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But who was the creator behind two of the world’s greatest lovers – Scarlett and Rhett – and the tumultuous romance that left book readers and film viewers wondering about their final fate together in one of storytelling’s most talked about cliffhangers? She was certainly no ordinary woman either.

Margaret Mitchell: American Rebel, a GPB production in association with THIRTEEN’s American Masters for WNET, explores the author’s extraordinary life.

Born in Atlanta in 1900, Margaret Mitchell was a force to be reckoned with until a tragic accident lead to her untimely death in 1949 – a debutante who challenged society with a brazen dance; a reporter who roamed town when tradition called for women to stay at home; and a philanthropist who risked her life in the name of generosity.

“Margaret Mitchell was always a writer and always a rebel,” says Emmy^®-winning executive producer/writer Pamela Roberts. “She was captivating and complex. She took chances every day of her life, and she changed the world with her one book, Gone With the Wind. Only Margaret Mitchell could have created Scarlett O’Hara.”

As a debutante from Atlanta’s upper crust, Mitchell challenged the stifling social restrictions placed on women at the time. She was one of Georgia’s first female newspaper reporters and used the money she made from Gone With the Wind to fund many causes, including the education of the South’s first African-American medical doctors.

Mitchell had a charismatic personality and a great sense of humor, but she also dealt with depression and illness. Setbacks in her early life included the loss of her mother and her fiancé as a teenager. A failed first marriage followed, but in spite of all that, she found her soul mate in her second husband, John Marsh, and with his support she wrote Gone With the Wind.

Margaret Mitchell: American Rebel engages leading authors, historians, biographers and people with personal connections to Mitchell to reveal a complex and mysterious woman who experienced profound identity shifts in her life and who struggled with the two great issues of her day: the changing role of women and the liberation of African Americans. Interviewees include friend Sara Mitchell Parsons, Carolyn Equen Miller (daughter of Mitchell’s lifelong arch rival Anne Hart Equen), Pat Conroy (The Prince of Tides), Pearl Cleage (What Looks Like Crazy on an Ordinary Day), Molly Haskell (Frankly My Dear: Gone With the Wind Revisited), Darden Asbury Pyron (Southern Daughter/The Life of Margaret Mitchell and the Making of Gone With the Wind), and John Wiley (Margaret Mitchell’s Gone With the Wind).

Roberts shot extensive reenactments for the film based on Mitchell’s personal letters, which trace Mitchell throughout her life, starting at age three, that show how Mitchell’s upbringing influenced Gone With the Wind. Margaret Mitchell: American Rebel also examines Gone With the Wind’s cultural impact. For some the work was a racial lightning rod, while for others it proved a model for survival.

Interviewees (in alphabetical order):

Ann Boutwell – docent, Margaret Mitchell House Museum; Atlanta historian
Kathleen Clark – University of Georgia historian writing a book on Margaret Mitchell
Pearl Cleage – novelist, poet, playwright
Pat Conroy – novelist; wrote introduction to 75^th anniversary edition of Gone With the Wind and his book My Reading Life (2010) devotes a chapter to Gone With the Wind
Robert Franklin – president, Morehouse College (Atlanta, GA)
Debra Freer – editor, Lost Laysen (Mitchell’s 1916 novella,first published in 1996)
Molly Haskell – author, Frankly My Dear: Gone With the Wind Revisited; film historian
Ira Joe Johnson – author, Benjamin E. Mays and Margaret Mitchell: A Unique Legacy in Medicine
Clifford Kuhn – Georgia State University historian
Carolyn Miller – daughter of Mitchell’s lifelong arch rival Anne Hart Equen
Sara Mitchell Parsons – friend of Mitchell in Atlanta (no relation)
Darden Asbury Pyron – author, Southern Daughter/The Life of Margaret Mitchell and the Making of Gone With the Wind
Marianne Walker – author, Margaret Mitchell and John Marsh: The Love Story Behind Gone With the Wind
Elizabeth West – Georgia State University English professor specializing in Africa-American literature and studies
John Wiley – author, Margaret Mitchell’s Gone With the Wind; editor, The Scarlett Letter

Margaret Mitchell: American Rebel is a GPB production in association with THIRTEEN’s American Masters for WNET. Pamela Roberts is executive producer and writer. Kathy White is director of reenactments. Charlene Fisk is co-producer and editor. Kevan Ward is director of photography.

