King Vidor - Knowledge

987: 1161: 1170: 3063:"I believe that every one of us knows that his major job on earth is to make some contribution, no matter how small, to this inexorable movement of human progress. The march of man, as I see it, is not from the cradle to the grave. It is instead, from the animal or physical to the spiritual. The airplane, the atom bomb, radio, radar, television are all evidences of the urge to overcome the limitations of the physical in favor of the freedom of the spirit. Man, whether he is conscious of it or not, knows deep inside that he has a definite upward mission to perform during the time of his life span. He knows that the purpose of his life cannot be stated in terms of ultimate oblivion." 3242:. He was overruled by Dino de Laurentis, who insisted that the central figure in the epic appear as a conventional romantic leading man, rather than as the novel's "overweight, bespectacled" protagonist. Vidor sought to endow Pierre's character so as to reflect the central theme of Tolstoy's novel: an individual's troubled striving to rediscover essential moral truths. The superficiality of the script and Fonda's inability to convey the subtleties of Pierre's spiritual journey thwarted Vidor's efforts to actualize the film's theme. Recalling these interpretive disputes, Vidor remarked that "though a damn good actor... just did not understand what I was trying to say." 44: 618: 2403:

ambitious German immigrant, Marvin Myles (Hedy Lamarr) at a New York advertising agency. They prove incompatible, largely due to different class orientation and expectations: Marvin pursues her dynamic career in New York and Harry returns to the security of his Bostonian social establishment. In an act of desperate nostalgia, Pulham attempts to rekindle the relationship 20 years later, to no avail. His attempt at rebellion failed, Harry Pulham consciously submits to a life of conformity that falls short of freedom but offers self-respect and a modest contentment.

3346:. The death of Tyrone Powers was less a financial disaster and more a creative loss. Vidor was bereft of an actor who had grasped the complex nature of the Solomon figure, adding depth to Powers' performance. Brynner and Vidor were instantly at loggerheads when the leading man substituted a portrayal of an "anguished monarch" for an Israelite king who would "dominate each situation without conflict." Vidor reported, "it was an attitude that affected the depth of his performance and probably the integrity of the film." Leading lady 2194: 433: 3859: 701: 893: 2424:: Rather than demonstrate his patriotism by joining a military film unit Vidor attempted to create a paean to American democracy. His 1944 An American Romance represents the "steel" installment of Vidor's "War, Wheat and Steel" trilogy and serves as his "industrial epic".and emerged from an extremely convoluted screenwriting evolution. Vidor personifies the relationship between man and the natural resources on which struggles to impose his purpose on nature. 8664: 2277:. Major Robert Rogers (Spencer Tracy) leads his green-clad "Roberts Rangers" on a grueling trek through 200 miles of wilderness. The Rangers fall upon the village and brutally exterminate the inhabitants who are suspected of assaulting white settlements. A demoralized retreat ensues led by Rogers. Under retaliatory attack by Indians and a savage landscape the Rangers are pushed to the limits of their endurance, some reduced to cannibalism and madness. 6675:. And...The film "is impeccably balanced between isolation and intervention" allowing the audience to decide for themselves. And p. 192-193: Vidor uses "what were to become favorite motifs of later war films...." And p. 198: The film's "...disquiet about military virtues..." And p. 199: "Northwest Passage comes close to denying us the complacency of imagining we can derive some general rule about the spirit in which war should be waged." 3000:(1946), in which an impoverished young woman, Jennifer Jones (Ruby née Corey, later Gentry), is taken in by a well-to-do couple. When the foster mother dies (Josephine Hutchinson) Ruby marries the widower (Karl Malden) for security, but he too dies under circumstances that cast suspicions on Ruby. She is harried by her evangelical preacher-sibling (James Anderson) and her love affair with the son of a local land-owing scion ( 2365:, a cynical American journalist who exposes Stalin-era cultural falsifications in his dispatches to his newspaper in the United States. Lamarr plays a Moscow tram conductor. Her coldly logical persona ultimately proves susceptible to Gable's America-inspired enthusiasms. Released in December 1940, the scurrilous tone of the dialogue toward the USSR officials was consistent with US government posture in the aftermath of the 1339: 1884:) scorns his pacifism and singlehandedly diverts her slaves from rebellion. The white masters of the "Portobello" plantation in Mississippi emerge from the conflict content that North and South made equal sacrifices, and that a "New South" has emerged that is better off without its white aristocracy and slavery. With Portobello in ruins, Valette and Duncan submit to the virtues of hard work in a pastoral existence. 1305:. Vidor was shaken by news that US film studios and theaters were converting to sound technology and he returned quickly to Hollywood, concerned about the impact on silent cinema. Adjusting to the advent of sound, Vidor enthusiastically embarked upon his long-desired project of making a picture about rural black American life incorporating a musical soundtrack. He quickly completed writing the scenario for 8652: 7136:

novel, The Fountainhead, which espoused her philosophy of Objectivism, a belief in the integrity of the individual and a general contempt for the mediocre standards accepted by the masses. And "The film version, based on Ayn Rand's screenplay of her novel, preserves her didactic dialogue while placing the main characters, essentially symbolic stand-ins for opposing ideologies."

2164:, an exposé of the mercenary aspects of the medical profession that entices doctors to serve the upper-classes at the expense of the poor. Vidor's Christian Science-inspired detachment from the medical profession influence his handling of the story, in which an independent doctor's cooperative is favored over both socialized medicine and a profit-driven medical establishment. 679:. The recluse achieves financial success and is ultimately rewarded with the affection of a gentlewoman, played by Florence Vidor. Redolent with the precepts of the "Creed and Pledge", the film's "relentless realism" did not please the executives at First National. They demanded entertainment that would garner a mass share of box-office receipts so as to fill their theaters. 1375:. As an adult, he was not immune to the racial prejudices common among whites in the South of the 1920s. His paternalistic claim to know the character of the "real negro" is reflected in his portrayal of some rural black characters as "childishly simple, lecherously promiscuous, fanatically superstitious, and shiftless". Vidor, nonetheless, avoids reducing his characters to 2914:, a cast that did not suit Vidor. A standard Warner's melodrama, Vidor declared that the picture "turned out terribly" and is largely unrepresentative of his work except in its western setting and its examination of sexual strife, the theme of the film. Vidor's next project was proposed by producer Joseph Bernhard after pre-production and casting were nearly complete: 7115:

show some constructive resolution... despite some extremely violent sequences maintained his lifelong sympathy for Christian Science." And: "In general, Vidor's films are less concerned with right and wrong than with the harmony of soul and action...resilience is a better protection than strict justice, whose meticulous observance would destroy energy in everybody."

8637: 3257:"Natasha permeated entire structure as the archetype of womankind which she so thoroughly represents. If I were forced to reduce the whole story of War and Peace to some basically simple statement, I would say that it is a story of the maturing of Natasha. She represents, to me, the anima of the story and she hovers over it all like immortality itself." 2603:"hen Pearl Chavez (Jennifer Jones) rides out to kill Lewt (Gregory Peck), she is uncannily transformed into a phantasm of a young resolute Mrs. McCanles (Lillian Gish), thus killing the son she despises via the daughter she never had. This is perhaps the most outrageous conceit of an entirely outrageous movie, and it is brilliant. As 1695:, formerly with the Goldwyn studios that had amalgamated with Metro-Goldwyn-Mayer in 1924. Goldwyn's insistence on fidelity to the prestigious literary material he had purchased for screen adaptations imposed cinematic restraints on his film directors, including Vidor. The first of their collaborations since the silent era was 1653:

the city inherit a derelict farm, and in an effort to make it a productive enterprise, they establish a cooperative in alliance with unemployed locals who possess various talents and commitments. The film raises questions as to the legitimacy of the American system of democracy and to government imposed social programs.

3776:, in 1953. This book's title is inspired by an incident early in Vidor's Hollywood career. Vidor wanted to film a movie in the locations where its story was set, a decision which would have greatly added to the film's production budget. A budget-minded producer told him, "A rock is a rock. A tree is a tree. Shoot it in 7114:

Durgnat and Simmons, 1988: p. 255-256: Vidor wished to reclaim the "lost faith" that "America (and Hollywood) in the transcendent energy that had brought his heroes moral success..."The Fountainhead, Beyond the Forest and...Lightning Strikes Twice can each be seen as responses to Duel in the Sun...to

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Baxter, 1976 p. 68: "The hand of Selznick lies heavily but not without a sureness of touch" on the film. And p. 69: ""Selznick ... tried to recapture the scope and vivacity of Gone with the Wind. And: "The interference of which Vidor complained added significantly to the film's success ...

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Durgnat and Simmons, 1988: p. 206: A film "highly regarded in its day...with Vidor receiving his best reviews since his MGM silents." And "Vidor's chastened, subdued affirmations that….what an individual might accomplish is a sober rather than a heroic one." And p. 219: "It is tempting to suggest H.M

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Durgnat and Simmons, 1988: p. 207: Vidor "keep faith with Cronin's attack on the mercenary spirit of the medical profession…" And: Hollywood would have rejected "an equally incisive attack on the American medicine…" And p. 209: "the cooperative ideal in the middle way between the dangers of socialism

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overtones, for Vidor celebrates the same life in the enterprising white community of Our Daily Bread." And p. 98-99: The film "unleashes forces... a moral polarity between family affection versus apparently passionate sexuality..." And p. "...the film affirms the value...of diligence, frugality, hard

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Phillips, 2009: "The 141-minute feature was the first silent American movie to deal realistically with the horrors of war and to do it from the standpoint of ordinary soldiers. It was also the most profitable silent-era feature and remained MGM's most successful film until Gone with the Wind in 1939.

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is distilled through the character of architect Howard Roark (Gary Cooper), who adopts an uncompromising stance on the physical integrity of his proposed designs. When one of his architectural projects is compromised, he destroys the building with dynamite. At his trial, Roark offers a principled and

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emulates his domineering cattle baron father. The adoption of the young orphan girl Pearl Chavez, the "half-breed" offspring of a European gentleman and a native-American mother, whom Pearl's father has murdered and been executed for his crime, introduces a fatal element into the McCanles family. The

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was completed by Vidor after years of manufacturing "conventional successes" for M-G-M. The calm certitude of Harry Pulham in the face of enforced conformity may reflect Vidor's determination to artistically address larger issues in contemporary American society. His next, and final movie for M-G-M,

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is a cautionary tale concerning upper- and lower-class sexual infidelities set in England. Framed, as in the play and novel, in a series of flashbacks told by the married barrister Warlock (Colman), the story ends in honorable redemption for the barrister and death for his mistress. Vidor was able to

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Employing relatively unknown actors, the film had modest box office success, but was widely praised by critics. In 1928, Vidor received an Oscar nomination, and his first for Best Director. M-G-M executives, who had been content to allow Vidor an "experimental" film found that bleak social outlook of

267:; February 8, 1894 – November 1, 1982) was an American film director, film producer, and screenwriter whose 67-year film-making career successfully spanned the silent and sound eras. His works are distinguished by a vivid, humane, and sympathetic depiction of contemporary social issues. Considered an 7734:

Steinberg, TMC: "The project's salvaging was not remembered fondly by either the director or his substitute lead. Vidor felt that Brynner's reading lacked the threads of self-doubt that Power brought to the role. "Tyrone Power had understood the dualistic problem of the anguished king," the director

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Cady, TMC: "Critics praised the results but American audiences never warmed to it. Russian audiences, however, did and this version became a big hit in the Soviet Union, a great embarrassment to Soviet officials. This was at the height of the Cold War and surely the Americans could not be allowed to

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Gallagher, 2007: "It really founders on the crucial miscasting of the male leads, but Audrey Hepburn's perfect Natasha is diverting..."And Vidor quoted in full regarding Natasha. And: " is the locus of our empathy; through the star we experience the passions of life. We stare in wonder, at the world

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Callahan, 2007: "It's filmed like a silent movie, and as Rand's ludicrous dialogue keeps coming at you at an unmodulated volume, you start to wish that it was...the whole thing is a silly stacked deck filled with crude, vague ideas, and it cannot be said that Vidor entirely overcomes the problems of

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Thomson, 2007: "The film still has scenes – like the sado-masochistic conclusion where Jones and Gregory Peck kill each other in a harsh rocky landscape – that are a novel injection of disturbed psychology in the Western genre. It is the model of Hollywood going over the top – yet it would not be as

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Durgnat and Simmons, 1988: pp. 238–239: Selznick "planning a modest Western which expanded as he went along, until he proclaimed his ambition to ... 'top' Gone with the Wind." And Vidor considered Garrett's script "dull" and wished to limit the film to a "small" but "intense Western situation."

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Durgnat and Simmons, 1988: p. 174: Vidor "preferring not to join a military film unit on a patriotic saga of industrial and immigrant success, 'an ideal of American democracy'... three years" of effort and multiple scripts to create An American Romance." And p. 221: The function of Vidor's film was

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Hodsdon, 2013: The Crowd was influenced by "an international wave of populist films in the '20s and '30s including the German populism" and "generally well-received critically and its reputation has continued to grow. The oft-repeated statement that it was a failure with the public seems inaccurate.

