document_title: Gone with the Wind (film)

question_text: how many cast members from gone with the wind are still alive

text: Gone with the Wind (film)

text: Plot[edit]

text: On the eve of the American Civil War in 1861, Scarlett O'Hara lives at Tara, her family's cotton plantation in Georgia, with her parents and two sisters. Scarlett learns that Ashley Wilkes—whom she secretly loves—is to be married to his cousin, Melanie Hamilton, and the engagement is to be announced the next day at a barbecue at Ashley's home, the nearby plantation Twelve Oaks.

text: At the Twelve Oaks party, Scarlett privately declares her feelings to Ashley, but he rebuffs her by responding that he and Melanie are more compatible. Scarlett is incensed when she discovers another guest, Rhett Butler, has overheard their conversation. The barbecue is disrupted by the declaration of war and the men rush to enlist. As Scarlett watches Ashley kiss Melanie goodbye, Melanie's younger brother Charles proposes to her. Although she does not love him, Scarlett consents and they are married before he leaves to fight.

text: Scarlett is widowed when Charles dies from a bout of pneumonia and measles while serving in the Confederate Army. Scarlett's mother sends her to the Hamilton home in Atlanta to cheer her up, although the O'Haras' outspoken housemaid Mammy tells Scarlett she knows she is going there only to wait for Ashley's return. Scarlett, who should not attend a party while in mourning, attends a charity bazaar in Atlanta with Melanie where she meets Rhett again, now a blockade runner for the Confederacy. Celebrating a Confederate victory and to raise money for the Confederate war effort, gentlemen are invited to bid for ladies to dance with them. Rhett makes an inordinately large bid for Scarlett and, to the disapproval of the guests, she agrees to dance with him.

text: The tide of war turns against the Confederacy after the Battle of Gettysburg in which many of the men of Scarlett's town are killed. Scarlett makes another unsuccessful appeal to Ashley while he is visiting on Christmas furlough, although they do share a private and passionate kiss in the parlor on Christmas Day, just before he returns to war.

text: Eight months later, as the city is besieged by the Union Army in the Atlanta Campaign, Scarlett and her young house servant Prissy must deliver Melanie's baby without medical assistance after she goes into premature labor. Afterwards, Scarlett calls upon Rhett to take her home to Tara with Melanie, her baby, and Prissy; he collects them in a horse and wagon, but once out of the city chooses to go off to fight, leaving Scarlett and the group to make their own way back to Tara. Upon her return home, Scarlett finds Tara deserted, except for her father, her sisters, and two former slaves: Mammy and Pork. Scarlett learns that her mother has just died of typhoid fever and her father has become incompetent. With Tara pillaged by Union troops and the fields untended, Scarlett vows she will do anything for the survival of her family and herself.

text: As the O'Haras work in the cotton fields, Scarlett's father is killed after he is thrown from his horse in an attempt to chase away a scalawag from his land. With the defeat of the Confederacy Ashley also returns, but finds he is of little help at Tara. When Scarlett begs him to run away with her, he confesses his desire for her and kisses her passionately, but says he cannot leave Melanie. Unable to pay the taxes on Tara implemented by Reconstructionists, Scarlett dupes her younger sister Suellen's fiancé, the middle-aged and wealthy mill owner Frank Kennedy, into marrying her, by saying Suellen got tired of waiting and married another beau.

text: Frank, Ashley, Rhett and several other accomplices make a night raid on a shanty town after Scarlett is attacked while driving through it alone, resulting in Frank's death. With Frank's funeral barely over, Rhett proposes to Scarlett and she accepts. They have a daughter whom Rhett names Bonnie Blue, but Scarlett, still pining for Ashley and chagrined at the perceived ruin of her figure, lets Rhett know that she wants no more children and that they will no longer share a bed.

text: One day at Frank's mill, Scarlett and Ashley are seen embracing by Ashley's sister, India, and harboring an intense dislike of Scarlett she eagerly spreads rumors. Later that evening, Rhett, having heard the rumors, forces Scarlett to attend a birthday party for Ashley; incapable of believing anything bad of her beloved sister-in-law, Melanie stands by Scarlett's side so that all know that she believes the gossip to be false. After returning home from the party, Scarlett finds Rhett downstairs drunk, and they argue about Ashley. Rhett kisses Scarlett against her will, stating his intent to have sex with her that night, and carries the struggling Scarlett to the bedroom. The next day, Rhett apologizes for his behavior and offers Scarlett a divorce, which she rejects, saying that it would be a disgrace. When Rhett returns from an extended trip to London, Scarlett informs him that she is pregnant, but an argument ensues which results in her falling down a flight of stairs and suffering a miscarriage. As she is recovering, tragedy strikes when Bonnie dies while attempting to jump a fence with her pony.

text: Scarlett and Rhett visit Melanie, who has suffered complications arising from a new pregnancy, on her deathbed. As Scarlett consoles Ashley, Rhett returns to their home in Atlanta; realizing that Ashley only ever truly loved Melanie, Scarlett dashes after Rhett to find him preparing to leave for good. She pleads with him, telling him she realizes now that it was him she loved all along and never really Ashley, but Rhett says they lost any chance at reconciliation after Bonnie’s death. Scarlett begs him to stay but Rhett rebuffs her and walks out the door and into the early morning fog, leaving her weeping on the staircase and vowing to one day win back his love.

text: Cast[edit]

text: Despite receiving top-billing in the opening credits, Gable—along with Leigh, Howard, and de Havilland who receive second, third and fourth billing respectively—has a relatively low placing in the cast list, due to its unusual structure. Rather than ordered by conventional billing, the cast is broken down into three sections: the Tara plantation, Twelve Oaks, and Atlanta. The cast's names are ordered according to the social rank of the characters; therefore Thomas Mitchell, who plays Gerald O'Hara, leads the cast list as the head of the O'Hara family, while Barbara O'Neil as his wife receives the second credit and Vivien Leigh as the eldest daughter the third credit, despite having the most screen time. Similarly, Howard C. Hickman as John Wilkes is credited over Leslie Howard who plays his son, and Clark Gable, who plays only a visitor at Twelve Oaks, receives a relatively low credit in the cast list, despite being presented as the "star" of the film in all the promotional literature.[1] Following the death of Mary Anderson—who played Maybelle Merriwether—in April 2014, there are only two surviving credited cast members from the film: Olivia de Havilland who played Melanie Wilkes and Mickey Kuhn, who played her son Beau Wilkes.[3]

text:
Thomas Mitchell as Gerald O'Hara
Barbara O'Neil as Ellen O'Hara (his wife)
Vivien Leigh as Scarlett O'Hara (daughter)
Evelyn Keyes as Suellen O'Hara (daughter)
Ann Rutherford as Carreen O'Hara (daughter)
George Reeves as Brent Tarleton (actually as Stuart)[nb 2]
Fred Crane as Stuart Tarleton (actually as Brent)[nb 2]
Hattie McDaniel as Mammy (house servant)
Oscar Polk as Pork (house servant)
Butterfly McQueen as Prissy (house servant)
Victor Jory as Jonas Wilkerson (field overseer)
Everett Brown as Big Sam (field foreman)

text:
Howard Hickman as John Wilkes
Alicia Rhett as India Wilkes (his daughter)
Leslie Howard as Ashley Wilkes (his son)
Olivia de Havilland as Melanie Hamilton (their cousin)
Rand Brooks as Charles Hamilton (Melanie's brother)
Carroll Nye as Frank Kennedy (a guest)
Clark Gable as Rhett Butler (a visitor from Charleston)

text:
Laura Hope Crews as Aunt Pittypat Hamilton
Eddie Anderson as Uncle Peter (her coachman)
Harry Davenport as Doctor Meade
Leona Roberts as Mrs. Meade
Jane Darwell as Mrs. Merriwether
Ona Munson as Belle Watling

text:
Paul Hurst as the Yankee deserter
Cammie King Conlon as Bonnie Blue Butler
J. M. Kerrigan as Johnny Gallagher
Jackie Moran as Phil Meade
Lillian Kemble-Cooper as Bonnie's nurse in London
Marcella Martin as Cathleen Calvert
Mickey Kuhn as Beau Wilkes
Irving Bacon as the Corporal
William Bakewell as the mounted officer
Isabel Jewell as Emmy Slattery
Eric Linden as the amputation case
Ward Bond as Tom, the Yankee captain
Cliff Edwards as the reminiscent soldier
Yakima Canutt as the renegade
Louis Jean Heydt as the hungry soldier holding Beau Wilkes
Olin Howland as the carpetbagger businessman
Robert Elliott as the Yankee major
Mary Anderson as Maybelle Merriwether

text: Production[edit]

text: Before publication of the novel, several Hollywood executives and studios declined to create a film based on it, including Louis B. Mayer and Irving Thalberg at Metro-Goldwyn-Mayer (MGM), Pandro Berman at RKO Pictures, and David O. Selznick of Selznick International Pictures. Jack L. Warner liked the story, but Warner Bros.'s biggest star Bette Davis was uninterested, and Darryl Zanuck of 20th Century-Fox did not offer enough money. Selznick changed his mind after his story editor Kay Brown and business partner John Hay Whitney urged him to buy the film rights. In July 1936—a month after it was published—Selznick bought the rights for $50,000.[4][5][6]

text: Casting[edit]

text: The casting of the two lead roles became a complex, two-year endeavor. For the role of Rhett Butler, Selznick wanted Clark Gable from the start, but Gable was under contract to MGM, who never loaned him to other studios.[4] Gary Cooper was considered, but Samuel Goldwyn—to whom Cooper was under contract—refused to loan him out.[7] Warner offered a package of Bette Davis, Errol Flynn, and Olivia de Havilland for lead roles in return for the distribution rights.[8] By this time, Selznick was determined to get Gable and eventually struck a deal with MGM. Selznick's father-in-law, MGM chief Louis B. Mayer, offered in August 1938 to provide Gable and $1,250,000 for half of the film's budget but for a high price: Selznick would have to pay Gable's weekly salary, and half the profits would go to MGM while Loew's, Inc—MGM's parent company—would release the film.[4][7]

text: The arrangement to release through MGM meant delaying the start of production until the end of 1938, when Selznick's distribution deal with United Artists concluded.[7] Selznick used the delay to continue to revise the script and, more importantly, build publicity for the film by searching for the role of Scarlett. Selznick began a nationwide casting call that interviewed 1,400 unknowns. The effort cost $100,000 and was useless for the film, but created "priceless" publicity.[4] Early frontrunners included Miriam Hopkins and Tallulah Bankhead, who were regarded as possibilities by Selznick prior to the purchase of the film rights; Joan Crawford, who was signed to MGM, was also considered as a potential pairing with Gable. After a deal was struck with MGM, Selznick held discussions with Norma Shearer—who was MGM's top female star at the time—but she withdrew herself from consideration. Katharine Hepburn lobbied hard for the role with the support of her friend, George Cukor, who had been hired to direct, but she was vetoed by Selznick who felt she was not right for the part.[7][8][9]

