics, all of which is witnessed by roguish Rhett Butler (Clark Gable), the black sheep of a wealthy Charleston family, who is instantly fascinated by the feisty, thoroughly self-centered Scarlett: "We're bad lots, both of us." The movie's famous action continues from the burning of Atlanta (actually the destruction of a huge wall left over from King Kong) through the now-classic closing line, "Frankly, my dear, I don't give a damn." Holding its own against stiff competition (many consider 1939 to be the greatest year of the classical Hollywood studios), Gone With the Wind won ten Academy Awards, including Best Picture, Best Director, Best Screenplay, Best Actress (Vivien Leigh), and Best Supporting Actress (Hattie McDaniel, the first African-American to win an Oscar). The film grossed nearly 192 million dollars, assuring that, just as he predicted, Selznick's epitaph would be "The Man Who Made Gone With the Wind." CREDITS: Cast: Clark Gable, Vivien Leigh Directors: George Cukor, Victor Fleming, Sam Wood Producer: David O.

Selznick Screenwriters: Margaret Mitchell, Sidney Howard, Oliver H.P. Garrett, Ben Hecht, Jo Swerling, John Van Druten WHO ARE WE? The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans. SUBSCRIBE TO OUR MOVIE CHANNELS: “Frankly, My Dear…” - Jun 27, 1939 - HISTORY.com “Frankly, My Dear…” Publisher A+E Networks On this day in 1939, one of the most famous scenes in movie history is filmed–Rhett Butler and Scarlett O’Hara parting in Gone with the Wind. Director Victor Fleming also shot the scene using the alternate line, “Frankly, my dear, I just don’t care,” in case the film censors objected to the word “damn.” The censors approved the movie but fined producer David O. Selznick $5,000 for including the curse.

The filming of the famous epic was itself an epic, with two and half years elapsing between Selznick’s purchase of the rights to Margaret Mitchell’s novel and the movie’s debut in Atlanta in December 1939. Selznick had balked at paying an unprecedented $50,000 for the rights to a first novel, but Mitchell stuck to her asking price and Selznick agreed in July 1937. He hired director George Cukor immediately, and casting began in the fall. Selznick launched a nationwide talent search, hoping to find a new actress to play Scarlett. Meanwhile, he set writers to work on the script. A year later, Selznick still hadn’t found an actress or received a satisfactory script. In May 1938, running low on funds, Selznick struck a deal with MGM. He sold the worldwide distribution rights for the film to the studio for $1.5 million, and MGM agreed to lend Clark Gable to Selznick. Filming finally began on December 10, 1938, with the burning of Atlanta scene, although Scarlett still hadn’t been cast.

British actress Vivien Leigh, newly arrived from London, dropped by the set to visit her agent, Myron Selznick, brother of the producer. David O. Selznick asked her to test for Scarlett. In January, Leigh signed on as Scarlett and Leslie Howard as Ashley Wilkes, and at last, principal filming began. By February, however, there was trouble on the set. Gable clashed with the director, and by February 14, Victor Fleming replaced George Cukor. Principal filming ended on June 27, 1939. The film debuted in Atlanta on December 15, 1939, and became an instant hit, breaking all box office records. The film was nominated for more than a dozen Oscars, and won nine, including Best Picture, Best Screenplay, Best Actress, and Best Supporting Actress (which went to Hattie McDaniel, the first African American actress to win the award). The movie was digitally restored and the sound re-mastered for its 1998 re-release by New Line Pictures. Related Videos Quotes - Frankly, my dear, I don't give a damn.

Quotes Source: Gone with the Wind Speaker: Rhett Butler Love Relationship Romantic Movie Gone With the Wind Assorted Movie Character Family Marriage Moving On Failure Most Popular Context This famous line was spoken by Rhett Butler, played by Clark Gable, in the movie Gone with the Wind, directed by Victor Fleming (1939). Rhett Butler is fed up with Scarlett O'Hara (even if she is resourceful at making her own clothing ) at the end of Gone with the Wind. When she pleads, "Where shall I go? What shall I do?" Rhett tells her, "Frankly, my dear, I don't give a damn," and leaves her behind forever. Ouch. P.S. The line is originally from the book , but it was a little different—and not quite as catchy—in that version . Where you've heard it You were probably born knowing the most famous movie quote of all time . And you say it whenever you're just fed up with someone, no matter what era you live in. Pretentious Factor If you were to drop this quote at a dinner party, would you get an in-unison "awww" or would everyone roll their eyes and never invite you back?