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was under consideration for adaption by several studios. Paramount Pictures and De Laurenti rushed the film into production before a proper script could be formulated from Tolstoy's complex and massive tale, requiring rewrites throughout the shooting. The final cut, at three hours, was necessarily a

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Durgnat and Simmon, 1988: p. 315: "Solomon and Sheba has the reputation of being the disaster that killed Vidor's career." And "...at sixty-five he could hardly help having been wearied by the production chaos of his previous two epics...Vidor was intent on returning to projects closer to his own

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Durgnat and Simmon, 1988 p. 8 And p. "One might surmise that Vidor's recent failures...to find producers for his more personal projects engendered a certain defeatism, rendering him not unopposed to costume epics..." And p. 260: Vidor: "War and Peace...came to me through an agent, and I did not set

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Stafford, TMC: "The Fountainhead, despite its shortcomings as a film adaptation of the book, remains a fascinating curiosity in the history of American film. Its righteous view of capitalism and morality place it firmly in the pantheon of right-wing conservative cinema And: "Ayn Rand's best-selling

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Miller, TMC: Selznick, "opening the film in hundreds of theaters around the country rather than starting slowly in a few first-run houses... proved a box-office bonanza as audiences, prodded by a $ 2 million publicity campaign, raced to see the film wherever it played. Despite pretty awful reviews,

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Durgnat and Simmons, 1988: p. 212-213: The film examines the virtues of "abstention from revolt...It asserts a suburban routine and its sedate virtue, when deliberately chosen, as a form of freedom. whole structure is dedicated to this twist." (See Synopsis on same pages). And p. 214: In New York,

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Durgham and Simmons, 1988 p. 174: "...Vidor and Elizabeth Hill shared script credit." And p. 205: "But as so often with Vidor in the thirties, marriage itself gets a rough going over. He fought for a stark view of the institution in... H. M. Pulham, Esq...a feature he considered most personal" and

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Nixon, TMC: "Racial hatred pervades the film, erupting in the action sequences or even among the Rangers in casual scenes where they jokingly banter with each other. However, audiences at the time of the picture's release were willing to overlook that and accept the script's 'justification' for the

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Durgnat and Simmons, 1988: p. 200–201: The changes Vidor make to Henry King's version "owe something to the remake being a star vehicle for Barbara Stanwyck" And "Vidor identically, cut, shot and staged" some of the material from the 1925 version. And Vidor "a master... of wringing audience tears."

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Baxter, 1972 p, 152–153: "...the integration of character...into an alien landscape...as bare and stark as the moon." And: "...in Billy the Kid, struck a balance between the commercial necessities of Metro-Goldwyn-Mayer and his own vision of life." And p. 153: "...Billy the Kid as a fit companion

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Berlinale Retrospective 2020: "...he was actively involved in making movies for 67 years." And "allowed the material to define the style." And on "auteur": "Vidor's status as an auteur is definitely underscored by his independence and by the passion he brought to films. ...Vidor was indeed at times

3176:, marks a philosophical transition in Vidor's outlook towards Hollywood: the Dempsey Rae figure, though retaining his personal integrity, "is a man without a star to follow; no ideal, no goal" reflecting a declining enthusiasm by the director for American topics. Vidor's final two movies, the epics 845:

in frowzy wig and dead white makeup, the famous star looked closer to forty than eighteen. At the first sight of Laurette experienced acute relief. She came toward him smiling, and his camera-minded eye saw at once a face all round and animated, essentially youthful. Pumping her hand he burst out

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Greven, 2011: "King Vidor's 1949 film Beyond the Forest is, for many, a film chiefly notable for having provided the inspiration for a famous moment in Edward Albee's 1962 play Who's Afraid of Virginia Woolf. " And "...the film's aesthetic, feminist, and queer worth conventional dismissals of it,

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Durgnat and Simmons, 1988: p. 6 And p. 232: On "spirit" And p. 232: "in some real way, the experience altered Vidor's spirit. His post-war films are turbulent, almost spiritually desperate." And p. 235: "severing the bond with MGM was just the needed jolt" Vidor required to inspire him to continue

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Durgnat and Simmons, 1988: p. 186: Vidor and Hill's script "comes across as entirely too quirky" to be an adaptation of Webb's historical account of the Texas Rangers. And p. 185: Vidor's movie "contains what amounts to two B Westerns: "The Texas Rangers wipe out the Injuns" and "The Texas Rangers

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Senses of Cinema 2007: In his later films "Vidor's men became more unlikable and scarier as his country itself veered away from the proletarian dreams of the 1930s and into the consumer culture of the '50s and beyond. All his men work against things: war, consuming lust, the land, the illnesses of

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among his most artistically gratifying works: "I had complete freedom in shooting it, and Selznick, who could have had an influence on Jennifer Jones, didn't intervene. I think I succeeded in getting something out of Jennifer, something quite profound and subtle." The swamp sequence where Ruby and

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led to conflicts with Vidor over development of the themes which emphasized "sex, violence and spectacle". Vidor walked off the set just before primary filming was completed, unhappy with Selznick's intrusive management. The producer would enlist eight additional directors to complete the picture.

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is a deeply personal and politically controversial work that Vidor financed himself when M-G-M executives declined to back the production. M-G-M was uncomfortable with its characterization of big business, and particularity banking institutions, as corrupt. A struggling Depression-era couple from

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Durgnat and Simmon, 1988 p. 299: "The film indicates, without exploring, a transition between Vidor's critical of contemporary America and his more affirmative pair of costume epics...Vidor's interests seemed to have moved on from America...American had become as constricted as the Old World had

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Levy 2005: "Beyond the Forest contrasts Loyalton with Chicago. Whenever Rosa goes to–or thinks of–Chicago, the soundtrack plays a nightmarish version of "Chicago, Chicago" (which Judy Garland made popular). ...Max Steiner's melodramatic score was nominated for an Oscar". And "...Rosa is obsessive

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Melville, 2013: "Given the tensions between the star and her role, it makes sense that Vidor should focus the film on Rosa's own problematic self-image. Throughout his career, Vidor showed a fondness for "wild" women, who might give themselves sexually or emotionally – but would never submit to a

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Durgnat and Simmons, 1988: p. 176-177: Vidor's interpretation of the Civil War South is that of "an unrepentant – unreconstructed Southerner..." And "Vidor presents "two distinct southern regional responses" to the Civil War. And p. 199: The film describes "a split between Texans and Southerners

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ended Vidor's career, he continued to receive offers to film major productions after its completion. The reasons for the director's disengagement from commercial film-making are related to his age (65) and to his desire to pursue smaller and more personal movie projects. Reflecting on independent

2454:, after an artistic investment of three years, staggered Vidor and left him deeply demoralized. The break with M-G-M presented an opportunity to establish a more satisfying relationship with other studio producers. Emerging from this "spiritual" nadir he would create a Western of great intensity: 2402:

Harry Pulham (Robert Young), a member of the New England's conservative upper-middle class, is stultified by the respectable routines of life and a proper marriage to his wife Kay (Ruth Hussey). Vidor examines Pulham's past in a series of flashbacks that reveal a youthful affair Harry had with an

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something of an auteur filmmaker..." And on "humane": "There is also a whole series of motifs that repeatedly turn up in his films, and which reflect the things he cared about – issues of class, as well as the issue of race in the US, which he incorporated into his films with a humanist bent..."

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Kirk Douglas acted as both the star and uncredited producer in a collaborative effort with director Vidor. Neither was entirely satisfied with the result. Vidor failed to fully develop his thematic conception, the ideal of balancing personal freedoms with conservation of the land as a heritage.

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depicts a microcosm in a major American metropolis and its social and economic inequalities. The cinematic limitations imposed by a single set restricted to a New York City block of tenements building and its ethnically diverse inhabitants presented Vidor with unique technical challenges. He and

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in 1923, a holding soon to be amalgamated with Metro-Goldwyn-Mayer. Samuel Goldwyn and other film producers of the early 1920s favored "literary" texts as the basis for movie screenplays. Parvenu-rich movie executives wished to provide a patina of class or "tone" to an industry often regarded as

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includes some impressive action sequences, including a widely cited battle finale in which Solomon's tiny army faces an approaching onslaught of mounted warriors. His troops turn their burnished shields to the sun, the reflected light blinding the enemy hordes and sending them careening into an

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Despite producer Louis B. Mayer's personal enthusiasm for the picture, his studio deleted 30 minutes from the movie, mostly essential human interest sequences and only preserving the abundant documentary scenes. Disgusted by M-G-M's mutilations, Vidor terminated his 20-year association with the

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to form a union, leading to the incorporation of the SDG in January 1936. By 1938, the collective bargaining unit had grown from a founding membership of 29 to an inclusive union of 600, representing Hollywood directors and assistant directors. The demands under Vidor's tenure at SDG were mild,

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Durgnat and Simmons, 1988: p. 175: "MGM cut 30 minutes after its release" and Vidor quit MGM "deeply discouraged."And p. 6: A "permanent rupture" with MGM. See p. 6 and p. 221 for Louis B. Mayer's "gushing" remark to Vidor that it was "the greatest picture our company ever made" And p. 232: On

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is an iconographic Western tale of remorseless struggle between a wealthy rancher Reed Bowman (Jeanne Crain) and small homesteaders. Saddle-tramp and gunman Dempsey Rae (Kirk Douglas) is drawn into the vortex of violence, that Vidor symbolizes with ubiquitous barbed-wire. The cowboy ultimately

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Vidor was nominated five times by the Academy Awards for Best Director. In 1979, he was awarded an Honorary Academy Award for his "incomparable achievements as a cinematic creator and innovator." Additionally, he won eight national and international film awards during his career, including the

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Miller, TMC: "...Vidor realized that the play's single setting outside the apartment building was one of its greatest strengths. ...to keep the film from being static, he worked with cameraman George Barnes to find innovative ways to move and place the camera...Vidor had been one of the first

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forthright defense for his act of sabotage and is exonerated by the jury. Though Vidor was committed to developing his own populist notion of American individualism, Rand's didactic Objectivist scenario and script informs much of the film. The Roark character is loosely based on the architect

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resonates with these populist films, a "pitiless study" of a young working man's descent into isolation and loss of morale who is ultimately crushed by the urban "assembly line", while his wife struggles to maintain some order in their relationship. Though the most uncharacteristic of Vidor's

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Baxter, 1976 p. 72: "In The Fountainhead...New York Skyscrapers are the real focus, rather than the character of Howard Roark (Gary Cooper), the uncompromising architect who destroys his work rather see its purity impaired." And p. 71: "...the central impression of The Fountainhead is one of

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Pulham, Esq is attempt by Vidor to vindicate an aspect of his own career – the turn it had been taking at M-G-M. It's a vindication impersonality."And p. 221: In the 1940s under the "tightly knit" production of Louis B. Mayer "Vidor found himself going to work in the morning like H.M.Pulham."

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Nixon, TMC: "Vidor had significant challenges making the movie in color. For one thing, the tough location shoot required that the bulky equipment needed to shoot in Technicolor had to be transported in two trains to the remote Idaho setting in McCall and the Payette Lake region ... The most

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Durgnat and Simmon 1988 p. 136-137: "...nothing prepares us for Selznick's volcano sacrifice." And "...Old World cultures are there for Americans and their lovers to transcend...If the film renounces miscegenation, that's not Vidor's fault... yearns the other way. But the strictures against

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Durgnat and Simmon, 1988 p. 149: "...directly political" implications. And "...a politically charged subject" on the question of labor and land ownership. And p. 151; The studio viewed the film as "an attack on big business" and refused to finance it. And see p. 151 for Vidor's financing of

737:") as the girl he loved and rescued from a deadly cattle stampede. The natural landscapes serve as an essential dramatic component in the film, as they would in subsequent Vidor movies. The cost overruns cut into First National profits, and they declined to fund any further Vidor projects. 5165:

Koszarski, "...later films Northwest Passage, An American Romance, and The Fountainhead demonstrate that Vidor was able to create films of personal expressiveness...it could be easily argued that only in the 40s and 50s do his heroes and heroines develop the richness of personality that

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Durgnat and Simmon, 1988 p. 295: "...Vidor has called Ruby Gentry one of his favorite works…" And: "In its anguished lyricism, Ruby Gentry marks the end of the line for the phase that began back in Duel in the Sun. The reasons for this sudden finale...are no doubt a mix of personal and

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Reinhardt, 2020: "But the limitations and prejudices are largely class and social ones, not racial. Vidor was all over the place ideologically and politically, notwithstanding his undoubted general sympathy for the poor and marginalized" and "the film's universal message."(emphasis in

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to observe "Vidor was a director for anthologies created more great moments and fewer great films than any director of his rank." Despite the setbacks that plagued the production and the ballooning costs associated with the reshoot, Solomon and Sheba "more than earned back its costs."