text: Many famous—or soon-to-be-famous—actresses were considered, but only thirty-one women were actually screen-tested for Scarlett including Ardis Ankerson, Jean Arthur, Tallulah Bankhead, Diana Barrymore, Joan Bennett, Nancy Coleman, Frances Dee, Ellen Drew (as Terry Ray), Paulette Goddard, Susan Hayward (under her real name of Edythe Marrenner), Vivien Leigh, Anita Louise, Haila Stoddard, Margaret Tallichet, Lana Turner and Linda Watkins.[10] Although Margaret Mitchell refused to publicly name her choice, the actress who came closest to winning her approval was Miriam Hopkins, who Mitchell felt was just the right type of actress to play Scarlett as written in the book. However, Hopkins was in her mid-thirties at the time and was considered too old for the part.[7][8][9] Four actresses, including Jean Arthur and Joan Bennett, were still under consideration by December 1938; however, only two finalists, Paulette Goddard and Vivien Leigh, were tested in Technicolor, both on December 20.[11] Goddard almost won the role, but controversy over her marriage with Charlie Chaplin caused Selznick to change his mind.[4]

text: Selznick had been quietly considering Vivien Leigh, a young English actress who was still little known in America, for the role of Scarlett since February 1938 when Selznick saw her in Fire Over England and A Yank at Oxford. Leigh's American agent was the London representative of the Myron Selznick talent agency (headed by David Selznick's brother, one of the owners of Selznick International), and she had requested in February that her name be submitted for consideration as Scarlett. By the summer of 1938 the Selznicks were negotiating with Alexander Korda, to whom Leigh was under contract, for her services later that year.[12] Selznick's brother arranged for them to meet for the first time on the night of December 10, 1938, when the burning of Atlanta was filmed. In a letter to his wife two days later, Selznick admitted that Leigh was "the Scarlett dark horse", and after a series of screen tests, her casting was announced on January 13, 1939.[13] Just before the shooting of the film, Selznick informed newspaper columnist Ed Sullivan: "Scarlett O'Hara's parents were French and Irish. Identically, Miss Leigh's parents are French and Irish."[14]

text: Screenplay[edit]

text: Of original screenplay writer Sidney Howard, film historian Joanne Yeck writes, "reducing the intricacies of Gone with the Wind's epic dimensions was a herculean task ... and Howard's first submission was far too long, and would have required at least six hours of film; ... [producer] Selznick wanted Howard to remain on the set to make revisions ... but Howard refused to leave New England [and] as a result, revisions were handled by a host of local writers".[15] Selznick dismissed director George Cukor three weeks into filming and sought out Victor Fleming, who was directing The Wizard of Oz at the time. Fleming was dissatisfied with the script, so Selznick brought in famed writer Ben Hecht to rewrite the entire screenplay within five days. Hecht returned to Howard's original draft and by the end of the week had succeeded in revising the entire first half of the script. Selznick undertook rewriting the second half himself but fell behind schedule, so Howard returned to work on the script for one week, reworking several key scenes in part two.[16]

text: "By the time of the film's release in 1939, there was some question as to who should receive screen credit," writes Yeck. "But despite the number of writers and changes, the final script was remarkably close to Howard's version. The fact that Howard's name alone appears on the credits may have been as much a gesture to his memory as to his writing, for in 1939 Sidney Howard died at age 48 in a farm-tractor accident, and before the movie's premiere."[15] Selznick, in a memo written in October 1939, discussed the film's writing credits: "[Y]ou can say frankly that of the comparatively small amount of material in the picture which is not from the book, most is my own personally, and the only original lines of dialog which are not my own are a few from Sidney Howard and a few from Ben Hecht and a couple more from John Van Druten. Offhand I doubt that there are ten original words of [Oliver] Garrett's in the whole script. As to construction, this is about eighty per cent my own, and the rest divided between Jo Swerling and Sidney Howard, with Hecht having contributed materially to the construction of one sequence."[17]

text: According to Hecht biographer, William MacAdams, "At dawn on Sunday, February 20, 1939, David Selznick ... and director Victor Fleming shook Hecht awake to inform him he was on loan from MGM and must come with them immediately and go to work on Gone with the Wind, which Selznick had begun shooting five weeks before. It was costing Selznick $50,000 each day the film was on hold waiting for a final screenplay rewrite and time was of the essence. Hecht was in the middle of working on the film At the Circus for the Marx Brothers. Recalling the episode in a letter to screenwriter friend Gene Fowler, he said he hadn't read the novel but Selznick and director Fleming could not wait for him to read it. They would act out scenes based on Sidney Howard's original script which needed to be rewritten in a hurry. Hecht wrote, "After each scene had been performed and discussed, I sat down at the typewriter and wrote it out. Selznick and Fleming, eager to continue with their acting, kept hurrying me. We worked in this fashion for seven days, putting in eighteen to twenty hours a day. Selznick refused to let us eat lunch, arguing that food would slow us up. He provided bananas and salted peanuts ... thus on the seventh day I had completed, unscathed, the first nine reels of the Civil War epic."

text: MacAdams writes, "It is impossible to determine exactly how much Hecht scripted ... In the official credits filed with the Screen Writers Guild, Sidney Howard was of course awarded the sole screen credit, but four other writers were appended ... Jo Swerling for contributing to the treatment, Oliver H. P. Garrett and Barbara Keon to screenplay construction, and Hecht, to dialogue ..."[18]

text: Filming[edit]

text: Principal photography began January 26, 1939, and ended on July 1, with post-production work continuing until November 11, 1939. Director George Cukor, with whom Selznick had a long working relationship, and who had spent almost two years in pre-production on Gone with the Wind, was replaced after less than three weeks of shooting.[8][nb 3] Selznick and Cukor had already disagreed over the pace of filming and the script,[8][19] but other explanations put Cukor's departure down to Gable's discomfort at working with him. Emanuel Levy, Cukor's biographer, claimed that Clark Gable had worked Hollywood's gay circuit as a hustler and that Cukor knew of his past, so Gable used his influence to have him discharged.[21] Vivien Leigh and Olivia de Havilland learned of Cukor's firing on the day the Atlanta bazaar scene was filmed, and the pair went to Selznick's office in full costume and implored him to change his mind. Victor Fleming, who was directing The Wizard of Oz, was called in from MGM to complete the picture, although Cukor continued privately to coach Leigh and De Havilland.[16] Another MGM director, Sam Wood, worked for two weeks in May when Fleming temporarily left the production due to exhaustion. Although some of Cukor's scenes were later reshot, Selznick estimated that "three solid reels" of his work remained in the picture. As of the end of principal photography, Cukor had undertaken eighteen days of filming, Fleming ninety-three, and Wood twenty-four.[8]

text: Cinematographer Lee Garmes began the production, but on March 11, 1939—after a month of shooting footage that Selznick and his associates regarded as "too dark"—was replaced with Ernest Haller, working with Technicolor cinematographer Ray Rennahan. Garmes completed the first third of the film—mostly everything prior to Melanie having the baby—but did not receive a credit.[22] Most of the filming was done on "the back forty" of Selznick International with all the location scenes being photographed in California, mostly in Los Angeles County or neighboring Ventura County.[23] Tara, the fictional Southern plantation house, existed only as a plywood and papier-mâché facade built on the Selznick studio lot.[24] For the burning of Atlanta, new false facades were built in front of the Selznick backlot's many old abandoned sets, and Selznick himself operated the controls for the explosives that burned them down.[4] Sources at the time put the estimated production costs at $3.85 million, making it the second most expensive film made up to that point, with only Ben-Hur (1925) having cost more.[25][nb 4]

text: Although legend persists that the Hays Office fined Selznick $5,000 for using the word "damn" in Butler's exit line, in fact the Motion Picture Association board passed an amendment to the Production Code on November 1, 1939, that forbade use of the words "hell" or "damn" except when their use "shall be essential and required for portrayal, in proper historical context, of any scene or dialogue based upon historical fact or folklore ... or a quotation from a literary work, provided that no such use shall be permitted which is intrinsically objectionable or offends good taste." With that amendment, the Production Code Administration had no further objection to Rhett's closing line.[27]

text: Music[edit]

text: To compose the score, Selznick chose Max Steiner, with whom he had worked at RKO Pictures in the early 1930s. Warner Bros.—who had contracted Steiner in 1936—agreed to lend him to Selznick. Steiner spent twelve weeks working on the score, the longest period that he had ever spent writing one, and at two hours and thirty-six minutes long it was also the longest that he had ever written. Five orchestrators were hired, including Hugo Friedhofer, Maurice de Packh, Bernard Kaun, Adolph Deutsch and Reginald Bassett. The score is characterized by two love themes, one for Ashley's and Melanie's sweet love and another that evokes Scarlett's passion for Ashley, though notably there is no Scarlett and Rhett love theme. Steiner drew considerably on folk and patriotic music, which included Stephen Foster tunes such as "Louisiana Belle," "Dolly Day," "Ringo De Banjo," "Beautiful Dreamer," "Old Folks at Home," and "Katie Belle," which formed the basis of Scarlett's theme; other tunes that feature prominently are: "Marching through Georgia" by Henry Clay Work, "Dixie," "Garryowen" and "The Bonnie Blue Flag." The theme that is most associated with the film today is the melody that accompanies Tara, the O'Hara plantation; in the early 1940s, "Tara's Theme" formed the musical basis of the song "My Own True Love" by Mack David. In all, there are ninety-nine separate pieces of music featured in the score. Due to the pressure of completing on time, Steiner received some assistance in composing from Friedhofer, Deutsch and Heinz Roemheld, and in addition, two short cues—by Franz Waxman and William Axt—were taken from scores in the MGM library.[28]

text: Release[edit]

text: Preview, premiere and initial release[edit]

text: On September 9, 1939, Selznick, his wife, Irene, investor John "Jock" Whitney and film editor Hal Kern drove out to Riverside, California to preview it at the Fox Theatre. The film was still a rough cut at this stage, missing completed titles and lacking special optical effects. It ran for four hours and twenty-five minutes, but would later be cut down to under four hours for its proper release. A double bill of Hawaiian Nights and Beau Geste was playing, and after the first feature it was announced that the theater would be screening a preview; the audience were informed they could leave but would not be readmitted once the film had begun, nor would phone calls be allowed once the theater had been sealed. When the title appeared on the screen the audience cheered, and after it had finished it received a standing ovation.[8][29] In his biography of Selznick, David Thomson wrote that the audience's response before the film had even started "was the greatest moment of [Selznick's] life, the greatest victory and redemption of all his failings",[30] with Selznick describing the preview cards as "probably the most amazing any picture has ever had."[31] When Selznick was asked by the press in early September how he felt about the film, he said: "At noon I think it's divine, at midnight I think it's lousy. Sometimes I think it's the greatest picture ever made. But if it's only a great picture, I'll still be satisfied."[25]