American Masters is made possible by the support of the National Endowment for the Arts and by the Corporation for Public Broadcasting. Additional funding for American Masters is provided by Rosalind P. Walter, The Blanche & Irving Laurie Foundation, Rolf and Elizabeth Rosenthal, Cheryl and Philip Milstein Family, Jack Rudin, Vital Projects Fund, The André and Elizabeth Kertész Foundation, Michael & Helen Schaffer Foundation, and public television viewers.

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Louisa May Alcott, the author of Little Women, is an almost universally recognized name.  Her reputation as a morally upstanding New England spinster, reflecting the conventional propriety of mid-19th century Concord, is firmly established.  Raised among reformers, iconoclasts and Transcendentalists, the intellectual protégé of Ralph Waldo Emerson and Henry David Thoreau, Alcott was actually a free thinker, with democratic ideals and progressive values about women – a worldly careerist of sorts.  Most surprising is that Alcott led, anonymously and under the pseudonym A.M. Barnard, a literary double life not discovered until the 1940s.  As Barnard, Alcott penned some thirty pulp fiction thrillers, with characters running the gamut from murderers and revolutionaries to cross-dressers and opium addicts – a far cry from her better-known works featuring fatherly mentors, courageous mothers and impish children.

Visit the filmmakers’ Web site for more, and don’t miss what WETA’s The Book Studio has to say about The Woman Behind ‘Little Women’.

Louisa May Alcott: The Woman Behind ‘Little Women’ is the recipient of numerous awards and film festival selections, including:

AWARDS

Booklist’s Editors’ Choice: Best Video of 2009
CINE GOLD EAGLE 2008
Grand Award: Providence Film Festival
Audience Choice Award: Cape Cod Filmmaker Takeover
Best Feature Documentary: L.A. Reel Women Int’l Film Festival
Best Family Feature: Garden State Film Festival

OFFICIAL SELECTION

Rhode Island International Film Festival
Museum of Fine Arts, Boston
Guangzhou Documentary Film Festival
Santa Fe Film Festival
Through Women’s Eyes Film Festival

Read reviews of the film

What came out of all this is a remarkably detailed portrait of a strong-minded woman who was far ahead of her time and far more complex than the portrait of the dainty lady that others have previously presented. Elizabeth Marvel gives a remarkably insightful performance as Louisa May, full of humor, passion, emotion and progressive thinking that makes her come alive.

– The Providence Journal

As much as I’ve enjoyed the American Masters series and its biographies of actors, artists, writers, and musicians, the talking heads and archival material can feel like a straitjacket for filmmakers . . . and audiences. Even the Ken Burns effect — slowly panning or zooming in or out of a photograph — can get old during the course of a feature-length film. Most recreations have failed because they’re sparingly done, poorly cast and directed, or so clumsy that they just seem cheesy. But Louisa May Alcott: The Woman Behind ‘Little Women’ gives us liberal, well-conceived dramatizations throughout, making them as dominant as those talking heads that are also featured. What’s more, there’s none of the usual take-yourself-too-seriously austere narration that so often accompanies literary biographies. Louisa May Alcott and her family are brought to life with dignity, but also humor. All of the dialogue that’s used comes from journals and letters, and that lends an authenticity and unabashed forthrightness that’s uncommon in films like this.

– DVDTOWN.com

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Update: Don’t miss John Matteson’s recent essay in Humanities, “Little Woman: The Devlish, dutiful daughter, Louisa May Alcott“.

One hundred forty years after the publication of Little Women, none of Louisa May Alcott’s eight novels for what is now called the “young adult” audience has ever been out of print. Women around the world cite Little Women as the most treasured book of their childhoods—“magically
the book told my story,” as a writer for the Philippine Inquirer recently put it. Translated into more than fifty languages, Little Women crosses every cultural and religious border. It has been adapted for stage, television, opera, ballet, Hollywood, Bollywood, and Japanese anime. Its characters have been drafted for new versions set in California’s Beverly Hills, Salvador Allende’s Chile, and New York’s Upper West Side.

Little Women is a charming, intimate coming-of-age story about family love, loss, and struggle set in a picturesque rendering of mid-nineteenth-century New England life. What sets it apart is the young woman at its center. Her name is Jo March, but her character is Louisa Alcott. Jo March is a dazzling and original invention: bold, outspoken, brave, daring, loyal, cranky, principled, and real. She is a dreamer and a scribbler, happiest at her woodsy hideout by an old cartwheel or holed up in the attic, absorbed in reading or writing, filling page after page with stories or plays. She loves to invent wild escapades, to stage and star in flamboyant dramas. She loves to run. She wishes she were a boy, for all the right reasons: to speak her mind, go where she pleases, learn what she wants to know — in other words, to be free.