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Higham, 1972: "They fell in love, and their affair continued until 1924. They met again exactly 40 years later ... They resumed their romance with much of its original intensity". And: In 1972 the couple lived "some 15 minutes drive in the Paso Robles hills, in her own splendid

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Senses of Cinema, 2007: "King Vidor's romance with Colleen Moore (b. 1900) is already a Hollywood legend. They first met in 1921, when he was married to his boyhood sweetheart, Florence Vidor: he directed Colleen in "The Sky Pilot." They fell in love, and their affair continued until

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in 1938. Filmed in England at a time the British government and trade unions had placed restrictions designed to extract a portion of the highly lucrative American movie exports to the British Isles. M-G-M, as a tactical olive branch, agreed to hire British actors as cast members for

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Durgnat and Simmon, 1988 p. 281: The film "hides any depth of commitment behind...B film setups…" And p. 284: "The visual style argues that Japanese War Bride remained an impersonal production for Vidor." And: "he establishes the documentary community...lettuce field-hands...packing

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demanding scene for the actors involved the filming of the "human chain" employed by the Rangers to cross a treacherous body of water." And "viewers flocked to see the epic. Unfortunately, costs had run to well over $ 2 million ... so even with packed houses failed to turn a profit.

2171:) ultimately resorts to an act of anarchism by using explosives to destroy a disease-producing sewer, but emerges personally vindicated. A success at the Academy Awards, the film garnered nominations for Best Picture, Best Actor (Donat), Best Director and Best Original Screenplay. 7641:

Gallagher, 2007: See Gallaghar for a presentation of these themes. "...his hero is only apparently heroic...Heroic pretensions are chimeras, born in alienation, desperation and sexual will-to-power: only by realizing our common lot within society and family can our lives hold any

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and drove millions into low wage seasonal agricultural labor. The picture is a paean to family "blood" ties and rural generational continuity, manifested in the granddaughter's commitment (though raised in New York City) to inherit the family farm and honor its agrarian heritage.

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s sanguinary adventurer to contemporary Americans confronted with a looming world war is never made explicit but raises moral questions on "military virtue" and how a modern war might be conducted. Though Vidor was "anti-fascist" his political predilections are left unstated in

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in 1929, Vidor was internationally celebrated, even in America, as a titanic film artist who was both socially committed and commercial. Had a poll been taken, Vidor might well have been voted the greatest filmmaker in history, the one who had finally realized cinema's poetic

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ticket taker and projectionist. As an 18-year-old amateur newsreel cameraman Vidor began to acquire skills as a film documentarian. His first movie was based on footage taken of a local hurricane (not to be confused with the 1900 Galveston hurricane). He sold footage from a

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Thomson, 2007: "Vidor stopped directing commercial pictures after Solomon and Sheba. He had other projects – a film about Cervantes and a version of Hawthorne's The Marble Faun – but he admitted he wasn't cut out to be an independent producer. 'I'm glad I got out of it,' he

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Shaw, 2013. "ost mainstream Hollywood films that deal with politics have delivered a populist message. Not so with the film version of Ayn Rand's hit novel The Fountainhead, which is a paean to radical individualism. Few films have ever so explicitly expressed a political

7636:

Durgnat and Simmon, 1988: p. 66: Tolstoy's Pierre in War and Peace, to whom Vidor made central to his film." And p. 302-303: See detailed discussion on themes, and Fonda's performance. And p.306: "Vidor's conflicts with Fonda…" And p. 301 for quoted comment by Vidor on

6611:

Durgnat and Simmons, 1988: p. 185: "the A Western, as predicted, was moribund between 1931 and 1939–or it was perhaps held siege by the nearly one thousand B Westerns of those years." And p. 190 on Ford and DeMille. And "a resurgence of A Westerns generally" in the late

3265:

devised one of the film's most visually striking sequences, the sunrise duel between Pierre (Henry Fonda) and Kuragin (Tullio Carminati), shot entirely on a sound-stage. Vidor performed second-production duties to oversee the spectacular battle reenactments and director

5495:

Baxter, 1976. P. 7: Vidor, while a young cameraman in Texas, had provided Griffith with a letter of introduction to a cousin in California, who had in turn gotten Griffith a job as an extra at Vitagraph. In 1915, Griffith returned the favor to the struggling Vidor and

686:

observed: "his experience had a fundamental effect on Vidor's attitude toward film-making." Under pressure "as the studio system began to harden into place", the 26-year-old Vidor began to craft his films to conform to prevailing standards of the period. His 1920 film

752:(1921) is a "rural love story" with a spectacular disaster scene depicting a locomotive and box cars derailing and plunging into a river below. The dramatic presentation of rivers served as a standard motif in Vidor films. Impressed with this Vidor sequence, producer 3238:): "The strange thing about it is the character of Pierre is the same character I had been trying to put on the screen in many of my own films." Vidor was unsatisfied with the choice of Henry Fonda for the role of Pierre, and argued in favor of British actor 6796:

Baxter 1976 p. 61: The film style Vidor applied in H.M Pulham, Esq "a style..he had decided to forget" And: "Between 1939 and 1959 preoccupation was to increasingly be with nature, industry and vast forces, the stuff on which his best work has always been

2118:(1946), the later in which Vidor presided over a failed attempt to produce a population of juvenile deer who would be age-appropriate throughout the production (female deer refused to reproduce out of season). Both films would be completed by the director 1656:

The picture garnered a mixed response among social and film critics, some regarding it as a socialistic condemnation of capitalism and others as tending towards fascism – a measure of Vidor's own ambivalence in organizing his social outlook artistically.

7151:

Higham, 1972: "Vidor's earlier movies had tended to emphasize the virtues of the common man. But gradually he came to believe that the individualist was the most important of beings, that a man must ignore received opinion and hold ruthlessly to what he

7757:

Durgnat and Simmon, 1988: p. 314: "In the climax, Solomon's small force dooms the larger army by burnishing their shields until the sun's dazzle lures the charging cavalry into a canyon . The genre's de rigueur miracle comes down to human ingenuity and

5204:

Higham 1972: "Vidor's earlier movies had tended to emphasize the virtues of the common man. But gradually he came to believe that the individualist was the most important of beings, that a man must ignore received opinion and hold ruthlessly to what he

841:. Despite viewing screen tests supplied by director D. W. Griffth, Vidor was anxious that the aging Taylor (born 1884) would not be convincing as her 18-year-old stage character on screen. Biographer Marguerite Courtney describes their first encounter: 7623:

Thomson, 2007: "The producer, the late Dino de Laurentis, wanted Henry Fonda for box-office reasons; Vidor, on the other hand, wanted Peter Ustinov – overweight, anti-heroic, and very European. 'I think he would have given the film more stature,' said

2589:

in hundreds of theaters, backed by a multiple-million dollar promotional campaign. Despite the film's poor critical reception (termed "Lust in the Dust" by its detractors) the picture's box office returns rivaled the highest-grossing film of the year,

7735:

recounted in Raymond Durgnat and Scott Simmon's King Vidor, American. Brynner, he continued, 'fought the idea of a troubled monarch and wanted to dominate each situation without conflict. It was an attitude that affected...the integrity of the film.'"

396:

All the wooden structures of the town were flattened ... he streets were piled high with dead people, and I took the first tugboat out. On the boat I went up into the bow and saw that the bay was filled with dead bodies, horses, animals, people,

7506:

Durgnat and Simmon, 1988 p. 298: "...Vidor strove to establish a wider theme of land as a heritage deserving conservation…" And p. 299: "...it anticipates the conservationist concerns of the next generation." And "...a reverent sense of property and

7731:

Durgnat and Simmon, 1988: p. 301: "...ultimate nightmare…" And Vidor's "fondness" for the Powers film footage and Vidor's "rare public dislike for Brynner." And "Vidor's complaints about Brynner's refusal to display vulnerability are borne out on

7406:

Durgnat and Simmon, 1988 p. 294: "Disliked by most 'serious' critics in the United States, Ruby Gentry won some respect from English critics" And "Hollywoodwise was something of an anomaly, with major stars in such a low-budget, violently personal

2856:

and feuding with director Vidor over her character's portrayal, Davis delivers a startling performance and one of the best of her mid-career. The role of Rosa Molina would be her last film with Warner Brothers after seventeen years with the studio.

7330:'turned out terribly' owing in part to casting problems..." See notes on quote with Higham in a 1969 interview with Vidor And: Vidor's "common success in exploring sexual tension…" And p. 280: "...sexual tensions...turn into the film's theme…" 5921:

Durgnat and Simmon, 1988 p, 87: "...dramatic challenges tended to highlight her limitations... Vidor converted her....into a touchingly resilient screwball comedienne."And p. 90: On Davis' impersonations. And p. 92: "drive you to distraction

1610:) in Iowa, the aging patriarch of a working farm. Her arrival upsets the schemes of parasitic relatives to seize the property in anticipation of Grandpa Storr's passing. The scenario presents the farm as "bountiful", even in the midst of the 3192:, followed the director's realization that his self-conceived film proposals would not be welcomed by commercial movie enterprises. This pair of historical costume dramas were created outside Hollywood, both filmed and financed in Europe. 3342:, suffered a heart attack during a climactic sword fight scene. He died within the hour. Considered the "ultimate nightmare" for any major movie production, the entire film had to be re-shot, with the lead role of Solomon now recast with 6809:

Baxter, 1976 p. 61: Vidor on actor Robert Young: "...a superb actor without a single problem…" And "In a series of flashbacks recalling an uneventful life of rectitude and quiet achievement, the film developed a character of dignity and

7250:

Melville, 2013: "hailed by Bad Movie Aficionados as "arguably the definitive high camp" picture. And: "...mimicked to death by three generations of drag queens – has reduced a complex and fascinating film to the status of a camp joke."

1404:

enjoyed an overwhelmingly positive response in the United States and internationally, praising Vidor's stature as a film artist and as a humane social commentator. Vidor was nominated for Best Director at the Academy Awards of 1929.

6142:

Durgnat and Simmons, 1988: p. 96, p. 124: The film is a "clear model" of Chaplin's The Kid. And p. 126: "inter-ethnic" kid movies for Brown. And: a "conventional" film for the studio to balance his experimental efforts e.g. Street

2804:

enjoyed profitable box-office returns but a poor critical reception. Satisfied with his experience at Warner's, Vidor signed a two-film contract with the studio. In his second picture he would direct Warner's most prestigious star

2307:

policies were widely debated. The film influenced tropes that appeared in subsequent war films, depicting small military units operating behind enemy lines and relying on harsh tactics to destroy enemy combatants. The relevance of

1812:'s handling of his silent production and incorporated or modified some of its filmic structure and staging. Stanwyck's performance, reportedly without undue oversight by Vidor, is outstanding, benefited by her selective vetting of 1244:(1928) was inspired by the glamorous Gloria Swanson, who began her film career in slapstick. Davis' character Peggy Pepper, a mere comic, is elevated to the high-style star Patricia Pepoire. Vidor spoofs his own recently completed 7027:

Simmons, 2004: "...the film's delirious pitch is recognizably in Vidor's best postwar mode. In an attempt to quell the censorship furor, Duel was cut by nine minutes before wide release." And "Lust in the Dust" quote, "...a lurid

1484:, Vidor adapts a standard plot about a socially and economically impaired parent who relinquishes a child to insure his/her escape from squalid conditions to achieve an upwardly mobile future. The film is a descendant of director 7148:

Shaw, 2013: "Rand ensured that this one would do so by negotiating an unprecedented clause in her screenplay contract that mirrored the demands of her protagonist, Howard Roark: she was guaranteed it would be filmed as she wrote

798:(both 1922) and each depicting a female struggling successfully to assert herself in a male dominated world. As such, these may be considered as early examples of feminist-oriented cinema, but with entirely conventional endings. 6192:

Durgnat and Simmon, 1988 p. 140: M-G-M studio and Vidor "hedge" his depiction of agriculture..." And: the farm "remains safely bountiful..." And: The Storr enterprise with its "expensive threshers" is not a "collective" but a

7272:

Hampton, 2013: "She never gave a shriller, more unmodulated performance, though maybe that's the wrong word: hating the role with every fiber of her being, her performance feels more like an act of resistance than a piece of

6892:

Callahan, 2007: "American Romance is one of those broken films that gropes compellingly for ultimate answers. It remains Vidor's most concentrated attempt at dramatizing the galvanizing power that leads a man to work and get

6807:...were the first and second parts of a trilogy Vidor thought of as "War, Wheat and Steel." It was not until 1944...that Vidor got the chance to make the "Steel" portion..."An American Romance." And "conventional successes" 5185:

Baxter 1976: "...the sense of the American landscape...distinguishes his best films. What sets Vidor apart from his contemporaries is...a dark, almost demonic view of the land." And p. 9: "...Vidor's disquiet about natural

2966:-owned farm. The picture locates acts of racism towards non-whites as personal neurosis rather than socially constructed prejudice. Vidor's artistic commitments to the film were minimal in a production that was funded as a 1398:, emphasizing the class, rather than race, of his subjects. The film emerges as a human tragedy in which elemental forces of sexual desire and revenge contrast with family affection and community solidarity and redemption. 801:

By the early 1920s, Florence Vidor had emerged as a major film star in her own right and wished to pursue her career independent of her spouse. The couple divorced in 1926, and shortly thereafter Florence married violinist

2101:

M-G-M's assembly line system caught up with even top directors like Vidor, who could be called on to pass judgment on a new property or even prepare a project, only to find themselves a few days later shifted to something

7289:

Levy, 2005: "She is presented as an enigma, a mystery that needs to be resolved. Rosa not only acts callous, she also looks mean. Wearing a wig of long black hair, Bette Davis is heavily made up, looking like a grotesque

6833:

Baxter, 1976 p. 66: "personifies the conflict between man and nature" And p. ? "dramatize with typical Vidor romanticism the possibilities in the battle with nature if only ... one will sacrifice all and not be

2581:

The "unbridled sexuality" portrayed by Vidor between Pearl and Lewt created a furor that drew criticism from the US Congressmen and film censors, which led to the studio cutting several minutes before its final release.