text: About 300,000 people came out in Atlanta for the film's premiere at the Loew's Grand Theatre on December 15, 1939. It was the climax of three days of festivities hosted by Mayor William B. Hartsfield, which included a parade of limousines featuring stars from the film, receptions, thousands of Confederate flags and a costume ball. Eurith D. Rivers, the governor of Georgia, declared December 15 a state holiday. An estimated three hundred thousand residents and visitors to Atlanta lined the streets for up to seven miles to watch a procession of limousines bring the stars from the airport. Only Leslie Howard and Victor Fleming chose not to attend: Howard had returned to England due to the outbreak of World War II, and Fleming had fallen out with Selznick and declined to attend any of the premieres.[25][31] Hattie McDaniel was also absent, as she and the other black cast members were prevented from attending the premiere due to Georgia's Jim Crow laws, which would have kept them from sitting with their white colleagues. Upon learning that McDaniel had been barred from the premiere, Clark Gable threatened to boycott the event, but McDaniel convinced him to attend.[32] President Jimmy Carter would later recall it as "the biggest event to happen in the South in my lifetime."[33] Premieres in New York and Los Angeles followed, the latter attended by some of the actresses that had been considered for the part of Scarlett, among them Paulette Goddard, Norma Shearer and Joan Crawford.[31]

text: From December 1939 to July 1940, the film played only advance-ticket road show engagements at a limited number of theaters at prices upwards of $1—more than double the price of a regular first-run feature—with MGM collecting an unprecedented 70 percent of the box office receipts (as opposed to the typical 30–35 percent of the period). After reaching saturation as a roadshow, MGM revised its terms to a 50 percent cut and halved the prices, before it finally entered general release in 1941 at "popular" prices.[34] Along with its distribution and advertising costs, total expenditure on the film was as high as $7 million.[31][35]

text: Later releases[edit]

text: In 1942, Selznick liquidated his company for tax reasons, and sold his share in Gone with the Wind to his business partner, John Whitney, for $500,000. In turn, Whitney sold it on to MGM for $2.8 million, so that the studio owned the film outright.[35] MGM immediately re-released the film in spring 1942,[16] and again in 1947 and 1954;[8] the 1954 reissue was the first time the film was shown in widescreen, compromising the original Academy ratio and cropping the top and bottom to an aspect ratio of 1.75:1. In doing so, a number of shots were optically re-framed and cut into the three-strip camera negatives, forever altering five shots in the film.[36] A 1961 release commemorated the centennial anniversary of the start of the Civil War, and included a gala "premiere" at the Loew's Grand Theater. It was attended by Selznick and many other stars of the film, including Vivien Leigh and Olivia de Havilland;[37] Clark Gable had died the previous year.[38] For its 1967 re-release, it was blown up to 70mm,[8] and issued with updated poster artwork featuring Gable—with his white shirt ripped open—holding Leigh against a backdrop of orange flames.[37] There were further re-releases in 1971, 1974 and 1989; for the fiftieth anniversary reissue in 1989, it was given a complete audio and video restoration. It was released theatrically one more time in the United States, in 1998.[39][40] In 2013, a 4K digital restoration was released in the United Kingdom to coincide with Vivien Leigh's centenary.[41] In 2014, special screenings were scheduled over a two-day period at theaters across the United States to coincide with the film's 75th anniversary.[42]

text: Television and home video[edit]

text: The film received its world television premiere on the HBO cable network on June 11, 1976, and played on the channel for a total of fourteen times throughout the rest of the month. It made its network television debut in November later that year: NBC paid $5 million for a one-off airing, and it was broadcast in two parts on successive evenings. It became at that time the highest-rated television program ever presented on a single network, watched by 47.5 percent of the households sampled in America, and 65 percent of television viewers, still the record for the highest rated film to ever air on television. In 1978, CBS signed a deal worth $35 million to broadcast the film twenty times over as many years.[16][40] Turner Entertainment acquired the MGM film library in 1986, but the deal did not include the television rights to Gone with the Wind, which were still held by CBS. A deal was struck in which the rights were returned to Turner Entertainment and CBS's broadcast rights to The Wizard of Oz were extended.[16] It was used to launch two cable channels owned by Turner Broadcasting System: Turner Network Television (1988) and Turner Classic Movies (1994).[43][44] It debuted on videocassette in March 1985, where it placed second in the sales charts,[16] and has since been released on DVD and Blu-ray Disc formats.[37]

text: Reception[edit]

text: Critical response[edit]

text: Upon its release, consumer magazines and newspapers generally gave Gone with the Wind excellent reviews.[8] However, while its production values, technical achievements, and scale of ambition were universally recognized, some reviewers of the time found the film to be too long and dramatically unconvincing. Frank S. Nugent for The New York Times best summed up the general sentiment by acknowledging that while it was the most ambitious film production made up to that point, it probably was not the greatest film ever made, but he nevertheless found it to be an "interesting story beautifully told".[45] Franz Hoellering of The Nation was of the same opinion: "The result is a film which is a major event in the history of the industry but only a minor achievement in motion-picture art. There are moments when the two categories meet on good terms, but the long stretches between are filled with mere spectacular efficiency."[46]

text:
“
The result is a film which is a major event in the history of the industry but only a minor achievement in motion-picture art.
”

— Franz Hoellering, reviewer for The Nation

text: While the film was praised for its fidelity to the novel,[45] this aspect was also singled out as the main factor in contributing to the lengthy running time.[47] John C. Flinn wrote for Variety that Selznick had "left too much in", and that as entertainment, the film would have benefited if repetitious scenes and dialog from the latter part of the story had been trimmed.[47] The Manchester Guardian felt that the film's one serious drawback was that the story lacked the epic quality to justify the outlay of time and found the second half, which focuses on Scarlett's "irrelevant marriages" and "domestic squabbles," mostly superfluous, and the sole reason for their inclusion had been "simply because Margaret Mitchell wrote it that way". The Guardian believed that if "the story had been cut short and tidied up at the point marked by the interval, and if the personal drama had been made subservient to a cinematic treatment of the central theme—the collapse and devastation of the Old South—then Gone With the Wind might have been a really great film."[48] Likewise, Hoellering also found the second half of the film to be weaker than the first half: identifying the Civil War to be the driving force of the first part while the characters dominate in the second part, he concluded this is where the main fault of the picture lay, commenting that "the characters alone do not suffice". Despite many excellent scenes, he considered the drama to be unconvincing and that the "psychological development" had been neglected.[46]

text: Much of the praise was reserved for the casting, with Vivien Leigh in particular being singled out for her performance as Scarlett. Nugent described her as the "pivot of the picture" and believed her to be "so perfectly designed for the part by art and nature that any other actress in the role would be inconceivable".[45] Similarly, Hoellering found her "perfect" in "appearance and movements"; he felt her acting best when she was allowed to "accentuate the split personality she portrays" and thought she was particularly effective in such moments of characterization like the morning after the marital rape scene.[46] Flinn also found Leigh suited to the role physically and felt she was best in the scenes where she displays courage and determination, such as the escape from Atlanta and when Scarlett kills a Yankee deserter.[47] Leigh won in the Best Actress category for her performance at the 1939 New York Film Critics Circle Awards.[49] Of Clark Gable's performance as Rhett Butler, Flinn felt the characterization was "as close to Miss Mitchell's conception—and the audience's—as might be imagined",[47] a view which Nugent concurred with,[45] although Hoellering felt that Gable didn't quite convince in the closing scenes, as Rhett walks out on Scarlett in disgust.[46] Of the other principal cast members, both Hoellering and Flinn found Leslie Howard to be "convincing" as the weak-willed Ashley, with Flinn identifying Olivia de Havilland as a "standout" as Melanie;[46][47] Nugent was also especially taken with de Havilland's performance, describing it as a "gracious, dignified, tender gem of characterization".[45] Hattie McDaniel's performance as Mammy was singled out for praise by many critics: Nugent believed she gave the best performance in the film after Vivien Leigh,[45] with Flinn placing it third after Leigh's and Gable's performances.[47]

text: Academy Awards[edit]

text: At the 12th Academy Awards, Gone with the Wind set a record for Academy Award wins and nominations, winning in eight of the competitive categories it was nominated in, from a total of thirteen nominations. It won for Best Picture, Best Actress, Best Supporting Actress, Best Director, Best Screenplay, Best Cinematography, Best Art Direction, and Best Editing, and received two further honorary awards for its use of equipment and color (it also became the first color film to win Best Picture).[50][51] Its record of eight competitive wins stood until Gigi (1958) won nine, and its overall record of ten was broken by Ben-Hur (1959) which won eleven.[52] Gone with the Wind also held the record for most nominations until All About Eve (1950) secured fourteen.[9] It was the longest American sound film made up to that point, and may still hold the record of the longest Best Picture winner depending on how it is interpreted.[53] The running time for Gone with the Wind is just under 221 minutes, while Lawrence of Arabia (1962) runs for just over 222 minutes; however, including the overture, intermission, entr'acte, and exit music, Gone with the Wind lasts for 234 minutes (although some sources put its full length at 238 minutes) while Lawrence of Arabia comes in slightly shorter at 232 minutes with its additional components.[54][55]

text: Hattie McDaniel became the first African-American to win an Academy Award—beating out her co-star Olivia de Havilland who was also nominated in the same category—but was racially segregated from her co-stars at the awards ceremony at the Coconut Grove; she and her escort were made to sit at a separate table at the back of the room.[56] Meanwhile, screenwriter Sidney Howard became the first posthumous Oscar winner and Selznick personally received the Irving G. Thalberg Memorial Award for his career achievements.[9][50]

text:
Academy Awards and nominations

Award
Recipient(s)
Result

Best Picture
Selznick International Pictures
Won

Best Director
Victor Fleming
Won

Best Adapted Screenplay
Sidney Howard
Won

Best Actor
Clark Gable
Nominated

Best Actress
Vivien Leigh
Won

Best Supporting Actress
Hattie McDaniel
Won

Best Supporting Actress
Olivia de Havilland
Nominated

Best Cinematography, Color
Ernest Haller and Ray Rennahan
Won

Best Film Editing
Hal C. Kern and James E. Newcom
Won

Best Art Direction
Lyle Wheeler
Won

Best Visual Effects
Jack Cosgrove, Fred Albin and Arthur Johns
Nominated

Best Music, Original Score
Max Steiner
Nominated

Best Sound Recording
Thomas T. Moulton (Samuel Goldwyn Studio Sound Department)
Nominated

Special Award
William Cameron Menzies
For outstanding achievement in the use of color for the enhancement of dramatic mood in the production of Gone with the Wind.
Honorary