Here it is, on a scale of 1-10. In Gone with the Wind, Scarlett is the pretentious one. Dismissing Scarlett is like dismissing pretension itself. “Frankly, my dear, I don’t give a damn” | OxfordWords blog Home > “Frankly, my dear, I don’t give a damn” “Frankly, my dear, I don’t give a damn” Liz: You can’t just take away all these words we’ve been using for the past six years. Kenneth: Oh, that reminds me. You can’t say “using” on TV. It implies drug use. —30 Rock Season 6, Episode 11 On 15 December, 1939, Gone with the Wind premiered at Loew’s Grand Theatre in downtown Atlanta, Georgia.

The occasion remains an important one in cinematic history not only because of the film’s unprecedented critical and popular reception (it won 10 Academy Awards and remains the highest grossing film ever, adjusting for inflation), but also because of Clark Gable’s iconic line, “Frankly, my dear, I don’t give a damn.” That inclusion of that line helped deal a critical blow to the nascent Hollywood production code (popularly known as the Hays Code), which had banned the use of a wide variety of words from American movies just five years earlier. We’ve come a long way since then. The scope of what is considered permissible to say in a film or on television has expanded exponentially, often to the chagrin of social commentators. Generally speaking, it is these high-profile transgressions of rules about offensive speech that people tend to remember, and so it’s easy to imagine that the number of offensive words in English is always dwindling as one barrier after another gets knocked down. “Not Pygmalion likely!” Of course, things are never that simple.

Offensive language is highly relative, depending not only on the personal tastes of speaker and listener (for example, the burgeoning consensus around the word moist—though personally, I’m not a big fan of burgeoning) but also on where and when the word is being said. The intensifier bloody, for instance, which has never really rankled Americans much, caused something of a scandal the first time it was uttered on a London stage in 1914 during the British premiere of George Bernard Shaw’s Pygmalion. In fact, the effect was startling enough that the title of the play itself began to be used as a humorous euphemism for bloody in phrases like “quite pygmalion useless!” and “not Pgymalion likely!” The reason for the scandalousness, however, was also a matter of time. As Melissa Mohr, author of Holy Sh*t: A Brief History of Swearing , has pointed out, since its first appearance in the 16th century through the turn of the 19th century, bloody was certainly an informal word but not a particularly shocking one.

It was only with the advent of Victorian sensibilities in the early 1800s that bloody became increasingly censored and disparaged until, by the end of the century, it was all but unmentionable. Political correctness This kind of “vulgarizing” of previously inoffensive words is hardly confined to the quaint days of early Hollywood or Imperial Britain, however. Even in the recent past, new trends of “swear-formation” have taken off. Undoubtedly, the most obvious and powerful of these is the ban on nearly all informal terms for racial, ethnic, and religious identities, usually referred to (often with a healthy dose of irony) as “political correctness.” Though there are very good reasons for putting a high social penalty on using racially or religiously specific terms of abuse, what makes other words in this category “offensive” is often very difficult to pin down. As the particular set of prejudices and injustices associated with a word like Chinaman, for example, become more historical and less well known, it will be increasingly difficult to differentiate from inoffensive words like Frenchman and Spaniard.

Nevertheless, in 2014, many if not most English-speakers would avoid using it to refer to a man from China. Perhaps the real test for whether or not offensive language has shifted over time isn’t in the difference between a word’s literal meaning and its connotation (as with Chinaman), but in the difference between how we understand an inoffensive word today and how it was understood in the past. A number of apparently innocuous words and phrases have come into standard use in English, despite the fact that their original meanings, while not regarded as offensive in their day, do not really meet contemporary standards of cultural sensitivity. For instance, the term basket case was originally used to refer to “a person, especially a soldier, who has lost all four of his limbs.” However, the callous and disrespectful nature of that original meaning eroded over time, so that basket case eventually came to refer to “a person who is emotionally or mentally unable to cope” with something. Similarly, the greeting long time, no see, despite its perfectly neutral meaning, is apparently an appropriation from Chinese pidgin English that, in its earliest use, was incorrectly used to represent the speech of North American Indians.

The North American term Grandfather clause, too, now used to refer to any “provision…which creates an exemption from its requirements for a particular class of people,” first referred to the practice in Southern states of exempting white voters from literacy tests and poll taxes on the grounds that their ancestors had been able to vote before the Civil War (unlike those of black voters). None of these terms, if they had been coined today, would likely have ever overcome their uncomfortable beginnings to arrive at their current, inoffensive meanings. Alarmed by those terms? Check out our post on those and other words with offensive origins . The opinions and other information contained in OxfordWords blog posts and comments do not necessarily reflect the opinions or positions of Oxford University Press. Author Jeff Sherwood is a US Assistant Editor for Oxford Dictionaries Published

Question: Who uttered the famous line "Frankly my dear I don't give a damn?
Answer: Clark Gable