7221:. For all The Fountainhead's thoroughly deranged sexual politics, it refreshingly avoids Hollywood timidity. It's an oddball movie, no doubt, but with the strength of its convictions: the triumph of "the supreme egoist." 2331:, injecting documentary realism into key sequences. Notable are those of the Rangers portaging boats through a rugged mountain pass, and the famous river "human chain" crossing. Despite its enormous box office earnings, 6077:

Durgnat and Simmons, 1988 p. 180: "...for twenty years thereafter, Westerns were fated to simple moral dichotomies between white Stetsons and black." And p. 11:"...Vidor's Billy the Kid another serial killer...without

5620:

Baxter, 1976. p. 11: "In a community increasingly dominated by big combines, his films, though distinguished, were almost entirely the romances and comedies then in vogue ... the ideals of his 'Creed and Pledge'

3708:

Vidor served as an 'extra" or made cameo appearances during his film career. An early film still exists from an unidentified Hotex Motion Picture Company silent short made in 1914, when he was 19 years old (he wears a

2380:

Vidor disparaged the picture as "an insignificant light comedy" that afforded him "a change of pace." Vidor's next picture would be a cold-eyed examination of the institution of marriage and a much more personal work:

5879:

Holliman, year: "The Crowd proved to be so uncompromising and unsentimental in its approach that MGM mogul Irving Thalberg held up its release for a year. Although it was eventually released to international critical

6666:

Durgnat and Simmons, 1988: p. 12: "...Vidor's most ferocious film Northwest Passage (1940) – which can be read as a call for World War II intervention by interventionists, and as a call to strenuous self-reliance by

5900:

Baxter 1976 p. 30: "German filmmakers enjoyed an American vogue artistic success" And: "his most unusual and uncharacteristic film of the twenties. And p. 31: Wage earners are "reduced to numbers in a characterless

5887:

grossed more than double its considerable production costs and returned a small profit to the studio. And "It now stands as one of the great silent films" and inspired Italian director Vittorio De Sica's 1948 film

5498:

Durgnat and Simmon, 1988 p. 23: Vidor served "as prop boy, script clerk, bit actor..." And: Griffith a former "Texas flame" of Vidor. And p. 326: "pseudonym" derived from Vidor's christened name Charles King Wallis

7626:

Cady, TMC: "For the overweight, bespectacled Pierre, the center of the novel, many names were thrown about including the most likely candidate Peter Ustinov, but after many compromises, Henry Fonda was cast in the

7198:

Callahan, 2007: The Fountainhead's "enormous, arid set design, its obsession with an individual's rights and its erotic suggestiveness, The Fountainhead is a film that exemplifies Vidor's 'mind over matter'outlook

3229:

Tolstoy's themes of individualism, the centrality of family and national allegiance and the virtues of agrarian egalitarianism were immensely appealing to Vidor. He commented on the pivotal character in the novel,

5430:

Thomson, 2007: "his mother raised Vidor as a Christian Scientist. The philosophy of Mary Baker Eddy had a lifelong effect on his work – he took her few good ideas and extrapolated a metaphysical philosophy of his

1732:(1932), a romantic melodrama of a brief, yet tragic affair between a British barrister and a shopgirl, was Vidor's second sound collaboration with Goldwyn. Starring two of Hollywood's biggest stars of the period, 915:

Vidor was content to adapt these "prestigious properties" so securing his reputation as a reliable studio asset. His work during this period did not rise to the level of his later work, but a few films stand out.

6182:

Durgnat and Simmon, 1988 p. 138: "...an escape to family-owned land away from modern economic and spiritual problems." And also quotes passage from FDR inaugural And p. 154: Vidor's "admiration for the New Deal

7712:

Steinberg, TMC: "One of the many Hollywood biblical epics that enjoyed a vogue in the '50s, Solomon And Sheba (1959) is best remembered as the final project in the long and distinguished career of director King

6388:

according to different senses of 'honor'..." And p. 176: The loss of Portobello "toughens" into survivors" who now work and live simply on the land. And for "pacifism" and "American" quotes, see p. 176, p. 179.

3551:

philosophy) who serves as "the answer to everyone's problems" while pumping gas at the station. She disappears suddenly, leaving the director inspired, and he returns to Hollywood. Impressed by Italian director

3166:

Vidor and Douglas succeeded in creating Douglas's splendid character, Dempsey Rae, who emerges as a vital force, especially in the saloon-banjo sequence that screenwriter Borden Chase termed "pure King Vidor".

2373:. Reflecting these developments, M-G-M executives, just six months after the film's release, inserted a disclaimer assuring audiences that the movie was only a farce, not a hostile critique of the USSR. Writer 1367:

as Hot Shot developed a love-triangle that leads to a revenge murder. A quasi-musical, Vidor's innovative integration of sound into the scenes, including jazz and gospel adds immensely to the cinematic effect.

1148:, insisted that Vidor direct Marion Davies – Hearst's longtime mistress – in these Cosmopolitan-supervised films, to which Vidor acquiesced. Though not identified as a director of comedies, Vidor filmed three " 7869:

into Metaphor. And "The fact that these inspirations came to Wyeth from the films of King Vidor hammered home this whole idea of what creativity is and what a limited definition we have of it in this country.

7292:

Callahan, 2007: "Beyond the Forest (1949) is certainly the most unheralded of Vidor's major films, mainly because everyone involved with it, especially its vitriolic star, Bette Davis, kept badmouthing it for

6761:

Callahan, 2007: "The book had been a best seller...MGM estimated that more than 5 million people had read it." And "Vidor used a failed love affair from his own life as an inspiration for the dynamics in this

928:

are endowed with sinister and homicidal potential, where a fugitive arrives to terrorize rural residents. As such, the film exhibits Vidor's trademark use of nature to symbolize aspects of the human conflict.

850:

The process of adapting the stage version to film was nevertheless fraught with difficulties, complicated by a romantic attachment between director and star. The final product proved cinematically "lifeless".

7488:

Durgnat and Simmon, 1988 p. 295-296: "Hollywood's collective iconography...and the barbed=wire theme…" And "barbed-wire was the symbolic center of freedom's restraints and the ruthless plundering of nature."

2759:, Vidor asked the author to write the script. Rand accepted but inserted a caveat into her contract requiring that she authorize any deviation from the book's story or dialogue. Vidor accepted the provision. 7267:

Thomson, 2007: "Vidor and the actress did not get on well, but the lyrical melodrama and mix of ugliness and passion in Davis' character, a Midwest Emma Bovary, is more impressive than the film's reputation

2607:

has said: 'In cinema, as in all art, only those who risk the ridiculous have a real shot at the sublime.' In Duel in the Sun, an older, less hopeful, but still enterprising King Vidor came damn close to the

3462:

Considering the film only a work in progress at the time of his death, the documentary had its premiere at the American Film Institute in 1980. It was never given a general release and is rarely screened.

7587:

Baxter, 1976 p. 80: Author Leo Tolstoy's epic "was boiled down into four hours" though often cut in distribution "to less than three, mutilating what was already a condensed and simplified version" of the

1720:, contributed to the critical success of the film, as did the huge publicity campaign engineered by Goldwyn. Street Scene's immense box-office profits belied the financial and economic crisis of the early 5175:

Thomson, 2007: "He made films glorifying the effects of Western civilization and its contents, detailing how ordinary men are made extraordinary through their fight against the neutral destructiveness of

1816:'s famous portrayal. Vidor contributed to defining Stanwyck's role substantially in the final cut, providing a sharper focus on her character and delivering one of the great tear-jerkers in film history. 11235: 6240:

Silver, 2010: "It is some measure of the ardor Vidor felt for Our Daily Bread that he managed to make it outside the studio system and in spite of American cinema's traditional aversion to controversial

6132:

Smith, TMC: "The box office failure of Metro's widescreen Billy the Kid in the autumn of 1930 may have killed the A-list career of John Mack Brown but it in no way deterred subsequent recreations of the

7864:

Tonguette, 2011: Relevant clips of The Big Parade and insert shots of particular Wyeth paintings cut to as they come up in the course of conversation. McGee worked extensively on integrating clips of

656:

So long as I direct pictures, I will make only those founded on the principles of right, and I will endeavor to draw upon the inexhaustible source of good for my stories, my guidance and my inspiration.

1745:

inject some "pure cinema" into a picture that was otherwise a "dialogue-heavy" talkie: "Colman tears up a piece of paper and throws the pieces out a window, where they fly into the air. Vidor cuts to

1011:

look trivial alongside contemporary photographs: the lice, the rats, and roaches, the urine and blood, the disease, fear, and horror of the true events are altogether lost in this version."—Biographer

1968:

tropes, including Indian massacres of white settlers and a corrupt city official who receives small town justice at the hands of a jury composed of saloon denizens. The film presages, as does Vidor's

1819:

Despite the success of the film it would be his last with Goldwyn, as Vidor had tired of the producer's outbursts on the set. Vidor emphatically declined to work with the "mercurial" producer again.

647:

I will not knowingly produce a picture that contains anything that I do not believe to be absolutely true to human nature, anything that could injure anyone or anything unclean in thought or action.

7967:

Durgnat and Simmon, 1988: p. 317: "Vidor's research...led to the solution"...of the crime, as described in Kirkpatrick's novel. And "Vidor's research for script based on the 'silencing' of the 1922

6777:

Harry Pulham is "stunned to find a woman driven by a zeal he's known, and then only infrequently, in men." And p. 216: Pulham, confronted with the advertising girl...withdraws" back to New England.

6463:

Berlinale 2020: "...civilization and the savagery of nature collide, provide hints to the basic conflict Vidor would explore in later Westerns – and carry to a glorious extreme in Duel in the Sun."

2174:

During the late 1930s M-G-M enlisted Vidor to assume artistic and technical responsibilities, some of which went uncredited. The most outstanding of these was his shooting of the black-and-white "

10430: 6481:

Thomson, 2007: "The Guild was not overreaching in its claims. It sought more time in preproduction, a proper chance to examine a script before filming, and the right to make at least a first cut.

7773:

Steinberg, TMC: "Although critics of the period were indifferent at best to Solomon and Sheba, the film's global grosses still ensured a multi-million dollar profit despite the on-set disaster."

6367:

Also "...the final gut punch" ending. And p. 205: See footnote on Vidor's "final editing" And also Stanwyck's study of Bennett's performance. And Stella Dallas "lines up with the 'pure' weepies"

1991:. Vidor emphatically declined: "... "I've such a belly-full of Texas after the Rangers that I find myself not caring whether Sam Houston takes Texas from the Mexicans or lets them keep it." 6937:

Durgnat and Simmons, 1988: p. 235: On Selznick and Vidor And p. 239: Screen Guild arbitration. And p. 239-240: On the beneficial influence of "many hands" in a "concerto, not a solo" effort.

2576:

set unannounced during filming. Abashed, Gish and co-star Barrymore became tongue-tied. Vidor was compelled to insist that Griffith withdraw, and the chastened Griffith complied graciously.

2320:. Vidor established an unusually close professional relationship with the film's star, Spencer Tracy, and the actor delivered what Vidor considered a performance of "tremendous conviction". 8342: 7665:...is largely responsible of the film's most memorable scene, the duel in the snow between Pierre and Kuragin...more remarkable for the fact that the whole scene is shot on a soundstage..." 6976:

Silver, 1982: "Duel in the Sun is 'the tale of a sun blistered romance involving a half-breed Indian girl and two dagger-eyed Texas brothers, one of them very good and the other very bad' (

3335:

is one of a cycle of bible-based epics popular favored by Hollywood during the 1950s. The film is best remembered as the Vidor's last commercial production of his long career in Hollywood.