Technical Achievement Award
Don Musgrave and Selznick International Pictures
For pioneering in the use of coordinated equipment in the production Gone with the Wind.
Honorary

text: Reactions from African-Americans[edit]

text: Black commentators criticised the film for its depiction of black people and as a glorification of slavery. Carlton Moss, a black dramatist, complained in an open letter that whereas The Birth of a Nation was a "frontal attack on American history and the Negro people", Gone with the Wind was a "rear attack on the same". He went on to dismiss it as a "nostalgic plea for sympathy for a still living cause of Southern reaction". Moss further criticized the stereotypical black characterizations, such as the "shiftless and dull-witted Pork", the "indolent and thoroughly irresponsible Prissy", Big Sam's "radiant acceptance of slavery", and Mammy with her "constant haranguing and doting on every wish of Scarlett".[57] Following Hattie McDaniel's Oscar win, Walter Francis White, leader of the National Association for the Advancement of Colored People, accused her of being an Uncle Tom. McDaniel responded that she would "rather make seven hundred dollars a week playing a maid than seven dollars being one"; she further questioned White's qualification to speak on behalf of blacks, since he was light-skinned and only one-eighth black.[56]

text: Opinion in the black community was generally divided upon release, with the film being called by some a "weapon of terror against black America" and an insult to black audiences, and demonstrations were held in various cities.[56] Even so, some sections of the black community recognized McDaniel's achievements to be representative of progression: some African-Americans crossed picket lines and praised McDaniel's warm and witty characterization, while others hoped that the industry's recognition of her work would lead to increased visibility on screen for other black actors. In its editorial congratulation to McDaniel on winning her Academy Award, Opportunity: A Journal of Negro Life used the film as reminder of the "limit" put on black aspiration by old prejudices.[56][57] Malcolm X would later recall that "when Butterfly McQueen went into her act, I felt like crawling under the rug".[58]

text: Audience response[edit]

text: Upon its release, Gone with the Wind broke attendance records everywhere. At the Capitol Theatre in New York alone, it was averaging eleven thousand admissions per day in late December,[34] and within four years of its release had sold an estimated sixty million tickets across the United States—sales equivalent to just under half the population at the time.[59][60] It repeated its success overseas, and was a sensational hit during the Blitz in London, opening in April 1940 and playing for four years.[61] By the time MGM withdrew it from circulation at the end of 1943 its worldwide distribution had returned a gross rental (the studio's share of the box office gross) of $32 million, making it the most profitable film ever made up to that point.[9][16]

text: Even though it earned its investors roughly twice as much as the previous record-holder, The Birth of a Nation,[62][63] the box-office performances of the two films were likely much closer. The bulk of the earnings from Gone with the Wind came from its roadshow and first-run engagements, which represented 70 percent and 50 percent of the box-office gross respectively, before entering general release (which at the time typically saw the distributor's share set at 30–35 percent of the gross).[34] In the case of The Birth of a Nation, its distributor, Epoch, sold off many of its distribution territories on a "states rights" basis—which typically amounted to 10 percent of the box-office gross—and Epoch's accounts are only indicative of its own profits from the film, and not the local distributors. Carl E. Milliken, secretary of the Motion Picture Producers and Distributors Association, estimated that The Birth of a Nation had been seen by fifty million people by 1930.[64][65]

text: When it was re-released in 1947, it earned an impressive $5 million rental in the United States and Canada, and was one of the top ten releases of the year.[35][62] Successful re-releases in 1954 and 1961 enabled it to retain its position as the industry's top earner, despite strong challenges from more recent films such as Ben-Hur,[66] but it was finally overtaken by The Sound of Music in 1966.[67] The 1967 reissue was unusual in that MGM opted to roadshow it, a decision that turned it into the most successful re-release in the history of the industry. It generated a box-office gross of $68 million, making it MGM's most lucrative picture after Doctor Zhivago from the latter half of the decade.[68] MGM earned a rental of $41 million from the release,[69] with the U.S. and Canadian share amounting to over $30 million, placing it second only to The Graduate for that year.[62][69] Including its $6.7 million rental from the 1961 reissue,[70] it was the fourth highest-earner of the decade in the North American market, with only The Sound of Music, The Graduate and Doctor Zhivago making more for their distributors.[62] A further re-release in 1971 allowed it to briefly recapture the record from The Sound of Music, bringing its total worldwide gross rental to about $116 million by the end of 1971—more than trebling its earnings from its initial release—before losing the record again the following year to The Godfather.[40][71]

text: Across all releases, it is estimated that Gone with the Wind has sold over 200 million tickets in the United States and Canada,[59] generating more theater admissions in that territory than any other film.[72] The film was phenomenally successful in Western Europe too, generating approximately 35 million tickets in the United Kingdom and over 16 million in France, respectively becoming the biggest and sixth-biggest ticket-sellers in those markets.[73][74][75] In total, Gone with the Wind has grossed over $390 million globally at the box office;[76] in 2007 Turner Entertainment estimated the gross to be equivalent to approximately $3.3 billion when adjusted for inflation to current prices,[9] while Guinness World Records arrived at a figure of $3.44 billion in 2014, making it the most successful film in cinema history.[77]

text: The film remains immensely popular with audiences into the 21st century, having been voted the most popular film in two nationwide polls of Americans undertaken by Harris Interactive in 2008, and again in 2014. The market research firm surveyed over two thousand U.S. adults, with the results weighted by age, sex, race/ethnicity, education, region and household income so their proportions matched the composition of the adult population.[78][79]

text: Critical re-evaluation[edit]

text:
AFI 100 Years... series

* AFI's 100 Years...100 Movies – #4

AFI's 100 Years...100 Passions – #2
AFI's 100 Years...100 Heroes and Villains

Rhett Butler, Hero – Nominated
Scarlett O'Hara, Hero – Nominated

AFI's 100 Years...100 Movie Quotes:

"Frankly, my dear, I don't give a damn." – #1
"After all, tomorrow is another day!" – #31
"As God is my witness, I'll never be hungry again." – #59
"Fiddle-dee-dee." – Nominated
"I don't know nothin' 'bout birthin' babies." – Nominated

AFI's 100 Years of Film Scores – #2
AFI's 100 Years...100 Cheers – #43
AFI's 100 Years...100 Movies (10th Anniversary Edition) – #6
AFI's 10 Top 10 – #4 Epic film

American Film Institute[80]

tag: div

text: 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.[81] 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.[82] Stanley Kauffmann, likewise, also found the film to be a largely forgettable experience, claiming he could only remember two scenes vividly.[83] 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.[81][82] 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".[82][83] 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.[82][84]

text: Sarris concedes that despite its artistic failings, the film does hold a mandate around the world as the "single most beloved entertainment ever produced".[84] 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".[85] 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.[81] 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.[83]

text: 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,[86] and in 2015 sixty-two international film critics polled by the BBC voted it the 97th best American film.[87]

text: Industry recognition[edit]

text: The film has featured in several high-profile industry polls: in 1977 it was voted the most popular film by the American Film Institute (AFI), in a poll of the organization's membership;[8] the AFI also ranked the film fourth on its "100 Greatest Movies" list in 1998,[88] with it slipping down to sixth place in the tenth anniversary edition in 2007.[89] Film directors ranked it 322nd in the 2012 edition of the decennial Sight & Sound poll,[86] and in 2016 it was selected as the ninth best "directorial achievement" in a Directors Guild of America members poll.[90] In 2014, it placed fifteenth in an extensive poll undertaken by The Hollywood Reporter, which ballotted every studio, agency, publicity firm and production house in the Hollywood region.[91] Gone with the Wind was selected for preservation in the National Film Registry by the United States Library of Congress in 1989 for being "culturally, historically, or aesthetically significant".[92][93]

text: Analysis[edit]

text: Racial criticism[edit]

text: Gone with the Wind has been criticized as having perpetuated Civil War myths and black stereotypes.[94] David Reynolds writes that "The white women are elegant, their menfolk noble or at least dashing. And, in the background, the black slaves are mostly dutiful and content, clearly incapable of an independent existence." Reynolds likened Gone with the Wind to The Birth of a Nation and other re-imaginings of the South during the era of segregation, in which white Southerners are portrayed as defending traditional values and the issue of slavery is largely ignored.[58] The film has been described as a "regression" that promotes the myth of the black rapist and the honourable and defensive role of the Ku Klux Klan during Reconstruction,[95] and as a "social propaganda" film offering a "white supremacist" view of the past.[94] From 1972 to 1996, the Atlanta Historical Society held a number of Gone with the Wind exhibits, among them a 1994 exhibit titled, "Disputed Territories: Gone with the Wind and Southern Myths". One of the questions explored by the exhibit was "How True to Life Were the Slaves in GWTW?" This section showed slave experiences were diverse and concluded that the "happy darky" was a myth, as was the belief that all slaves experienced violence and brutality.[96]

text: W. Bryan Rommel Ruiz has argued that despite factual inaccuracies in its depiction of the Reconstruction period, Gone with the Wind nevertheless reflects contemporary interpretations that were common in the early 20th century. One such viewpoint is reflected in a brief scene in which Mammy fends off a leering freedman: a government official can be heard offering bribes to the emancipated slaves for their votes. The inference is taken to be that freedmen are ignorant about politics and unprepared for freedom, unwittingly becoming the tools of corrupt Reconstruction officials. While perpetuating some Lost Cause myths, the film makes concessions in regard to others. After the attack on Scarlett in the shanty town, a group of men including Scarlett's husband Frank, Rhett Butler and Ashley raid the town; in the novel they belong to the Ku Klux Klan, representing the common trope of protecting the white woman's virtue, but the filmmakers consciously neutralize the presence of the Klan in the film by referring to it only as a "political meeting".[97]

text: Thomas Cripps reasons that the film in some respects undercuts racial stereotypes;[98] in particular, the film created greater engagement between Hollywood and black audiences,[98] with dozens of movies making small gestures in recognition of the emerging trend.[57] Only a few weeks after its initial run, a story editor at Warner wrote a memorandum to Walter Wanger about Mississippi Belle, a script that contained the worst excesses of plantation films, suggesting that Gone with the Wind had made the film "unproducible". More than any film since The Birth of a Nation, it unleashed a variety of social forces that foreshadowed an alliance of white liberals and blacks who encouraged the expectation that blacks would one day achieve equality. According to Cripps, the film eventually became a template for measuring social change.[57]

text: In 2017, Gone with the Wind was pulled from the schedule at the Orpheum Theatre in Memphis, Tennessee after a 34-year run of annual showings due to its perceived racially insensitive content.[99][100]

text: Depiction of marital rape[edit]

text: One of the most notorious and widely condemned scenes in Gone with the Wind depicts what is now legally defined as "marital rape".[101][102] The scene begins with Scarlett and Rhett at the bottom of the staircase, where he begins to kiss her, refusing to be told 'no' by the struggling and frightened Scarlett;[103][104] Rhett overcomes her resistance and carries her up the stairs to the bedroom,[103][104] where the audience is left in no doubt that she will "get what's coming to her".[105] The next scene, the following morning, shows Scarlett glowing with barely suppressed sexual satisfaction;[103][104][105] Rhett apologizes for his behavior, blaming it on his drinking.[103] The scene has been accused of combining romance and rape by making them indistinguishable from each other,[103] and of reinforcing a notion about forced sex: that women secretly enjoy it, and it is an acceptable way for a man to treat his wife.[105]

text: Molly Haskell has argued that nevertheless, women are mostly uncritical of the scene, and that by and large it is consistent with what women have in mind if they fantasize about being raped. Their fantasies revolve around love and romance rather than forced sex; they will assume that Scarlett was not an unwilling sexual partner and wanted Rhett to take the initiative and insist on having sexual intercourse.[106]

text: Legacy[edit]

text: In popular culture[edit]

