<Li> AFI's 10 Top 10--#4 Epic film </Li> <P> In revisiting the film in the 1970s, Arthur Schlesinger noted that Hollywood films generally age well, revealing an unexpected depth or integrity, but in the case of Gone with the Wind time has not treated it kindly . Richard Schickel posits that one measure of a film's quality is to ask what you can remember of it, and the film falls down in this regard: unforgettable imagery and dialogue are simply not present . Stanley Kauffmann, likewise, also found the film to be a largely forgettable experience, claiming he could only remember two scenes vividly . Both Schickel and Schlesinger put this down to it being "badly written", in turn describing the dialogue as "flowery" and possessing a "picture postcard" sensibility . Schickel also believes the film fails as popular art, in that it has limited rewatch value--a sentiment that Kauffmann also concurs with, stating that having watched it twice he hopes "never to see it again: twice is twice as much as any lifetime needs". Both Schickel and Andrew Sarris identify the film's main failing is in possessing a producer's sensibility rather than an artistic one: having gone through so many directors and writers the film does not carry a sense of being "created" or "directed", but rather having emerged "steaming from the crowded kitchen", where the main creative force was a producer's obsession in making the film as literally faithful to the novel as possible . </P> <P> Sarris concedes that despite its artistic failings, the film does hold a mandate around the world as the "single most beloved entertainment ever produced". Judith Crist observes that, kitsch aside, the film is "undoubtedly still the best and most durable piece of popular entertainment to have come off the Hollywood assembly lines", the product of a showman with "taste and intelligence". Schlesinger notes that the first half of the film does have a "sweep and vigor" that aspire to its epic theme, but--finding agreement with the film's contemporary criticisms--the personal lives take over in the second half, and it ends up losing its theme in unconvincing sentimentality . Kauffmann also finds interesting parallels with The Godfather, which had just replaced Gone with the Wind as the highest - grosser at the time: both were produced from "ultra-American" best - selling novels, both live within codes of honor that are romanticized, and both in essence offer cultural fabrication or revisionism . </P> <P> The critical perception of the film has shifted in the intervening years, which resulted in it being ranked 235th in Sight & Sound's prestigious decennial critics poll in 2012, and in 2015 sixty - two international film critics polled by the BBC voted it the 97th best American film . </P>

When did gone with the wind recieve ten academy awards