2493:'s screenplay and direct a miniature Western, "small" but "intense". Selznick's increasingly grandiose plans for the production involved his wish to promote the career of actress-mistress 7990:

Whiteley, 2010: "an unsuccessful attempt in 1979 to raise finance for a film about James Murray, the star of 'The Crowd' and an alcoholic who had died an early death from drowning in 1936.

7871:

Thomson, 2007: "...The Metaphor (1980), the latter with painter Andrew Wyeth. Ever since The Crowd, Vidor had been fascinated with the notion that movie action depended on inner metaphor."

7576:

Baxter, 1976 p, 80: Vidor "had made few real epics but in the sixties he accepted two of the then fashionable spectacles, both credible exercises in the contrast between man and nature."

7184:

Simmons, 1988: "Vidor pulled out all the stops for his stylized adaptation of Ayn Rand's The Fountainhead, the doggedly epic apotheosis of her theories of socially beneficial selfishness."

6730:

Berlinale, 2020: "Just as Lubitsch's classic was a jab at the autocracy of the Soviet Union in the era of the Hitler-Stalin pact, Comrade X paid homage to the anti-authoritarian spirit of

2427:

The lead role of immigrant Stefan Dubechek was offered to Spencer Tracy but the actor declined, an acute disappointment for the director who had greatly admired Tracy's performance in his

6274:

Baxter, 1972 p. 158: "...one cannot accept Our Daily Bread as anything more than a well-mounted political tract from a theorist unwilling or unable see a situation with any real insight."

5761:

Baxter 1976 p. 19-20 Gilbert's "soon to be international following..." and p. 20: Footage in which Gilbert "kisses" Pringle's cheek with his eyelashes was deemed too salacious and removed

5332:

Durgnat and Simmon, 1988 p 19: Index lists Vidor's mother as "Kate", not Katherine. Elizabeth Crockett was Vidor's maternal great-grandmother. On Vidor's Crockett ancestry see this link:

3455:

The documentary records the discussions between Vidor and both Wyeth and his spouse Betsy. A montage is formed by inter-cutting images of Wyeth's paintings with short clips from Vidor's

6636:

Durgnat and Simmons, 1988: p. 186: "Northwest Passage's savage anti-indianism…" And p. 190: "the carnivorous streak in Northwest Passage." And "the single most ferocious pre-WWII film…"

6068:

Durgnat and Simmons, 1988: p. 180: "...an exploration of social violence...."And p. 184"...a strange synthesis of Western innocence and gangster morality..." and reference to Hemingway.

10421: 7217:

Simmons, 1988: "What propels the film is Vidor's rapid staging and Robert Burks' noir cinematography...Visually at least, it's easy to glimpse expressionist echoes of the director of

5224:

Berlinale, 2020: "In general, King Vidor was a great "actors' director". You often see performances in his films that are absolutely astounding. And often it's the women who shine..."

3446:. Wyeth had contacted Vidor in the late 1970s expressing admiration for his work. The artist emphasized that much of his material had been inspired by the director's 1925 war-romance 6994:

ethnicity. Pearl Chavez's "half-breed" blood is rich blood, not bad blood, and whatever strain of passion she has too much of, the McCanles have too little of." (italics in original)

7239:

Durgnat and Simmons, 1988: p. 236: "The relatively happy production experience led him to sign a two picture contract with Warners." And: Beyond the Forest "came with a star set..."

575:

evangelical tract sponsored by a group of doctors and dentists affiliated as the independent Brentwood Film Corporation. Vidor recalls of his first foray into Hollywood film-making:

7775:

Durgnat and Simmon, 1988: p. 317: Solomon and Sheba "more than earned back its costs, which had ballooned from four million to six because of reshooting after Tyrone Powers death…"

2399:'s highly popular novel of the same name. A story of a married man tempted to revive an affair with an old flame, Vidor draws upon memories of a failed romance from his own youth. 1007:

is softened and sentimentalized out of existence, soldiers portrayed as innocents thrust into the maw of battle, the cannons wreathed in scriptwriter's roses ... The scenes on the

951:"febrile romance", and is one of the few films from Vidor's output of that period to survive. Gilbert, as the Russian nobleman Prince Gritzko, was so ardently performed as co-star 11228: 1713:

countered and complemented these structural restrictions by using a roving camera mounted on cranes, an innovation made possible by recent developments in early sound technology.

490:

formed the Hotex Motion Picture Company in 1914 ("HO" for Houston, "TEX" for Texas) to produce low-budget one- or two-reelers. The enterprise garnered a national press release in

7829:

Higham, 1972: "...he has created a beautiful short film on 16mm, "Truth and Illusion," an abstract work consisting of images of nature, pure distillations of his vision of life."

7156:

Shaw, 2013: "Rand was convinced that the New Deal had undermined the unique nature of American democracy, and The Fountainhead was an attempt to restore it to its former glory."

6215:

And "... a trilogy Vidor thought of as "War, Wheat and Steel". It was not until 1944...that Vidor got the chance to make the "Steel" portion. He called it "An American Romance."

3766: 2439:

studio. The film received negative reviews and was a financial failure. Some critics noted a shift in Vidor's focus from working class struggles to celebrating the ascent of a "

2027: 986: 10683: 6336:

Landazuri, TMC: "...Sten became known as "Goldwyn's Folly" in the 1930s, because of the failed attempt by movie mogul Sam Goldwyn to make her into the next Garbo or Dietrich."

6263:

Thomson 2007: " strange but stirring film that finds equal fault with socialism and democracy and sets about creating a system of its own, based on the charisma of one man..."

5686:

Berlinale 2020, 2020: "Vidor tackled women's issues early on, for instance in the silent The Real Adventure (1922), about a young wife seeking career recognition and success".

3417:

for its song, the sun for its radiance. The poets are entirely mistaken; they should address their lyrics to themselves and should turn them into odes of self-congratulation."

2369:

of August 1939. When Germany invaded the Soviet Union in June 1941 (after America's entry into WWII in December 1941), Russians became US allies in the war effort against the

1281:. The limitations of early sound, despite recent innovations, interfered with the continuity of Davies' performance that had enlivened her earlier silent comedies with Vidor. 373:, who settled in Galveston in the early 1850s. Vidor's mother, Kate Wallis, of Scotch-English descent, was a relative of the second wife of iconic frontiersman and politician 6252:

Durgnat and Simmon, 1988 p. 149-150: "The film touches on the implications that the whole American democratic system is corrupt and should be left behind by this community."

579:

I wrote a script and sent it around ... and nine doctors put up $ 1,000 each ... and it was a success. That was the beginning. I didn't have time to go to college.

8007:

Whiteley, 2010: Vidor "gave occasional lectures on movie directing and film making at the University of Southern California and the University of California at Los Angeles."

6883:

Higham, 1972: "Disappointed in the film, many critics noted that Vidor was now celebrating the individualist against the masses in his central figure of a Ford-like tycoon."

6836:

Higham, 1972: "Disappointed in the film, many critics noted that Vidor was now celebrating the individualist against the masses in his central figure of a Ford-like tycoon."

6578:....protest against big business, intellectual trendiness, media control and an apathetic public Vidor celebrates, not quite terrorism, but 'direct action' with dynamite." 3736:

He did not appear as a featured actor until 1981, at the age of 85. Vidor provided a "charming" tongue-in-cheek portrayal of Walter Klein, a senile grandfather, in director

501:

along with business partner Sedgwick, moved to California in search of employment in the emerging Hollywood movie industry, arriving on the West Coast virtually penniless.

9284: 7722:

Steinberg, TMC: "This expensively mounted Bible saga, however, is also marked with the unfortunate distinction of having a major leading man become a production casualty."

11221: 8772: 1218:" era out of retirement to play Davies' farcical upper-class parents. Davies performs a number of amusing celebrity imitations she was known for at social gatherings at 609:

and starred Vidor's then wife Florence Arto Vidor (married in 1915), a rising actor in Hollywood pictures. Vidor ended his association with the Brentwood group in 1920.

7973:

Thomson, 2007: "Vidor did detective research on the old William Desmond Taylor Hollywood murder case from 1922, which eventually turned into Sidney Kirkpatrick's book,

6093:

Durgnat and Simmons, 1988: p. 96: "...one of the experiments 70 millimeter wide-screen photography." and "compromised in impending popularity of gangsters films such

970:

flappers. King Vidor's tenure as a studio stringer was at an end. His next feature would transform his career and have a resounding impact on the late silent film era:

759:

In 1922, Vidor produced and directed films that served as vehicles for his spouse, Florence Vidor, notable only for their "artificiality". These works conformed to the

11244: 5842:

Durgnat and Simmons, 1988 Also p. 76: On Gish's "auteurism" and control over La Bohème. See p. 59: Vidor "ashamed" of Bardelys the Magnificent. And pp. 90–91 on spoof.

1785:'s devised effective lighting and photography. Despite good reviews the picture did not establish Sten as a star among movie-goers and she remained "Goldwyn's Folly". 8020:(1916). And p. 322: In costume (work shirt) for cameo appearance in Our Daily Bread (1934), p. 318: Love and Money; (1982). And For cast of Love and Money, see p. 361 6819:

Durgnat and Simmons, 1988: p. 222: "...industrial epic…" And p. 223: "...a chaos of revisions, even by Hollywood standards." See footnote on same page for chronology.

311:

Vidor's earlier films tend to identify with the common people in a collective struggle, whereas his later works place individualists at the center of his narratives.

6314:

Thomson, 2011: "The Crash of 1929 was followed by years of sinking economic depression. In the early '30s, the size of the audience withered. The studios faced ruin.

2654:

era, this "omnibus" presents vignettes filmed or performed by an array of actors and directors (some of them returning from service in the armed forces) among them

1160: 6944:

Silver, 1982: "We will probably never know for sure just how much of the film was directed by Vidor, Sternberg, William Dieterle, Otto Brower, or David O. Selznick.

3035:

showcases the essential elements of Vidor's oeuvre depicting the extremes of passion inherent in humanity and nature. Vidor commented on these elements as follows:

2878:

inserted a leitmotif into those sequences where Rosa obsessively longs for escape from the dull, rural Loyalton to the cosmopolitan and sophisticated Chicago. The "

1461:, the film was conceived by producers to be an epic, but few cinemas were equipped to handle the new wide-screen technology. The film did poorly at the box-office. 11982: 7143:

Thomson, 2007: "A conventional script was written, but when it proved unsatisfactory, Rand took up the task for free – as long as no one messed with her dialogue."

6538:(1936)... etween 1939 and 1959 his preoccupation was increasingly with nature, industry and vast forces, the stuff on which his best work has always been founded." 1169: 7332:

Baxter, 1976 p. 76-77: "...hardly recognizable as a Vidor film except in its desert setting and its bizarre central situation... traditional Warner's melodramas…"

2006:

In an effort to enlarge movie director's meager influence in studio production decisions, Vidor personally exhorted a dozen or more leading directors, among them

637:. King Vidor issued a founding statement entitled "Creed and Pledge" that set forth moral anodynes for film-making, inspired by his Christian Science sympathies. 6623:

Silver, 2012: "Whatever its moral and racist implications might be, it is, like the whole of Northwest Passage, undeniably an extraordinary piece of filmmaking."

5963:

Durgnat and Simmons, 1988 p. 61, p. 95: Vidor expressed his view that sound films would "...do away entirely with the art of motion pictures..." (Interview with

5668:

Baxter 1976, p. 14: Vidor is quoted as saying that "DeMille made me want to give up directing.", and p. 17: "the artificiality of his films with Florence Vidor."

2134:(1940). This period would be one of transition for Vidor but would lead to an artistic phase where he created some of his richest and most characteristic works. 308:(1946). His dramatic depictions of the American western landscape endow nature with a sinister force where his characters struggle for survival and redemption. 10414: 7737:

Baxter, 1976 p. 85: Baxter reports the same disparity between Power's and Brynner's understanding of the Solomon character as Vidor wished it to be performed."

6128:

Baxter, 1972 p, 152–153: Baxter reports that only "twelve theaters" in the US were fitted to present 70 millimeter prints, with 35mm used in most movie houses.

422:

by his mother at a very early age. Vidor would endow his films with the moral precepts of the faith, a "blend of pragmatic self-help and religious mysticism."

6032:

Vidor, an unabashed Texan, carried much of the baggage of a Southern upbringing..." Also "scenes of great tragedy" including the death Zeke's younger brother.

11967: 6426:

Durgnat and Simmons, 1988: p. 181-182: "A light morality play...the two Rangers begin outside society, then join it, then acknowledge a duty to maintain it."