text: Gone with the Wind and its production have been explicitly referenced, satirized, dramatized and analyzed on numerous occasions across a range of media, from contemporaneous works such as Second Fiddle—a 1939 film spoofing the "search for Scarlett"—to current television shows, such as The Simpsons.[94][107][108] The Scarlett O'Hara War (a 1980 television dramatization of the casting of Scarlett),[109] Moonlight and Magnolias (a 2007 play by Ron Hutchinson that dramatizes Ben Hecht's five-day re-write of the script),[110] and "Went with the Wind!" (a sketch on The Carol Burnett Show that parodied the film in the aftermath of its television debut in 1976) are among the more noteworthy examples of its enduring presence in popular culture.[16] It was also the subject of a 1988 documentary, The Making of a Legend: Gone with the Wind, detailing the film's difficult production history.[111] In 1990, the United States Postal Service issued a stamp depicting Clark Gable and Vivien Leigh embracing in a scene from the film.[112]

text: Sequel[edit]

text: Following publication of her novel, Margaret Mitchell was inundated with requests for a sequel but claimed to not have a notion of what happened to Scarlett and Rhett, and that she had "left them to their ultimate fate". Mitchell continued to resist pressure from Selznick and MGM to write a sequel until her death in 1949. In 1975, her brother, Stephens Mitchell (who assumed control of her estate), authorized a sequel to be jointly produced by MGM and Universal Studios on a budget of $12 million. Anne Edwards was commissioned to write the sequel as a novel which would then be adapted into a screenplay, and published in conjunction with the film's release. Edwards submitted a 775-page manuscript entitled Tara, The Continuation of Gone with the Wind, set between 1872 and 1882 focusing on Scarlett's divorce from Rhett; MGM was not satisfied with the story and the deal collapsed.[16]

text: The idea was revived in the 1990s, when a sequel was finally produced in 1994, in the form of a television miniseries. Scarlett was based upon the novel by Alexandra Ripley, itself a sequel to Mitchell's book. British actors Joanne Whalley and Timothy Dalton were cast as Scarlett and Rhett, and the series follows Scarlett's relocation to Ireland after again becoming pregnant by Rhett.[113]


document_title: List of Saving Hope episodes

question_text: when does charlie wake up in saving hope

root

text: List of Saving Hope episodes

text: Series overview[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
13
June 7, 2012 (2012-06-07)
September 13, 2012 (2012-09-13)

2
18
June 25, 2013 (2013-06-25)
February 27, 2014 (2014-02-27)

3
18
September 22, 2014 (2014-09-22)
February 18, 2015 (2015-02-18)

4
18
September 24, 2015 (2015-09-24)
February 14, 2016 (2016-02-14)

5
18
March 12, 2017 (2017-03-12)
August 3, 2017 (2017-08-03)

tag: table

text: Episodes[edit]

text: Season 1 (2012)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Can. viewers
(millions)

1
1
"Pilot"
David Wellington
Malcolm MacRury & Morwyn Brebner
June 7, 2012 (2012-06-07)
1.52[4]

Dr. Alex Reid (Erica Durance) and her fiancé Dr. Charles Harris (Michael Shanks) are involved in a car accident while on the way to their wedding. Minutes later, Charlie falls into a coma. He now experiences life "hoping" that he will survive. Over his patient's objection, Dr. Goran saves a veteran's arm. An unknown injured man does not survive a bus crash. On her first rotation in the ER, Maggie Lin helps deliver a baby, and deals with two teens who shared a "love potion".

2
2
"Contact"
David Wellington
Morwyn Brebner
June 19, 2012 (2012-06-19)
1.60[5]

Dr. Alex Reid deals with a kid, Cal, who has cancer. He goes into a coma, and meets Dr. Charles Harris. Charlie asks Cal to send a message to Alex for him, when Cal wakes up. Despite this, the boy forgets Charlie's name. Charlie's ex-wife suggests in-coma arousal therapy. Meanwhile, surgeons Joel Goran (Daniel Gillies) and Maggie Lin (Julia Taylor Ross) deal with a lady who will die without surgery. Due to their religion, her husband refuses treatment.

3
3
"Blindness"
John Fawcett
Adam Pettle
June 21, 2012 (2012-06-21)
1.44[6]

Alex and Maggie treat Benjamin Munk (Zachary Bennett), a patient discovered to have psychological problems. Alex realizes that he has Münchausen syndrome – he fakes problems or inflicts injuries on himself so that he can be hospitalized. Alex tries to wake Charlie with coma arousal therapy, but Shahir later finds no change in his status. Charlie helps a deceased patient resolve his issues with his brother, who has to undergo a risky surgical procedure from Joel, which is a success. Also, the staff realizes Maggie and Joel hooked up when the two are caught acting strangely, and Gavin fails in asking Maggie on a date.

4
4
"The Fight"
Kelly Makin
Greg Nelson
June 28, 2012 (2012-06-28)
1.50[7]

An exhausted Alex works the night shift in the ER and assists a hockey star who was attacked while trying to prove his toughness. He refuses a CT scan, leading Alex to wonder if he is hiding something. The patient actually has brain trauma and is afraid the news will end his career. Also, a young victim of a stabbing appears with Charlie in spirit form several times to learn he is going to die. The boy survives and Charlie wonders if it is also possible for his own return.

5
5
"Out of Sight"
John Fawcett
Aaron Martin
July 5, 2012 (2012-07-05)
1.39[8]

Scott has been in a coma for 27 years and does not quite have the same view as Charlie does regarding his situation, although he harbours abandonment issues with his wife. Charlie then realizes that he has to assist others in his waking from his coma. After Alex successfully surgically re-attaches a hand, she has a party at her apartment with her co-workers. Although the mood is festive, her exhaustion causes her to have a breakdown and realize that she has nearly forgotten about Charlie. Joel comforts her.

6
6
"The Great Randall"
Peter Wellington
Sherry White
July 12, 2012 (2012-07-12)
1.41[9]

A patient is brought into Hope Zion with rebar protruding from his chest, but yet has no knowledge of how it got there nor exhibits any pain. His belongings are searched and a psychic's business card is found. The doctors deduce that the patient has been hypnotized. The psychic (Peter Keleghan) known as "The Great Randall" is called in and it is learned that the patient has been suffering from photosensitivity and stomach pain for years. Someone jokes that the patient is a vampire and Alex realizes the patient has porphyria. Randall can also see Charlie's spirit form, who asks his assistance in communicating with Alex. The idea works until Randall asks for money from Alex to continue talking to Charlie. Maggie and Joel commit to being exclusive with each other.

7
7
"Consenting Adults"
John Fawcett
Malcolm MacRury & Waneta Storms
July 19, 2012 (2012-07-19)
1.41[10]

Joel performs surgery on Karn (Billy MacLellan), whose self-implanted horns have become infected. The medical team decides to remove the horns, against Karn's vehement wishes, which leads to a psychiatric consultation. Meanwhile, Alex prepares to conduct a standard tumor removal on patient Sandhya (Gia Sandhu). However, the patient has an adverse reaction to the anesthesia and slips into a coma. There, while seemingly content with not waking up from her coma, she philosophizes about love and religion with Charlie. He learns that Sandhya has been forced into marriage and has yet to find love in her own way. Their mutual discussions elicit an innocent kiss before she is brought out of her coma. Charlie's ex-wife Dawn (Michelle Nolden) returns to check on Charlie's condition and reveals that she is petitioning for a DNR order.

8
8
"Heartsick"
David Wellington
Morwyn Brebner & Adam Pettle
July 26, 2012 (2012-07-26)
1.68[11]

Dawn and Alex await a legal decision on whether to resuscitate Charlie. Meanwhile, they must work together on a heart transplant surgery. The donor is a deceased prisoner that Charlie must help "cross over". Their discussion is a change from those Charlie has had with others in spirit form—he has to make peace with what is eventually going to happen. Joel and Maggie continue their rocky relationship, as he still has feelings for Alex. His tension with Maggie allows Gavin to step up and make a move on her, leading to a kiss between them.

9
9
"Bea, Again"
Peter Wellington
Esta Spalding
August 16, 2012 (2012-08-16)
1.67[12]

Charlie is taken off the ventilator, but breathes on his own, causing Dawn to change her mind about the DNR. In his coma state, Charlie meets an old doctor friend whose mission is to help Charlie "cross over". During their discussions, they see Alex's patient Bea, who has been diagnosed with Hodgkin's lymphoma. The two ethereal doctors surmise that Bea is suffering from aphasia and will get worse if untreated. Alex soon realizes what is wrong with her. Meanwhile, Dr. Goran's patient is a paralyzed woman who is discovered not to be paralyzed. He deduces that she is someone who uses pain as a distraction from accepting the loss of her husband. Dr. Reycraft (K. C. Collins) is appointed Chief Resident.

10
10
"A New Beginning"
Steve DiMarco
Aaron Martin
August 23, 2012 (2012-08-23)
1.46[13]

Still reeling from witnessing a patient's suicide and nursing his broken hand, Goran asks Kinney for a leave of absence, Instead, she suggests taking a road trip—together. During their travel, they assist in a roadside accident and later have sex. Back at Hope Zion, Charlie, in his coma state, meets a deceased therapist who learns the real reason Charlie is not waking up. Afraid of being left alone, which stems from his parents dying when he was young, Charlie deals with these fears by staying in a coma. He cannot be left by loved ones if he is the one who leaves.

11
11
"The Law of Contagion"
T. W. Peacocke
Greg Nelson
August 30, 2012 (2012-08-30)
1.64[14]

Dr. Hamza tries transcranial magnetic stimulation on Charlie to help him wake up. In his coma state, Charlie bleeds from his forehead where a TMS electrode is attached. He also learns that he witnessed the car accident that killed his parents when he was a boy—he simply blocked it from his memory. This causes him to temporarily wake from the coma, which no one immediately witnesses. They are distracted when a sick airline passenger is rushed to the hospital. As Alex performs emergency surgery on the passenger, she begins to realize the patient may be infected with a deadly and contagious virus. A specialist declares the hospital safe and Alex returns to notice Charlie had moved.

12
12
"Ride Hard or Go Home"
Ken Girotti
Adam Pettle
September 6, 2012 (2012-09-06)
1.43[15]

Shahir and Alex plan a last-resort procedure for Charlie, which forces Charlie to come to terms with his past. A female jockey undergoes risky surgery that results in partial paralysis, and Joel quits, feeling guilty for this outcome. Gavin crosses the line with a patient when he starts to become personally involved, and disaster ensues. After Alex urges Shahir to keep trying, Charlie finally wakes up.

This episode did not air on NBC but was posted online[1] and released on DVD.

13
13
"Pink Clouds"
David Wellington
Morwyn Brebner
September 13, 2012 (2012-09-13)
1.55[16]

Joel tries to save a patient from flesh-eating disease and Alex has some hard decisions to make. Charlie enjoys being back in the land of the living and plans on marrying Alex as soon as possible. Then he discovers he didn't leave the spiritual plane behind as much as he thought, when he realizes that a woman he's been talking to, is in fact already dead.

This episode did not air on NBC but was posted online instead,[1] and released on DVD.

text: Season 2 (2013–14)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Can. viewers
(millions)

14
1
"I Watch Death"
David Wellington
Morwyn Brebner
June 25, 2013 (2013-06-25)
1.08[17]

Charlie returns to Hope Zion for his first shift as a doctor since waking from the coma and is surprised that he can still see the spirits of people who died at the hospital.