At the same time, Jo is devoted to the fictional March family, which was closely modeled on the Alcott family: a wise and good mother, an idealistic father, and four sisters whose personalities are a sampler of female adolescence. But while Jo March marries and is content within the family circle, Louisa Alcott chose an independent path. Descriptions of Louisa by her contemporaries matched Alcott’s first description of Jo March in Little Women: “Fifteen-year-old Jo was very tall, thin, and brown, and reminded one of a colt, for she never seemed to know what to do with her long limbs, which were very much in her way. She had a decided mouth, a comical nose, and sharp, gray eyes, which appeared to see everything, and were by turns fierce, funny, or thoughtful.” Frederick Llewellyn Willis wrote that his cousin Louisa Alcott was “full of spirit and life; impulsive and moody, and at times irritable and nervous. She could run like a gazelle. She was the most beautiful girl runner I ever saw. She could leap a fence or climb a tree as well as any boy and dearly loved a good romp.”

Another Louisa May Alcott lurked behind the spirited hoyden who wrote the March family books (Little Women, Little Men, and Jo’s Boys), five other juvenile novels, and countless stories for children. The real Louisa Alcott was infinitely more interested in the darker side of human
nature and experience than in telling polite stories to nice children. She was a protean personality, a turbulent force, a passionate fighter attracted to danger and violence. The voice of the other Louisa is heard in writings that were unknown or unpublished for almost ninety years after her death. In pulp fiction written anonymously, or under the name “A. M. Barnard,” she is villain,
 victim, and heroine, sometimes all of them at once.

An actress of professional caliber, Louisa played many roles in life and used them in her work. Much of her fiction is not fictional at all: Louisa Alcott held the jobs heroine Christie Devon holds in the gritty novel Work; loved the two men, Ralph Waldo Emerson and Henry David Thoreau, who inspired the characters Sylvia Yule loves in Moods; served in the Civil War as a nurse, as Tribulation Periwinkle does in Hospital Sketches; and displays her infinite variety in a lifetime of poetry, journals, and letters. She was her own best character.

In everything Louisa Alcott wrote she made use of the outward details and the hidden emotional currents of her life, and her life was no children’s book. She knew not only family affection but also dangerous family disaffection; not just domestic toil but grueling manual labor; she knew gnawing hunger and the bloody aftermath of war. She was familiar with scenes of wealth and fashion from visits to privileged relatives, knew the famed sights of Europe from traveling as paid companion to a wealthy woman, and had vast vicarious experience from a lifetime of reading novels.

She wrote almost everything at high speed and for money. Works as different as Little Women and “Perilous Play” (a tale about the dangers and blessings of hashish) were written in the same year and brought to life from the same experiences. They are both filled with classical allusions and quotations from Shakespeare, both peppered with metaphysics and moral scrutiny. They provide tantalizing glimpses not of the New England spinster of popular conception, but of the real Louisa Alcott, a person we might recognize, someone so modern that she could pass at
a dinner party as a woman born 150 years after her actual birth in 1832.

A Concord contemporary, Clara Gowing, described Louisa as “a strange combination of kindness, shyness, and daring; a creature loving and spiteful, full of energy and perseverance, full of fun, with a keen sense of the ludicrous, apt speech and ready wit; a subject of moods, than whom no one could be jollier and more entertaining when geniality was in ascendancy, but if the opposite, let her best friend beware.”

Jo March resembles her creator most in the fertility of her imagination. Like Jo, the young Louisa May Alcott burned with genius, spinning tales of murder and treachery one minute, fairy tales and sentimental poetry the next. She told herself a dozen stories at a time, working out their plots in her head, sometimes for years. Spinning out her fantasies on paper, Louisa was transported, and liberated. Her imagination freed her to escape the confines of ordinary life to be flirtatious, scheming, materialistic, violent, rich, worldly, or a different gender. In her struggle to fulfill her childhood vow to be “rich, famous, and happy before I die,” her imagination was her greatest comfort, and her refuge even in her last days, when she wrote in her journal, “Lived in my mind where I can generally find amusement. . . . A happy world to go into when the real one is too dull or hard.”

–From Louisa May Alcott: The Woman Behind Little Women, by Harriet Reisen.
Henry Holt and Company, 384p. bibliog. index. ISBN 978-0-8050-8299-9.
Copyright Harriet Reisen and Nancy Porter