6574:." And p. 213: "...the destructive renunciations that haunt The Citadel..." And p. 227: "...the muckraking tradition behind The Citadel..." And p. 321: "... 3527:. His reconceived screenplay concerns a Hollywood director disillusioned with the film industry who inherits a gas station from his father in the fictional 9276: 8016:

Durgnat and Simmon, 1988: See early movie images of Vidor: p. 23 in untitled Hotex one-reeler still photo, 1914, p. 23. And p. 24: He plays a chauffeur in

5117:

Gustaffson 2016: "At his best, Vidor "made films about the human condition, about human's moral and physical battles, and the battle between us and nature.

629:. In a bid to compete with the increasingly dominant Hollywood studios, First National advanced Vidor funding to build a small film production facility in 5484:

Baxter, 1976. P. 5, p. 7: "...in San Francisco and Florence lived off breakfast cereal scraps found in grocer's boxes and free condensed milk samples..."

1371:

Vidor, a third-generation Texan, encountered black workers employed at his father's sawmills when he was a child, and there he became familiar with their

7309:

Arroyo, 2016: " desperate to get out of that one-horse town and into the nearest big city – Chicago – for the sophistication and excitement she craves."

7079:

Baxter, 1976 p. 70: Vidor "omitted the picture from his filmography" and "Little of the film bears serious consideration." See also for actors involved..

5609:

Baxter, 1976 p. 11 "the general tone chilled First National ... 'they had huge theaters to fill, and they wanted names, big names and more names.'"

2931:

The topic of the film, white racial prejudice in post-WWII America, had been addressed in a number of Hollywood films of the period, including directors

2153:

and provided them generous compensation. (American actress Rosalind Russel and Vidor were the only two non-Britons who served on the film's production).

551:. Written and produced by Brown, Vidor filmed ten of the 20-film series, a project in which Vidor declared he had "deeply believed". A single reel from 369:, the son of Kate (née Wallis) and Charles Shelton Vidor, a lumber importer and mill owner. His grandfather, Károly Charles Vidor, was a refugee of the 271:

director, Vidor approached multiple genres and allowed the subject matter to determine the style, often pressing the limits of film-making conventions.

10676: 9803: 7827:

Callahan, 2007: Vidor "expounded directly on his view that man is God and mind is all... and it is very valuable as a summation of most of his themes."

7516:

Durgnat and Simmon, 1988 p. 297: "One must include the saloon sequence as one of the most dazzling" of both Douglas and Vidor. And Borden Chase quote.

7105:

Higham, 1972: "The Fountainhead" and "Beyond the Forest" with "Ruby Gentry," in which Jennifer Jones played a ferocious "free woman," became a trilogy.

3026:

imbued with new fervor" that combines a radical social understanding with a Hollywood veneer and an intensely personal artistic statement. Vidor ranks

771:

studios. Later, Vidor admitted to being overawed by DeMille's talents. Florence Vidor, in her later career, frequently starred in DeMille productions.

547:

Beginning in 1915, Vidor served as screenwriter and director on a series of shorts about the rehabilitation of juvenile delinquents by social reformer

8367: 2288:(and several uncredited writers) conveys the unabashed anti-Indian hatred that motivates Roger's men to their task. The level of violence anticipates 2208:

The sound era saw the eclipse of the Western movie that had its heyday in the silent era and by the 1930s the genre was relegated to the producers of

10407: 6064:

Baxter, 1972 p. 152-153: "...the integration of character into landscape as never before permitted."And "...a natural complement to Duel in the Sun."

5630:

Baxter, 1976. P. 11, p.13: "The Sky Pilot hovers uneasily between Western comedy and the celebration of landscape which is closest to Vidor's heart."

5365: 2190:". Portions of the Technicolor sequences that depict Dorothy and her companions lulled into sleep on a field of poppies were also handled by Vidor. 744:

that became "a Hollywood legend". The couple would resume their relationship after 40 years (in 1963), remaining close until Vidor's death in 1982.

9332: 5704:

Baxter, 1976, p. 11: Vidor "struggled, finally without success" to keep the studio running. Also pp. 14–15 on antecedents to Vidor's first divorce.

5333: 2038:" political front by anti-communist critics). Not until 1939 would the directors sign an accord with these sister guilds, under then SDG president 6942:

Callahan, 2007: "The movie is more Selznick than Vidor, who finally walked off the set in frustration at the impresario's compulsive suggestions."

5582:

Berlinale 2020, 2020: "He was a Christian Scientist, although not a particularly devout one. And the creed was somewhat influenced by that faith."

1428:

is free of the fixed moral dualities that came to typify subsequent Good Guy vs. Bad Guy Westerns in Hollywood. Starring former football champion

7561: 6905:

Baxter, 1976 p. 68: See here for Vidor's troubling "conflicts" with "domineering moguls" under whose influence he was "pressured to do his best."

5898:

Durgnat and Simmons, 1988 Also pp. 78–79: "The Crowd belongs to an internationalist wave of populist films..." dealing with working class issues.

8350: 5946:

Durgnat and Simmon, 1988 p, 93 "...his second sound film..." And p. 93: "Davies' charm looks panicky" due to sound necessitated cutting. And p.

3390:

movie that sets forth his philosophy on the nature of individual perception. Narrated by the director, and quoting from theologian-philosophers

2794:

character. The eroticism inherent in the sets resonate with the on-screen sexual tension, augmented by the off-screen affair between Cooper and

2506:

Though the final cut was made without Vidor's participation, the production reflects the participation of these talented filmmakers, among them

535:, he was fired for trying to present his own scripts under the pseudonym "Charles K. Wallis", but soon was rehired by the studio as a writer of 1872:, sentimentalizing their struggle and defeat. Here, the western "pioneer" plantation owners possess less of the anti-Northern fury that led to 5752:

Baxter 1976, p. "...shows nature as a sinister force..." p. 20: Vidor "was often able to introduce a dramatically high-lighted use of nature."

644:

I believe in the picture that will help humanity to free itself from the shackles of fear and suffering that have so long bound it in chains.

11937: 10669: 3043:

demolished. At the moment when the earth is flooded, the man is destroyed. All his ambitions crumble. I think there is a fine symbol there".

2327:

camera system (the two huge 800-pound cameras had to be transported by train). The color photography conveys more than the scenic beauty of

1327:, who authorized Vidor to begin shooting outdoor location sequences without sound and with the caveat that Vidor waive his $ 100,000 salary. 8156: 5286: 3427:

Micheal Neary served as assistant director on the film, and Fred Y. Smith completed the editing. The movie was never released commercially.

2958:

veteran Jim Sterling (Don Taylor), who returns with his bride, Japanese nurse Tae (Shirley Yamaguchi), to his parents' farm in California's

1103:

Vidor's next film would be a startling departure from romantic entertainment to an exposure of the "cruel deception of the American dream".

11912: 7803:

Reinhardt, 2020: "a documentary that expressed his belief in the wildest subjective idealism. The short film, complete with a passage from

7697:

Baxter, 1976 p. 84: "...producers offered Vidor a variety of epic subjects...King of Kings...Cervantes in 1958 took on the unpromising of

7597:

Baxter, 1976 p. 82: Vidor: "I would rather direct a battle scene with six thousand soldiers direct a love scene with two important stars…"

3253:, in contrast to the miscasting of the male leads. His assessment of the centrality of Natasha is based in the process of her maturation: 1320:, a decision that would determine what camera system Vidor would use. Vidor circumvented the dilemma by appealing directly to President of 7999:

Durgnat and Simmon, 1988: p. 319: Vidor "taught production courses at Los Angeles universities."...And: His book an "anecdotal guidebook.

7248:

Durgnat and Simmon, 1988 p. 271 And p. 308: Durgnat considers Beyond the Forest and Flaubert's Madame Bovary "approximate pairs" in theme.

3570:– like Vidor an adherent to Christian Science – having purchased the rights. Even the modest budgetary requests were rejected by the tiny 1949:

vigilantes heroes is turned to the service of law-and-order when they kill their erstwhile accomplice in crime – the "Polka Dot Bandit.".

1752:

In his third collaboration with Goldwyn, Vidor was tasked with salvaging the producer's huge investment in Soviet-trained Russian actress

11907: 2829:-like character, Rosa Moline (Bette Davis) into marital infidelity, murder and a sordid death, the picture has earned a reputation as a " 384:. Based on that formative experience, he published a historical memoir of the disaster titled "Southern Storm" for the May 1935 issue of 6299:

directors to move the camera after the arrival of talking pictures, which was also excellent preparation for adapting the one-set play."

5092:

in 1979, he was awarded with the Honorable Prize for his contribution to cinema. In 2020, Vidor was honored with a retrospective at the

1941:, Vidor's second and final film for Paramount reduced, but did not abandon, the level of sadistic and lawless violence evidenced in his 11917: 5551:), a then relatively new religious movement that came about towards the end of the 19th century and to which Vidor claimed allegiance." 4541: 3402:, which maintains that the material world is an illusion, existing only in the human mind: humanity creates the world they experience. 2845: 1054: 7534:, War and Peace and Solomon and Sheba – celebrate heroes who, though deeply tainted by their societies, achieve a private integrity." 7258:

Durgnat and Simmon, 1988 p. 269-270: Edward Albee use of "What a Dump! And p. 278: "...the film touches on film noir expressionism..."

6845:

Baxter, 1976 p. 63: "Tracy's success in Northwest Passage made his refusal to star in An American Romance even more hurtful to Vidor."

6202:

Durgnat and Simmon, 1988 p. 139: "...her ultimate commitment to the land..." And p. 145: "blood" relations and rural family continuity

2871:, in French releases) were widely rejected by her fans and contemporary film critics and reviews "were the worst of Vidor's career." 1880:) initially refuses to join the Confederate army ("I don't believe Americans should fight Americans") but his sister Vallette Duncan ( 1355:(1929) combines a dramatic rural tragedy with a documentary-like depiction of black agrarian community of sharecroppers in the South. 1114:

In the late 1920s European films, especially from German directors, exerted a strong influence on filmmakers internationally. Vidor's

813:

Vidor Village went bankrupt in 1922 and Vidor, now without a studio, offered his services to the top executives in the film industry.

7748:

Berlinale 2020, 2020: "It was important to Vidor that Tyrone Power could play that conflict, because it echoed experience in life."

5115:

WSWS Reinhardt 2020: "What distinguished him as an artist was his instinct for substantial and relevant social topics and conflicts."

4780: 3285:

hostilities between America and Russia. The Soviet government responded in 1967 with its own heavily financed adaption of the novel,

2530:

treatment of a Western theme concerning a conflict between two generations of the McCanles family. The elderly and crippled McCanles

6113:

Durgnat and Simmons, 1988: p. 114:"A melting-pot Western...a populist plot... stressing the.diverse heritages of the immigrants to

11710: 9531: 8485:

Rediscovering Hallelujah (1929), director King Vidor's sensitive film with all-black cast: 70th Berlin International Film Festival.

6858:

Callahan, 2007: Vidor "was eventually saddled with Brian Donlevy and Ann Richards, supporting players of limited range and appeal.'

494:

announcing its formation. Only still photos survive from these comedy-adventures, for which Hotex failed to collect any royalties.

7211:

Thomson, 2007: "Vidor could see that she and Cooper were falling madly in love and was able to capture their chemistry on screen."

3350:

adopted Brynner's approach to her character development of her Queen of Sheba, adding another facet of discord with the director.

2739:(1946) with a constructive presentation of American individualism that comported with his Christian Science precepts of morality. 1558:

that led to a series of highly productive screenplay collaborations and their marriage in 1937. Vidor divorced his wife, actress

11977: 9407: 8698: 6869:

Baxter. 1976 pp. 66–67: Baxter lists the family scenes deleted that retained "would have made it less of a stylized spectacular."

6625:

Durgnat and Simmons, 1988: p. 174: "...eight weeks of Idaho location work (made particularly cumbersome by Technicolor cameras)."

6305:

Baxter, 1972 p. 153: "Vidor made use of a fluid camera in order to overcome the static nature of the action...craning dizzyingly"

5919:

Baxter p, 34: Here for remarks regarding Hearst influence. And p. 36: Composite photo showing Davis impersonating the film stars.

5618:

Gustafsson, 2016: "after a few failures Vidor put his manifesto away and tried to make films that generated some income instead."

5093: 5089: 675:(1920), a bleak and bitter story of an orphaned boy raised by an impoverished yet kindly hermit, performed by former stage actor 350: 17: 7764:

to proclaim Vidor 'a director for anthologies created more great moments and fewer great films than any director of his rank.'"

7270:

Callahan, 2007: "...certainly the best-directed Bette Davis movie and still in need of extensive retrospective rehabilitation."

6752:

Durgham and Simmons, 1988 p. 205: "...a stark view of the institution , H. M. Pulham, Esq...a film he considered most personal."

3424:

provides an insight into the significance of Vidor's themes in his work, and is consistent with his Christian Science precepts.

11942: 11922: 5433:

Durgnat and Simmon, 1988 p 309: Vidor's films "suggest a consistent distrust of Christianity, whether established or inspired."