15
2
"Little Piggies"
Kelly Makin
Adam Pettle
July 2, 2013 (2013-07-02)
1.00[18]

Alex learns to stand up to Dawn.

16
3
"Why Waste Time"
John Fawcett
Greg Nelson (story) & Waneta Storms (teleplay)
July 9, 2013 (2013-07-09)
0.83[19]

While struggling under the pressure of deciding on her specialty Alex is inspired by an immigrant doctor who needs her help to save his wife.

17
4
"Defense"
Kelly Makin
Malcolm MacRury
July 16, 2013 (2013-07-16)
0.91[20]

The doctors are forced to deal with people from their past as Alex, Charlie, and Joel take on the daunting task of operating on a malpractice lawyer known for suing every doctor in his path.

18
5
"The Face of the Giant Panda"
Ken Girotti
John Krizanc
July 23, 2013 (2013-07-23)
0.94[21]

Alex must become the unlikely advocate for a violent young prisoner brought in to Hope Zion Hospital, while Joel connects with a disfigured refugee and tries to convince Dr. Dana Kinney to come back to operate on him. Meanwhile, a spirit who is familiar to many Hope Zion doctors shows up in the morgue when Charlie is about to do a routine procedure.

19
6
"All Things Must Pass"
Jeff Woolnough
John Callaghan
July 30, 2013 (2013-07-30)
1.01[22]

After a young, healthy, and hunky fireman dies suddenly at a Hope Zion Hospital fundraiser, Alex must take the stand at Hope Zion's Morbidity and Mortality (M&M) Rounds to find out what went wrong and who is to blame. Meanwhile, Charlie and Zack deal with a nervous aspiring nun with an ankle fracture that turns serious when they stumble upon a potentially fatal allergy. A busy Joel struggles to balance his workload as Chief with his growing commitment to Sonja, and must decide if he's ready to step up to the plate.

20
7
"Bed One"
Peter Wellington
Noelle Carbone
August 6, 2013 (2013-08-06)
1.06[23]

When a heat wave hits the city, Alex is appointed Trauma Team Leader as the hospital is faced with an influx of patients during a blackout. With no back-up power available, Dawn and Charlie must figure out a way to continue their surgery as Joel and Maggie attempt to keep a patient alive while stuck in an elevator.

21
8
"Defriender"
Jason Priestley
Morwyn Brebner & Maggie Gilmour
August 13, 2013 (2013-08-13)
1.10[24]

When Alex and Joel end up stranded in the middle of nowhere with a severely injured couple, they’re forced to use only what's around them to stabilize the pair until paramedics arrive. Meanwhile, back at Hope Zion Hospital, Charlie must try to save the wounded leg of his former college roommate as Gavin attempts to help Shahir improve his bedside manner.

22
9
"Vamonos"
Jeff Woolnough
Adam Pettle & Amanda Fahey
August 20, 2013 (2013-08-20)
1.10[25]

When Alex is forced to put a patient's gender reassignment surgery on hold, she discovers a secret in his medical history that could save his surgery, but tear his life apart. Charlie deals with a patient who is healthy, sane – and convinced she is going to die at midnight. Meanwhile, Joel secretly helps Sonja deal with a patient of hers who's been admitted to Hope Zion Hospital.

23
10
"Wishbones"
David Wellington
Sherry White
January 2, 2014 (2014-01-02)
1.67[26]

When Alex's brother Luke is admitted to Hope Zion Hospital in critical condition, Joel and Charlie must work together to keep him alive while keeping his admittance a secret from Alex. Meanwhile, Alex figures out a way to remove a tumour from a patient pregnant with twins, while Maggie is thrown off her game by the patient's gorgeous OB/GYN.

24
11
"En Bloc"
Gregory Smith
Morwyn Brebner & Adam Pettle
January 9, 2014 (2014-01-09)
1.72[27]

Alex risks a dangerous surgery on a seemingly inoperable tumor to save a young boy's life. Meanwhile, Joel struggles with the challenges of being Chief of Surgery as Charlie struggles with the spirit of Alex's dead brother Luke.

25
12
"Nottingham 7"
David Wellington
John Krizanc
January 16, 2014 (2014-01-16)
1.44[28]

When the life of one of the doctors at Hope Zion Hospital is at risk, Alex has to put her personal and professional issues aside. Charlie has to deal with the ghost of a ballerina.

26
13
"Wide Awake"
Yon Motskin
Waneta Storms
January 23, 2014 (2014-01-23)
1.52[29]

Alex's been tricked into a blind double date, and ends up rushing her mystery man to the ER. Charlie struggles with a spirit in the middle of a soldier's life-or-death surgery.

27
14
"43 Minutes"
David Wellington
Aubrey Nealon
January 30, 2014 (2014-01-30)
1.57[30]

As Alex leaves Hope Zion she becomes a witness to an accident that brings her back to the hospital.

28
15
"Don't Poke the Bear"
Peter Wellington
John Krizanc & Sherry White
February 6, 2014 (2014-02-06)
1.52[31]

A couple is attacked by a bear, but Alex and Charlie think there's more to the story.

29
16
"Breathless"
Peter Stebbings
Noelle Carbone
February 13, 2014 (2014-02-13)
1.59[32]

Alex races to find an organ replacement, while Charlie is pushed to his breaking point.

30
17
"Twinned Lambs"
Adam Pettle
David Warnsby
February 20, 2014 (2014-02-20)
1.53[33]

Alex struggles to help an older woman who starts to believe the year is 1985. Meanwhile, Charlie and Joel are pitted against one another by two best friends with identical shoulder injuries.

31
18
"Broken Hearts"
David Wellington
Morwyn Brebner
February 27, 2014 (2014-02-27)
1.68[34]

Dawn diagnoses Alex with an irregular heartbeat. Charlie faces the consequences of his fight with Joel. Alex gets stabbed in her chest with scissors and her heartbeat fluctuates. Dawn searches for her and finds her when Alex presses the emergency button. Charlie arrives and she is rushed into surgery. Her heart rate rises and she loses consciousness. Charlie tries to revive her and later discovers her spirit standing behind him.

text: Season 3 (2014–15)[edit]

text: Season 3 episode titles are named after films.

tag: p

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Can. viewers
(millions)

32
1
"Heaven Can Wait (Part 1)"
David Wellington
Morwyn Brebner
September 22, 2014 (2014-09-22)
1.1[35]

After being stabbed in the heart in the Season 2 finale, Dr. Alex Reid (Erica Durance) has a profound experience in the liminal space, while a desperate Charlie Harris (Michael Shanks) and his ex – Dawn Bell (Michelle Nolden) race against the clock to save her life. Meanwhile, Dr. Joel Goran (Daniel Gillies) is pulled in to the ER to treat a suicidal patient that tests his duty as a doctor, and Maggie Lin (Julia Taylor-Ross) makes a bold decision that changes her relationship with Gavin Murphy (Kristopher Turner).

33
2
"Kiss Me Goodbye (Part 2)"
Kelly Makin
Adam Pettle
September 25, 2014 (2014-09-25)
1.2[36]

With her body still in a coma, spirit form Alex shares an emotional journey with Charlie in the spirit world as he "ghost-doctors" a brain-dead mother-to-be. Meanwhile, Joel forms a tight bond with a lively drug addict while trying to treat his nercotic leg. Hope Zion Hospital also welcomes its new OB/GYN, Dr. Sydney Katz (Stacey Farber), who throws Maggie off her game.

34
3
"Awakenings"
John Fawcett
Patrick Tarr
October 2, 2014 (2014-10-02)
1.5[37]

Alex awakes from her coma suffering memory loss. Maggie deals with the aftermath of her miscarriage. The ER teams treat victims of an explosion. Another patient encourages Alex in the hallway.

35
4
"Stand By Me"
Michael Shanks
Waneta Storms
October 9, 2014 (2014-10-09)
N/A

Alex returns to work for the first time since her stabbing. She is introduced to her buddy colleague, as she returns. Joel ends up involved in a deadly situation at a local street clinic. Gavin shares a euphoric experience, with someone unlikely.

36
5
"Breaking Away"
Peter Wellington
Malcolm MacRury
October 16, 2014 (2014-10-16)
N/A

A car accident brings a 'she-bear' mother and her son to the hospital. Alex and Joel discover the mother is in need of a transplant—and her son is very adamant that he be involved in the surgery. Dawn instructs them on procedure and, before they know it, the trio are brought before an ethics panel—including one very unconvinced psychiatrist. Meanwhile, the mother's spirit is determined to get Charlie to do her bidding, which includes stepping out of his comfort zone when console her son. Then, Charlie finds himself pulled into the ER to help Zach with a patient whose obsession might cost him his life. Plus, new resident Rian and Maggie search the hospital for Hope Zion's very first "code brown", which results in having to answer to a shaken Dawn.

37
6
"Joel 2:31"
T. W. Peacocke
Amanda Fahey
October 23, 2014 (2014-10-23)
N/A

Alex, Joel and Maggie face a mysterious case. Charlie has a unexpected link with a patient. Zach questions his abilities as a father.

38
7
"The Way We Were"
Steve DiMarco
John Krizanc
November 26, 2014 (2014-11-26)
N/A

Shahir and Alex perform surgery to try and save the memory of a woman who is suffering from Alzheimer's, but Dr. Hamza requires life-saving surgery. Tom has to make a decision when he discovers a secret. Charlie is embroiled in Dawn's plan.

39
8
"The Heartbreak Kid"
David Warnsby
Fiona Highet
December 3, 2014 (2014-12-03)
N/A

Alex and Charlie team up on a teenage girl's double surgery; Joel spends a day at a clinic and joins in a search-and-rescue mission in a ravine. Meanwhile, Maggie gets on Dr. Katz's bad side.

40
9
"The Other Side of Midnight"
Peter Wellington
Jennifer Kassabian & Tammy Marlowe Johnson
December 10, 2014 (2014-12-10)
N/A

The relationship between Alex and Joel is tested by a marathon surgery session involving an injured race-car driver. Meanwhile, Charlie has an eventful day off and a hospital "frequent flyer" keeps a number of doctors hopping.

41
10
"Days of Heaven"
Peter Stebbings
Malcolm MacRury
December 17, 2014 (2014-12-17)
N/A

Alex and Shahir operate on a patient who drilled his own head. Maggie suspects Dana's daughter is stealing painkillers. Meanwhile, Joel sleeps with Selena.

42
11
"The Parent Trap"
T. W. Peacocke
John Krizanc & Amanda Fahey
January 7, 2015 (2015-01-07)
N/A

Alex gets caught between Dana and her daughter. Dawn and Melinda deals with a patient who intends to sue the hospital for malpractice. Charlie encounters an MMA patient and her rival.

43
12
"Hearts of Glass"
Jason Priestley
Patrick Tarr
January 7, 2015 (2015-01-07)
N/A

News of Alex's pregnancy and the mystery of who the father is circles the hospital. Joel returns after his brief incarceration. Maggie studies for the board exam and deals with a patient who has a fear of doctors. Meanwhile, Alex and Dawn continue to deal with their patients in need of a heart donor.

44
13
"Narrow Margin"
Jeff Woolnough
Morwyn Brebner & Adam Pettle
January 14, 2015 (2015-01-14)
N/A

Joel waits for a call from his lawyer on whether or not he goes to trial. Alex tries to save a boy who was crushed by a tree. And Zach thinks he might have prostate cancer. Guest stars: Melanie Merkosky, Marline Yan, Dylan Authors

45
14
"Trading Places"
Gregory Smith
Waneta Storms
January 21, 2015 (2015-01-21)
N/A

Joel's father visits. Alex and Maggie deal with a patient who refuses Sydney's help with her baby. Charlie helps a young soul find his body.

46
15
"Remains of the Day"
Eleanore Lindo
John Krizanc
January 28, 2015 (2015-01-28)
N/A

Alex wrangles the team in a high bid effort to diagnose the mysterious illness that haunts a beloved English teacher. Charlie must explain his actions. Dawn must make a big decision.

47
16
"A Simple Plan"
James Genn
Fiona Highet & Patrick Tarr
February 4, 2015 (2015-02-04)
N/A

Alex and Charlie try to save the life of a man on the run; a spirit won't leave Alex alone; Maggie and Zach try to help a couple; Joel and Shahir help a bride walk down the aisle.

48
17
"Fearless"
Gregory Smith
Adam Pettle
February 11, 2015 (2015-02-11)
N/A

Alex and Dana try to save a single mother's life; a hockey player's mobility is at stake; Charlie gets advice on winning back Alex; Sydney comes clean.

49
18
"All the Pretty Horses"
David Wellington
Morwyn Brebner
February 18, 2015 (2015-02-18)
N/A

Joel and Zach help an army man in the field. Charlie and Dawn try to save a hand while Maggie and a really pregnant Alex take their board exams. Something bad happens to Joel whiles he's out with Zach. Alex gives birth.

text: Season 4 (2015–16)[edit]

text: Season 4 episode titles are The Rolling Stones song titles.

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Can. viewers
(millions)

50
1
"Sympathy for the Devil"
James Genn
Adam Pettle
September 24, 2015 (2015-09-24)
1.49[38]

Dr. Alex Reid returns to work, arriving at Hope Zion Hospital with a car crash victim she encountered en route, and she's forced to play nice with new General Surgeon on call, Dr. Patrick Curtis. The day gets even more chaotic when Alex is called away to treat Tom Crenshaw, a convicted murderer brought in for emergency treatment. Meanwhile, Dr. Charlie Harris begins to confront his feelings about the paternity of Alex's child, all while juggling an insistent Dr. Shahir Hamza who is looking for backup on his proposal for a new Alzheimer's study. In the ER, Dr. Zach Miller's patient is admitted with symptoms mirroring those of Ebola – putting himself and Dr. Maggie Lin at risk of exposure to the deadly virus.

51
2
"Beasts of Burden"
John Fawcett
Patrick Tarr
October 1, 2015 (2015-10-01)
1.37[39]

Back from maternity leave for just two days, Dr. Reid is given the privilege of assisting renowned surgeon Dr. Clara Levine. When the protagonist begins to question the senior surgeon's surgical decision she quickly finds herself on the wrong side of the operating table, replaced by the ever-charming and ever-tactful Dr. Patrick Curtis.

52
3
"Start Me Up"
Steve DiMarco
Noelle Carbone
October 8, 2015 (2015-10-08)
1.27[40]

Dr. Alex Reid has to juggle her duties as a new mother and a surgeon when she takes a junior resident under her wing.

53
4
"Miss You"
Peter Stebbings
Ley Lukins
October 15, 2015 (2015-10-15)
1.28[41]

Can Dr. Alex Reid forgive and forget when the man responsible for her deceased brother's drug problem is admitted to the hospital?

54
5
"Heart of Stone"
David Wellington
Waneta Storms
October 22, 2015 (2015-10-22)
1.31[42]

A young motocross rider is diagnosed with leukemia, forcing Dr. Alex Reid to navigate family secrets in order to put her young patient on the road to recovery.

55
6
"Rock and a Hard Place"
Jason Priestley
Fiona Highet
October 29, 2015 (2015-10-29)
1.27[43]

Alex must decide whether or not to use information Charlie gets from a patient's spirit in order to save their life.

56
7
"Can't You Hear Me Knocking?"
T. W. Peacocke
Tammy Marlowe Johnson
November 5, 2015 (2015-11-05)
N/A

With Dr. Dawn Bell on temporary leave, Dr. Shahir Hamza has taken up the hospital's top post as Interim Chief, bringing Hope Zion Hospital up to his strict standards for care and composure.

57
8
"Waiting on a Friend"
James Genn
Adam Pettle and Graeme Stewart
November 12, 2015 (2015-11-12)
N/A

The death of a trapeze artist sets off a transplant chain of donors and recipients, leading Alex and Shahir to juggle complications and patients to keep the chain moving.

58
9
"Shattered"
David Wellington
Malcolm MacRury
November 26, 2015 (2015-11-26)
1.25[44]

When a bomb goes off at a local charity run, Hope Zion Hospital receives the majority of the casualties, including some of its own doctors.

59
10
"Emotional Rescue"
Gregory Smith
Malcolm MacRury
December 3, 2015 (2015-12-03)
1.21[45]

In the second half of a two-part episode, Charlie returns to Hope Zion Hospital to find Maggie in jeopardy. In a race against time, Charlie struggles to find out what's wrong with his colleague and friend. Meanwhile, Alex, who's still dealing with her part in treating the bomber, becomes determined to make amends by saving Maggie's last patient Shelby. Along withSydney, who returned to Hope Zion for the case, Alex must convince Shelby and her husband that letting go is sometimes the only thing standing in between you and getting better when complications threaten her leg. In the ER, Dr. Cassie Williams and Dr. Jeremy Bishop help a bereaved father deal with the death of his daughter.

60
11
"Shine a Light"
Peter Wellington
Patrick Tarr and Fiona Highet
December 10, 2015 (2015-12-10)
1.16[46]

When an ice storm strikes the city on Christmas Eve, Alex and Dawn struggle to keep a good Samaritan alive long enough for her family to say goodbye.

61
12
"All Down the Line"
Steve DiMarco
Jennifer Kassabian
January 7, 2016 (2016-01-07)
1.13[47]

When a chef with oral cancer refuses care, Alex must confront her own feelings about the way Dana is handling her treatment.

62
13
"Goodbye Girl"
Peter Stebbings
Noelle Carbone & Katrina Seville
January 14, 2016 (2016-01-14)
1.33[48]

Alex must maintain her professionalism when Kristine lands at Hope Zion Hospital after a drunk-driving accident with baby Luke's blanket.

63
14
"You Can't Always Get What You Want"
Michael Shanks
Ley Lukins
January 21, 2016 (2016-01-21)
1.30[49]

Alex and Jeremy struggle to find the truth when all the symptoms of a chronically ill child point towards his mother as the cause.

64
15
"Not Fade Away"
Gregory Smith
Waneta Storms
January 28, 2016 (2016-01-28)
1.27[50]

To see what his life would be like without his special gift, Charlie treats a superstitious farmer without help from his spirit intel. Zach and Dawn save an injured hiker.

65
16
"Torn and Frayed"
Steve DiMarco and Erica Durance
Patrick Tarr
February 4, 2016 (2016-02-04)
1.32[51]

Alex teams up with Cassie to free a young woman from her abusive husband, while Dawn faces a series of life-threatening complications when a patient's pacemaker malfunctions.

66
17
"Anybody Seen My Baby"
David Wharnsby
Noelle Carbone
February 14, 2016 (2016-02-14)
1.21[52]

After Kristine suffers a stroke, Alex discovers the nurse's past may not be as she remembers, so Alex teams up with Charlie to find a way to bring peace to the already troubled spirit.

67
18
"Let Me Go"
James Genn
Adam Pettle
February 14, 2016 (2016-02-14)
1.21[52]

Charlie's condition proves more dangerous than initially thought, as Alex and Shahir struggle to save his life.

text: Season 5 (2017)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Can. viewers
(millions)

68
1
"Doctor Destiny"
David Wellington
Adam Pettle
March 12, 2017 (2017-03-12)
0.94[53]

While searching for Charlie, Alex finds a caterer who was caught in the crossfire; Grace's mother asks for a priest; Dana consults with Cassie about a male stripper.

69
2
"Midlife Crisis"
Kelly Makin
Noelle Carbone
March 19, 2017 (2017-03-19)
N/A

Alex and Maggie discover that one of the car crash survivors they're treating has breast cancer, and is a match for their cancer study. Meanwhile, Dana's resolve to re-certify in Trauma is tested when Dawn pushes her to treat a mangled motorcyclist, and Charlie is pulled into surgery before his arm is completely healed.

70
3
"Birthday Blues"
Gregory Smith
Patrick Tarr
March 26, 2017 (2017-03-26)
N/A

It's a not-so-Happy Birthday for Alex, who's still reeling from her split with Charlie. To make matters worse, she makes a promise to a young girl, whose own birthday is derailed by her father's sickle cell crisis. Charlie treats a paranormal skeptic, only to discover this supernatural naysayer has a haunting of his own. And Cassie confronts her inner fear of parasites with some exposure therapy, as she treats a brother/sister duo riddled with every infestation.

71
4
"A Stranger Comes to Town"
James Genn
Ley Lukins
April 2, 2017 (2017-04-02)
N/A

Tempers flare as Dev's med school rival, Billy Scott arrives at Hope Zion, while Alex breaks the rules and puts her job in jeopardy to help Manny save the life of an at-risk youth, and Charlie and Maggie treat a War of 1812 re-enactor, whose complications align with the historical character he's playing.

72
5
"Tested and Tried"
Gregory Smith
Malcom MacRury
April 9, 2017 (2017-04-09)
N/A

Although Alex's patient is desperate for a liver-transplant, the only donor is an estranged father hiding in witness protection, forcing Alex to go to new depths to make sure both survive. Hope Zion's CEO Thomas Leffering cuts costs by banning expensive surgeries, butting heads with a defiant Dawn.

73
6
"Doctor Robot"
James Genn
Adriana Maggs
April 16, 2017 (2017-04-16)
N/A

Alex copes with her mother, diagnosed as terminally ill.

74
7
"Gutted"
Gregory Smith
Graeme Stewart
April 23, 2017 (2017-04-23)
0.89[54]

Following complications with their cancer study patient, Alex and Maggie face a tough lawyer; and a car crashes into the ambulance bay.

75
8
"Knowing Me, Knowing You"
Steve DiMarco
Fiona Highet
April 30, 2017 (2017-04-30)
N/A

Charlie and Manny find themselves in competition; Maggie and Dawn are at odds when they have differing approaches while treating a patient.

76
9
"All Our Yesterdays"
Steve DiMarco
Patrick Tarr & Thomas Pepper
May 7, 2017 (2017-05-07)
N/A

When a John Doe comes into the hospital after being struck by a subway train, it’s a race against the clock to save his life.

77
10
"Change of Heart"
David Wharnsby
Noelle Carbonne & Katrina Saville
June 8, 2017 (2017-06-08)
0.83[55]

Alex tries to distract herself from her grief. Charlie and Shahir track down Alex's older brother Doug. Charlie reinstates Sydney's privileges at Hope-Zion. Maggie processes her feelings for Sydney and admits she'd always wondered what it would be like to be with her. She asks Sydney to promise that she will not leave again.