650:

Nor will I deliberately portray anything to cause fright, suggest fear, glorify mischief, condone cruelty or extenuate malice.

354: 11688: 8268: 7686:"La classifica dei film più visti di sempre al cinema in Italia". movieplayer.it. January 25, 2016. Retrieved October 4, 2019. 7585:

Durgnat and Simmon, 1988 p. 300 And p. 302-303: "The epic sprawl of Tolstoy's novel...and the piecemeal script construction."

3713:

costume and false beard). While attempting to break into Hollywood as a director and screenwriter, Vidor took "bit parts" for

1502:. Vidor owed M-G-M a more conventional and "fool-proof" production after executives allowed him to make the more experimental 1450:

in its brevity and realism. Studio executives were concerned that the excessive violence would alienate audiences, though the

1038:, established Vidor as one of MGM's top studio directors for the next decade. The film would influence contemporary directors 11962: 8566: 8549: 8045: 7196:

stylization..." And p.73: "The Fountainhead's most remarkable quality is the stylization at which Vidor so accurately aimed."

6376:

Miller, TMC: When Vidor finished shooting Stella Dallas, "he posted a sign over his desk reading, "NO MORE GOLDWYN PICTURES!"

6301:

Baxter 1976 p. 45-46: "By focusing on a single organism in the city, Rice exposed the universal blight of social inequality."

5814:

Thomson, 2007: "The film was a huge hit, collecting about $ 20 million at the box office worldwide, and until the release of

3678: 1999:

In the 1930s Vidor became a leading advocate for the formation of the Screen Directors Guild (SDG) and since 1960 called the

1850: 8584: 8081: 6935:

And Selznick's repeated "script revisions" delivered in person on the set led Vidor to withdraw amid "mutual recriminations"

3203:

Contrary to his aesthetic aversion to adapting historical spectaculars, in 1955 Vidor accepted independent Italian producer

11932: 10692: 9325: 8742: 7278:

Durgnat and Simmon, 1988 p. 236: "...the film was her last with the studio, for whom she had worked for seventeen years..."

6940:

Vidor found the constant presence of Selznick on the set galling and he walked off when the film was not quite completed."

4612: 5937:..." And p. 94: On its enduring qualities "...even sixty years later" still a highly engaging film, an "enduring success". 5129:

In some American cities it screened for more than a year." Also: Decades after its release "it remains a formidable work."

9479: 9220: 8444: 8062: 7560:

Durgnat and Simmon, 1988 p. 260: "Vidor must have been the only director to turn down both the 1925 and 1959 versions of

4396: 2839: 2731: 7133:

Durgnat and Simmons, 1988: p. 262: The Fountainhead is a "uniquely right-wing contribution" to the films of this period.

6881:

Durgnat and Simmons, 1988: p. 6: for quote. And p. 232: "The critical reaction to the film was overwhelmingly negative."

6342:

Baxter, 1972 p. 159: "...The Wedding March was last extravagant fling" at establishing Sten as major Hollywood actress.

2977:, Vidor had already arranged with Bernhard to finance his next project and perhaps "the last great film" of his career: 2335:

failed to recoup its $ 2 million production costs. The cinematography earned an Oscer nomination in that category.

1508:

in 1931. The Champ would prove to be a successful vehicle for Berry and propel him to top-rank among M-G-M movie stars.

11957: 11952: 10399: 7230:

Thomson, 2007: "The movie was released in June 1949, and it was another hit for Vidor, but it was not reviewed kindly."

5233:

Thomson, 2007: "He received five best director nominations and an honorary Oscar" from the Academy of Arts and Science.

1691:

During the 1930s Vidor, though under contract to M-G-M studios, made four films under loan-out to independent producer

377:. The "King" in King Vidor is no sobriquet, but his given name in honor of his mother's favorite brother, King Wallis. 8024:

Thomson, 2007: "In 1981, he took a supporting role in James Toback's Love and Money – and played it with great charm."

7847:

Durgnat and Simmon, 1988: p. 317: "The Metaphor arose from a fan letter from Andrew Wyeth praising Vidor's 1925 film

6717:

Durgnat and Simmons, 1988: p. 352-353: The film is addressed only in the Filmography section, not in the body of book.

5553:

Higham 1972: "a team of businessmen supported him in making a work exemplifying his own Christian Science principles."

5261: 2962:. Conflicts arise when Jim's sister-in-law falsely accuses Tae of infidelity, sparking conflicts with the neighboring 314:

He was considered an "actors' director": many of his players received Academy Award nominations or awards, among them

11972: 11927: 8502: 8382: 8315: 5401: 3682: 2682:

was cut from the final release, a disappointment to Vidor.) The picture's title was changed shortly after opening to

8535: 7688:

Durgnat and Simmon, 1988: p. 302"...the 1967 Soviet adaption...a mixture of sentimentality and superficial realism…"

6986:

marked a new, cautious liberalization of Hollywood's attitudes to America's assorted race prejudices..." And p.243:

6082:

objections." And p. 181: The Brown/Billy character "shuttles between being a justified and near-psychotic murderer."

3531:

town of "Arcadia". The script's dialogue contains oblique references to a number of Vidor's silent films including (

3162:

prevails against the hired gunslinger Steve Miles (Richard Boone) who had years ago murdered Rae's younger brother.

3039:"There's one scene I like a lot...because it corresponds to something vital. It's the scene where the girl has the 11285: 8368:

https://www.nytimes.com/1972/09/03/archives/long-live-vidor-a-hollywood-king-long-live-vidor-who-was-a-king-of.html

7090:

Durgnat and Simmons, 1988: p. 236: "A 26-episode serial of Westerns for television." And Warner's' offer to direct

6705:

Baxter, 1976 p. 64: Vidor "rejected the merely scenic ... opportunities…" And p. 66: Vidor's "documentary realism"

6325:

Berlinale archive, 2020: Warlock "succumbs to the erotic charms of a lower-class woman – with fatal consequences."

3759: 2232: 8336: 5131:

Thomson, 2007: The metronome "sequence seems to have influenced many directors especially Kurosawa and Spielberg."

1470:

for Samuel Goldwyn, Vidor embarked on his second picture starring actor Wallace Beery, this time with child actor

11947: 10024: 9577: 9318: 8142: 6600:

Durgnat and Simmons, 1988: p. 173-174: "...Hollywood's most fondly remembered musical number, "Over the Rainbow."

4579: 4499: 3625:'s novel, but withdrew from the project, unhappy with script changes. The movie was shot and released in 1967 as 2879: 1916:

led the film industry to anticipate the same for Cukor's adaption of Mitchell's Civil War epic. To the contrary,

1710: 583:

Vidor would make three more films for the Brentwood Corporation, all of which featured as yet unknown comedienne

8357: 8279: 5334:

https://medium.com/save-texas-history/honoring-a-widow-of-the-alamo-elizabeth-crocketts-land-legacy-d364da8f8f0b

2054:

and his disaffection from Samuel Goldwyn, Vidor returned to M-G-M under a five-film contract that would produce

9889: 8916: 4731: 4554: 4070: 3130:-themed work spanning 15 years in the post-war period was never consummated, though a cast was proposed for an 1421: 8186: 3721:

in 1915–1916. During the height of his fame he made a number of cameo appearances in his own films, including

1773:

A tale of a doomed affair between a married New Yorker (Gary Cooper) (whose character Vidor based on novelist

924:, is notable as a harbinger of his best work in the sound era. The natural features of the coastal regions of 11509: 10050: 9124: 8351:

http://www.lafuriaumana.it/index.php/61-archive/lfu-28/548-fredrik-gustafsson-king-vidor-an-american-romantic

8232: 7798: 5195:

Higham 1972: "Vidor has always been a poet of the American landscape, creating vivid images of rural life..."

5133:

Reinhardt 2020: "His film The Big Parade (1925) influenced other anti-war classics such as Lewis Milestone's

4931: 4293: 3846: 3662: 3391: 2947: 1834: 1555: 205: 8525: 8477: 7138:

Durgnat and Simmons, 1988: p. 259: "Rand's own screen adaption was not merely explicit, but quite didactic."

11703: 11354: 9076: 8932: 8290: 8257: 7801:, which Vidor cites approvingly in Truth and Illusions (1964), the material world exists only in the mind." 6602:

Galleghar, 2007: "No other director gave Judy Garland comparable moments" as in the Wizard of Oz sequences.

6272:

Silver, 2010: " is still naive, simplistic, and awkward, but it remains extremely lovely in its innocence."

6009:

Silver, 2010: "Certainly, Vidor could never be accused of the overt racial venom exhibited by Griffith in

4680: 4317: 4242: 4086: 3338:

A tragic footnote is attached to this picture. Six weeks into production the leading man, 45-year-old star

2086: 2031: 1547: 1321: 879:, a 1923 melodrama that resembled the formulaic films he had created with Florence Vidor at Vidor Village. 407: 370: 5931:

Baxter 1976 p. 35–36: names of the cameo stars provided. And p. 38: "...Peggy based on Gloria Swanson..."

2023:

seeking increased opportunities to examine scripts before filming and to make the initial cut on a movie.

966:(1925) emphasize the "time-honored virtues" of familial and matrimonial loyalty, even among the liberated 10229: 9790: 9100: 8884: 8668: 8656: 8363: 7039: 4269: 4038: 3872:"King Vidor died of a heart attack on November 1, 1982. The previous weekend he and his longtime friend 3746:. Vidor's motivation in accepting the role was a desire to observe contemporary movie-making technology. 3729: 3693: 3286: 2959: 2942: 2592: 1581: 1394: 1012: 1008: 748: 462: 381: 7873:

Durgnat and Simmon, 1988: p. 317: The Metaphor "explores Wyeth's imagery, particularly the influence of

7205:", which is all décor and design and has a graphic look that sometimes makes it feel like a painting by 6728:

Fristoe, TMC: See article for Reisch and Oscar award. Also see Fristoe for Gable/Lamaar film characters.

3413:"Nature gets the credit for what in truth should be reserved for ourselves: the rose for its scent, the 11809: 11761: 11720: 10808: 10305: 9755: 9618: 9244: 8844: 8422: 5547:

Gustafsson. 2016: The film "advocated views associated with Christian Science (not to be confused with

4420: 3998: 2833:" classic. The film is often cited for providing the phrase "What a dump!", appropriated by playwright 2515: 2304: 2000: 1901: 858:

box-office receipts, Mayer matched Vidor and Taylor again, resulting in a second feature film success,

595: 521:, marking the start of her successful movie career. Vidor obtained minor roles acting at Vitagraph and 389: 5996:

Reinhardt, 2020: Accordingly, music and dance play an outstanding role and add enormously to the work.

2551:

ending includes an attempted fratricide and a suicide-like love pact, destroying the McCanles family.

1626:. The picture is the second film of a trilogy he referred to as "War, Wheat and Steel". His 1925 film 1392:

The black sharecroppers resemble more the poor white agrarian entrepreneurs Vidor praised in his 1934

11213: 9417: 9260: 9132: 9052: 8796: 7554: 6126:

Durgnat and Simmons, 1988: p. 96: "...one of the experiments 70 millimeter wide-screen photography."

5060: 4797: 4748: 4624: 4436: 4301: 4214: 3950: 3297: 2262: 1918: 1796: 1790: 1684: 1590: 8610: 8200: 7012:

Durgnat and Simmons, 1988: p.251: a brief remark on the Griffith-Gish-Barrymore incident by Durgnat.

5323:... quite prosperous at the time of Vidor's birth...but soon after, his fortunes declined ..." 3677:

Vidor lectured occasionally on film production and directing in the late 1950s and the 1960s at the

3491:

refused to cooperate with the project, and because MGM thought the cost in making the first film in

2435:, led Vidor to concentrate on the industrial landscape to reveal the motivations of his characters. 1254:. Some of the best-known film stars of the silent era appeared in cameos, as well as Vidor himself. 11755: 9156: 9092: 9004: 8735: 8599: 8433: 8037:

When Hollywood Was Right: How Movie Stars, Studio Moguls, and Big Business Remade American Politics

8005:

and a cottage in Los Angeles. It was natural that he should teach (at USC for 10 years) and write.

6860:

Durgnat and Simmons, 1988: p. 175: "The eventual cast may have been ruinous" to the film's success.

6690: 6364:

Miller, TMC: See Miller for Vidor's preoccupation with filming, not with directing his lead actors.

5146:

Sarris, 1973. P. 27: "...the major directors of 1940 by almost any standard...included King Vidor (

4975: 4328: 4261: 4158: 3488: 3479: 2534:

presides with an iron fist over his a vast cattle estate with his invalid wife Laura Belle Candles

2256: 2114: 2062: 1615: 1598: 1575: 1246: 1070: 768: 630: 426: 286: 8996: 7938:

Berlinale 2020, 2020: "He saw the advent of the auteur film; he was fascinated by Fellini's 81⁄2."