78
11
"Nightmares and Dreamscapes"
Steve DiMarco
Ley Lukins
June 15, 2017 (2017-06-15)
0.93[56]

While Charlie tries to save a young man's life, he is haunted by a mischievous spirit.

79
12
"Leap of Faith"
Jason Priestley
Adam Pettle & Hayden Simpson
June 22, 2017 (2017-06-22)
0.81[57]

Maggie and Alex work to deliver the baby of a doctor's wife, while Charlie treats a magician who shattered his legs during an illusion gone wrong.

80
13
"Problem Child"
Teresa Hannigan
Aaron Bala & Patrick Tarr
June 29, 2017 (2017-06-29)
0.90[58]

Alex tries to help patient who hurt himself breaking into a house; a friend of Dr. Dev Sekara has been beaten by the police; a heart patient wishes to open an animal sanctuary.

81
14
"We Need to Talk About Charlie Harris"
Michael Shanks
Adam Pettle & Graeme Stewart
July 6, 2017 (2017-07-06)
N/A

Alex is challenged about the value of holistic medicine; Charlie's abilities are questioned; Two filmmakers go to Hope Zion Hospital.

82
15
"Fix You"
Allison Reid
Katrina Saville
July 13, 2017 (2017-07-13)
N/A

The board questions the hospital staff about Charlie's behaviour; a patient convinces Alex to use new-age techniques; Shahir agrees to do an in-utero surgery.

83
16
"La famiglia"
Peter Wellington
Noelle Carbone
July 20, 2017 (2017-07-20)
N/A

Alex has to put her concerns for Charlie aside when a chance to perform a cancer surgery arises.

84
17
"First and Last"
Jordan Canning
Patrick Tarr
July 27, 2017 (2017-07-27)
N/A

Alex and Charlie put their wedding plans aside; Shahir takes a special interest in a case; a coma patient who wakes up with no memory.

85
18
"Hope Never Dies"
James Genn
Adam Pettle
August 3, 2017 (2017-08-03)
N/A

Following a mass casualty accident involving a bus full of teenagers, Alex & Charlie rush to the scene to try and save the kids while waiting for backup to arrive. The Hope Zion Hospital family must band together to overcome the tragedy and move on to the next chapter of their lives.


document_title: VA loan

question_text: who provides the direct funds for a loan guaranteed by the federal veterans affairs

text: VA loan

text: History[edit]

text: The original Servicemen's Readjustment Act, passed by the United States Congress in 1944, extended a wide variety of benefits to eligible veterans. The VA loan guarantee program was especially important to veterans.[2] Under the law, as amended, the VA is authorized to guarantee or insure home, farm, and business loans made to veterans by lending institutions. Over the history of the program, 20 million VA home loans have been insured by the government. The VA can make direct loans in certain areas for the purpose of purchasing or constructing a home or farm residence, or for repair, alteration, or improvement of the dwelling. The terms and requirements of VA farm and business loans have not induced private lenders to make such loans in volume during recent years.

text: The Veterans Housing Act of 1970 removed all termination dates for applying for VA-guaranteed housing loans. This 1970 amendment also provided for VA-guaranteed loans on mobile homes.

text: More recently, the Veterans Housing Benefits Improvement Act of 1978 expanded and increased the benefits for millions of American veterans.[2]

text: Until 1992, the VA loan guarantee program was available only to veterans who served on active duty during specified periods. However, with the enactment of the Veterans Home Loan Program Amendments of 1992 (Public Law 102-547, approved 28 October 1992), program eligibility was expanded to include Reservists and National Guard personnel who served honorably for at least six years without otherwise qualifying under the previous active duty provisions. Such personnel are required to pay a slightly higher funding fee when obtaining a VA home loan.

text: Despite a great deal of confusion and misunderstanding, the federal government generally does not make direct loans under the act. The government simply guarantees loans made by ordinary mortgage lenders (descriptions of which appear in subsequent sections) after veterans make their own arrangements for the loans through normal financial circles. The Veterans Administration then appraises the property in question and, if satisfied with the risk involved, guarantees the lender against loss of principal if the buyer defaults.

text: In association with the VA's program, the Servicemembers' Civil Relief Act protects service members from financial woes on their home loan that may occur as a result of active duty commitments, freezing their interest rates at 6%.

text: On October 26, 2012, the Department of Veterans Affairs announced it has guaranteed 20 million home loans since its home loan program was established in 1944 as part of the original GI Bill of Rights for returning World War II Veterans. The 20 millionth loan was guaranteed for a home in Woodbridge, Va., purchased by the surviving spouse of an Iraq War Veteran who died in 2010. (www.va.gov)[better source needed]

text: Funding fees[edit]

text: A funding fee must be paid to VA unless the veteran is exempt from such a fee because he or she receives a minimum of 10% VA disability compensation. If a veteran is awarded disability compensation after paying a funding fee, he/she can apply for a refund of this funding fee, so long as the beginning date of the disability is prior to the closing date of the home mortgage.

text: In August 2012, Congress passed a bill that allows a Veteran to receive the benefits of having Veteran Disability while it is still pending. The amount paid for the funding fee can be refunded back to the Veteran when a determination is made and the paperwork is received.

text: The VA Funding fee may be paid in cash or included in the loan amount. Closing costs such as VA appraisal, credit report, loan processing fee, title search, title insurance, recording fees, transfer taxes, survey charges, or hazard insurance may not be included in the loan. However, the seller may pay these on behalf of the VA borrower.

text: Purchase and construction loans[edit]

text: Note: The funding fee for regular military first time use from 1/1/04 to 9/30/04 was 2.2 percent. This figure dropped to 2.15 percent on 10/1/04. If you have a service connected disability that you are compensated for by the VA or if you are a surviving spouse of veteran who died in service or from service connected disabilities, the funding fee is waived.

text:
Type of Veteran
Down Payment
First Time Use
Subsequent Use for loans from 1/1/04 to 9/30/2011

Regular Military
None
5%-9.99%
10% or more
2.15%
1.50%
1.25%
3.3%*
1.50%
1.25%

Reserves/National Guard
None
5%-9.99%
10% or more
2.4%
1.75%
1.5%
3.3%*
1.75%
1.5%

text: The VA funding fee can be financed directly into the maximum loan amount for the county in which the home is located. If the sales price and the financed VA funding fee total more than maximum loan amount for that county, the borrower or seller must pay for the fee out of pocket. All VA loans require an impound account for property taxes and homeowners insurance which makes the monthly payment of VA loans calculated as a PITI payment.**

text: Cash-out refinancing loans[edit]

text:
Type of Veterans
Percentage for First Time Use
Percentage for Subsequent Use

Regular Military
2.15%
3.3%*

Reserves/National Guard
2.4%
3.3%*

text:
The higher subsequent use fee does not apply to these types of loans if the veteran’s only
prior use of entitlement was for a manufactured home loan.

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text: Other types of loans[edit]

text:
Type of Loan
Percentage for Either Type of Veteran
Whether First Time or Subsequent Use

Interest Rate Reduction
Refinancing Loans
.50%

Manufactured Home Loans
1.00%

Loan Assumptions
.50%

text: Veterans who previously lived in a home they had to then rent out will typically qualify for a no appraisal Interest Rate Reduction Refinance. The Veteran's Administration also allows Veteran Homeowners to refinance from a Conventional loan to a VA mortgage Loan. This process, however, does require an appraisal.

text: Equivalents of VA loans[edit]

text: Private mortgage insurance[edit]

text: Private mortgage insurance (PMI) guarantees conventional home mortgage loans - those that are not guaranteed by the government. This loan program is a private sector equivalent to the Federal Housing Administration (FHA) and VA loan programs.

text: The PMI company insures a percentage of the consumer's loan to reduce the lender's risk; this percentage is paid to the lender if the consumer does not pay and the lender forecloses the loan.

text: Lenders decide if they need and want private mortgage insurance. If they so decide, it becomes a requirement of the loan. PMI companies charge a fee to insure a mortgage loan; the VA insures a loan at no cost to a veteran buyer (other than the VA funding fee); the FHA charges a monthly fee to guarantee the loan.[2]

text: VA Loan application[edit]

text: The VA loan application is a standardized loan application form 1003 issued by Fannie Mae also known as Freddie Mac Form 65. It is a Federal crime punishable by fine or imprisonment, or both, to knowingly make any false statements on a VA loan application under the provisions of Title 18, United States Code, Section 1001, et seq. [3]

text: You will need the following paperwork to apply:

text:
Copies of your W2 statements for the past two years, so your gross household income can be confirmed,
Copies of your previous two pay stubs,
Documentation of other assets (checking accounts, savings accounts, financial investments, trust funds, etc.),
If self-employed, two years of consecutive tax returns will be required.
The Veteran also needs to supply their DD 214 or Certificate of Guarantee

text: Qualifying for Veteran Home Loans[edit]

text: The Veteran Loan program is designed for veterans who meet the minimum number of days of completed service. Some of the other eligibility requirement for the VA loan program[4] and some specific home loan benefits include the length of service or service commitment, duty status and character of service. The program does allow for benefits to Surviving Spouses.

text: The VA does not have a minimum credit score used for pre-qualifying for a mortgage loan, however, most Lenders require a minimum credit score of at least 620.

text: A Veteran who has used their entitlement to previously purchase a home, may have entitlement left to purchase another one. If you previously purchased a home using your VA Benefits then you might still have some of that “Entitlement” available to you for the purchase a new home. To Calculate Maximum Entitlement available, consider the following:

text:
If your previous home was purchased using a VA Loan, and that loan was paid off by the new owners, the full entitlement may have been restored.
If you sold your home to someone, and allowed them to assume your VA Loan, then you might have the full entitlement restored, if one or more of the purchasers were also Veterans.
If you still own the home, and you are renting it out – you might be able to purchase a new home using your partial entitlement, but there are several restrictions.

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text: Allowable Income Sources used to qualify for a VA Loan include: Retirement Income, Social Security Income, Child Support, Alimony and Separate Maintenance, BAH, BAS and Disability Income. Dependency and Indemnity Compensation (DIC) for a Surviving Spouse can also be included. In addition, stable, documented income from employers remains the best income source for VA loans.

text: Homeless Veterans - The National Center on Homelessness Among Veterans (NCHAV)[edit]

text: The National Center on Homelessness Among Veterans (NCHAV) has planned to increase recovery-oriented care provided to homeless Veterans, or those soon to be, through the development and dissemination of evidence-based programs, policies as well as best practices. It was established in 2009 to support the execution of the U.S. Department of Veteran Affairs’ (VA’s) Five Year Plan to End Homelessness Among Veterans. This plan was born out of the goals and timeframes set forth by the legislators, governors, nonprofits, faith-based and community organizations, the U.S. Congress, the United States Interagency Council on Homelessness, business entities and philanthropic leaders to end homelessness in America and progress to make affordable and stable housing available to all its people.

text: Below are the four core activities of NCHAV’s integrated and organized work:

text:
Model Development & Implementation
Research & methodology
Education & Dissemination
Policy Analysis[5][6]