6719:

Baxter, 1976 p. 58: Comrade X, "an unabashed self-plagiarism by MGM of its 1939 success Ninotchka"

5387: 4150: 3459:. Vidor attempts to reveal an "inner metaphor" demonstrating the sources of artistic inspiration. 3105:, finds a sympathetic audience for his War Horse reminiscences about the Old West in his grandson 1064: 625:

King Vidor next embarked on a major project in collaboration with a New York-based film exhibitor

11696: 10323: 9475: 9204: 9140: 8972: 8164: 8002: 7599:

Cady, TMC: "it was in the public domain. No author royalties! David O. Selznick wanted to do it,

7213:

Callahan, 2007: "The two actors fell in love during the shooting, which comes across on screen."

7038:

the picture grossed $ 10 million, making it the second-highest-grossing film of the year (behind

5294: 4953: 4719: 4601: 4571: 4380: 4309: 4126: 3894: 3881: 3135: 2744: 2633: 2139: 2056: 1929:, Paramount studios financed an A Western for Vidor at $ 625,000 (lowered to $ 450,000 when star 1593:'s exhortation in his first inaugural in 1933 for a shift of labor from industry to agriculture. 1145: 626: 606: 90: 43: 11327: 10263: 7652:

with the star and at the star, and a magical interplay breaks out – best achieved with Natasha."

2447:

considers the picture "his least personal, artistically weakest and most spiritually confused."

2144:: The first picture under the contract and the first under the Screen Directors Guild (SDG) was 11718: 10888: 10796: 10090: 9807: 9341: 9188: 9116: 8804: 8764: 7968: 7908: 7124:

Durgnat and Simmons, 1988: p. 267: "Vidor was under contractual constraint to follow the book."

5792:"paradigm would later inform films such as Westfront 1918 (dir: G. W. Pabst, Germany 1930) and 5317:

Baxter, 1976, pp. 4–5: His father "a dealer in South American lumber" at time of Vidor's birth.

5085: 5016: 4817: 4791: 4768: 4646: 4516: 4360: 4285: 3958: 3918: 3641: 3604: 3321:

tapped as the star-crossed monarchs. This would be Vidor's final Hollywood film of his career.

2736: 2522: 2470:

At the end of 1944 Vidor considered a number of projects, including a remake of his silent era

2366: 2274: 2222: 2108: 1905:(1936). Vidor, initially tapped to direct Mitchell's epic, was ultimately assigned to director 1828: 1442: 1317: 343: 331: 304: 284:

of the 1940s and early 1950s arguably represent his richest output. Among his finest works are

8714: 8708: 7886:

Durgnat and Simmon, 1988: p. 317: The Metaphor, "which he never finished to his satisfaction…"

7760:

Callahan, 2007: "It's striking moments like this in the midst of more prosaic scenes that led

6847:

Durgnat and Simmons, 1988: p. 223: See here for details on Tracy's decision and other factors.

6767:

Durgham and Simmons "can't think of another director whose portrayal of marriage is so bleak."

5978:

Durgnat and Simmons, 1988 p. 97: "Vidor's long-cherished project about southern black life..."

3644:, killed under mysterious circumstances in 1922. Though no screenplay was forthcoming, author 3398:, the images serve to complement the abstract ideas he sets forth. The film is a discourse on 2632:(1946), Vidor disengaged from Hollywood film production to purchase his Willow Creek Ranch in 617: 11827: 11449: 10453: 9689: 9068: 9020: 9012: 8948: 8035: 7218: 7081:

Durgnat and Simmons, 1988: p. 355-356: see analysis and details in short Filmography overview

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The film's scenario and script was penned by Vidor and wife Elizabeth Hill, based loosely on

1809: 1521: 1476: 1385: 1198: 1141: 1116: 560: 11473: 10850: 8621: 8488: 8466: 6671:." And p. 196: Vidor a "pre-mature anti-fascist" who supported the Spanish loyalists in the 3888:", to watch home movies made when they had been Hearst's guests there, sixty years before." 3357:

abyss. Astonishing sequences such as these abound in Vidor's work, prompting film historian

3083:

Vidor's contributions included "A Kiss for the Lieutenant" by author Arthur Gordon starring

1808:

stars as the eponymous "martyr of motherhood" in the sound re-make. Vidor analyzed director

1781:

Polish family, Vidor provided thoughtful direction to Cooper and Sten while cinematographer

1289:

In early 1928, Vidor and his spouse Eleanor Boardman were visiting France in the company of

693:

exemplifies this shift towards romantic comedies and away from the ideals that had informed

474:) and made his first fictional movie, a semi-docucomedy concerning a local automobile race, 11902: 11897: 11839: 11767: 10856: 10840: 10818: 10601: 10541: 9983: 9851: 9743: 8908: 8828: 8269:

https://www.berlinale.de/en/archive-2020/berlinale-topics/interview-retrospective-2020.html

8134: 7546:

Baxter, 1976 p. 80: "...in his time had been offered... made few real epics" turning down

7461:

Durgnat and Simmon, 1988 p.235-36 And p 358: TV networks included CBS, NBC, ABC and DuMont.

7417:

professional... any case, he would never again have such control over a studio production."

7179: 6101: 6087: 5383: 4589: 4062: 3982: 3523: 3173: 3122: 3076:'s invention of electric light, Vidor adapted two short stories for television produced by 3059:

was published and widely praised. Film critic Dan Callahan provides this excerpt the book:

2911: 2787: 2490: 2093:

Film historian John Baxter describes the demands that the studio system at M-G-M had on an

1957: 1801: 1440:, the protagonists display a gratuitous violence that anticipates Vidor's 1946 masterpiece 1251: 1035: 938: 925: 776: 683: 567: 491: 8663: 7971:

murder led to his solution of it...recounted by Sydney D. Kirkpatrick in A Cast of Killers

7165:

Durgnat and Simmons, 1988: p. 258: "...the novel's rage seems directed at the New Deal..."

6238:

Baxter 1972 p. 158: "Vidor's more personal work...financed by him a controversial theme."

2599:

Film archivist Charles Silver offered this appraisal of the Vidor-Selznick collaboration:

450:

As a boy, Vidor engaged in photographing and developing portraits of his relatives with a

8: 11875: 11604: 11185: 10746: 9781: 9568: 9561: 9545: 9180: 9060: 8924: 8836: 8820: 8728: 8242:. International Film Guide Series. Paperback Library, New York. LOC Card Number 68–24003. 8100: 7548: 7193:

s angles and darkness, its paranoia, its focus on a beleaguered or tormented individual."

6964: 5965: 5466:

Durgnat and Simmon, 1988 p. 21: In Tow "a two-reel comedy...in all respects incompetent."

5215:

the body, bourgeois routine, lost love. They always emerge stronger from their struggle."

4352: 4226: 4078: 3990: 3974: 3784: 3586: 3399: 3305:) as well as a project to develop a script about the life of 16th Century Spanish author 2688:

to promote its comedic virtues. Vidor dismissed the film from his oeuvre in later years.

2511: 2419: 2161: 2080: 1849:, persuaded Vidor to undertake the direction of a film based on a story that afforded a " 1774: 1749:

in Venice (where Francis, his spouse is vacationing), with pigeons flying into the air".

1717: 1697: 1666: 1634: 1504: 1490: 1466: 1458: 1290: 1152:-like comedies that revealed Davies talents with her "drive-you-to-distraction persona". 1030:, among the most acclaimed films of the silent era, and a tremendous commercial success. 921: 875: 870: 726: 709: 589: 298: 10954: 10429: 8686: 8512: 8297: 6694:

a decade later ... Tracy's both autocratic and idealistic ... a classic American hero."

6243:

Higham, 1972: "Vidor mortgaged his house and sold everything he owned to do the picture.

5156:

Baxter 1976. P. 63: The 1940s and early 50s were "Vidor's greatest period...in career."

1312:

M-G-M studios had not yet decided which emerging sound technology they would invest in,

11664: 11574: 11395: 11383: 11315: 11111: 11105: 11095: 11041: 11027: 11017: 10906: 10836: 10661: 10505: 10243: 9922: 9622: 9252: 9228: 9172: 9084: 8980: 8892: 8868: 6684:

Silver, 2012: "Spencer Tracy's character is strikingly similar to Nathan Brittles, the

5320: 4903: 4879: 4855: 4688: 4549: 4524: 4494: 4428: 4404: 4344: 4250: 4134: 4046: 4022: 3548: 3484: 3277:

was well received by film critics. The movie was met with huge popular approval in the

3117: 3011:" landscapes on his California ranch. American critics generally disparaged the movie. 2916: 2768: 2538:. Their two sons, Lewt and Jess, are polar opposites: the educated Jess "the good son" 2390: 2299:

Vidor began filming in July 1939, just weeks before war was declared in Europe and the

2281: 2074: 1858: 1842: 1764:

had thus far failed despite his relentless promotion when Vidor began directing her in

1728: 1672: 1499: 838: 671: 662: 548: 532: 11141: 10345: 8455: 8445:

http://sensesofcinema.com/2013/cteq/scary-monsters-and-super-tramps-beyond-the-forest/

7419:

Baxter, 1976 p. 78: "...the wild and remarkable Ruby Gentry, Vidor's last great film."

7384:

Baxter, 1976 p. 78: "...the wild and remarkable Ruby Gentry, Vidor's last great film."

7186:

Durgnat and Simmons, 1988: p. 259: "The Fountainhead forges a new language, borrowing

6570:

Durgnat and Simmons, 1988: p. 217: "...Manson's public defeat and private victory in

5910:

Baxter, 1976 p. 36: See here for composite photo of same images + Mae Murray imitation

3598:

Vidor developed revisions of his 1928 silent masterpiece, including a 1960s sequel of

2197:

Vidor directed the black & white sequences for The Wizard of Oz (1939), including

2084:(1944). In 1939, Vidor would also direct the final three weeks of primary filming for 1538: 11676: 11562: 11455: 11443: 11321: 11171: 11115: 11099: 10910: 10870: 10351: 10313: 10299: 10271: 9861: 9821: 9731: 9600: 9527: 9467: 9384: 9268: 9212: 9108: 9036: 8691: 8681: 8498: 8378: 8311: 8041: 6672: 5947: 5397: 5038: 4885: 4635: 4530: 4444: 4388: 4277: 4198: 3714: 3571: 3566:. Vidor soon abandoned his 15-year effort to make the "unfashionable" movie, despite 3505: 3347: 3318: 3310: 3204: 3131: 3127: 3077: 2810: 2725: 2647: 2475: 1973: 1896: 1881: 1766: 1678: 1429: 1372: 1360: 1351: 1278: 1263: 1087: 760: 612: 572: 557:

is known to survive, the earliest extant footage from Vidor's film directing career.

518: 438: 419: 11413: 10948: 8404: 7393:

Durgnat and Simmon, 1988 p. 286: See here thumbnail sketch of the story compared to

6657:

Durgnat and Simmons, 1988: p. 190: "The crescendo of violent anticipates film noir."

6454:

Baxter, 1976 p. 54: "The Texas Rangers collapsed into a series of Western cliches.."

3134:

production in 1960. Setting aside this endeavor, Vidor opted to film a Western with

2735:(1951)—were crafted to reconcile the excessive and amoral violence displayed in his 2026:

As the SDG's first president, and a founding member of the anti-Communist group the

1121:

pictures, it was his personal favorite: the picture, he said "came out of my guts."

11652: 11628: 11503: 11467: 11191: 11165: 11135: 11131: 11089: 11077: 10940: 10882: 10802: 10790: 10786: 10736: 10607: 10517: 10489: 10441: 10235: 10225: 10161: 10078: 10002: 9975: 9877: 9811: 9761: 9747: 9719: 9668: 9645: 9633: 9592: 9582: 9403: 9389: 9196: 9148: 8860: 8812: 8788: 8642: 7605:

Thomson, 2007: "War and Peace has amazing spectacle...War and Peace in 208 minutes.

7350:

Durgnat and Simmon, 1988 p. 281: See other film titles offered here in that period.

7312: 7297:

Hampton, 2013: "In France, the film appeared under the title La Garce (The Bitch)."

7206: 6095: 4742: 4368: 4014: 3966: 3942: 3832: 3627: 3553: 3306: 2970:, though he meticulously documents the experience of workers in field and factory. 2887: 2755: 2719: 2705: 2684: 2679: 2659: 2655: 2531: 2507: 2396: 2377:, who also scripted Ninotchka, earned an Oscar nomination for best original story. 2227: 2202: 2187: 1865: 1805: 1757: 1746: 1721: 1607: 1559: 1534: 1447: 1364: 1356: 1324: 1302: 1294: 1149: 908: 807: 764: 689: 553: 510: 451: 366: 323: 244: 175: 71: 11521: 8563: 8546: 7256:

Levy, 2005: "'What a dump' she exclaims...making this line immortal as high camp."

6022:

Durgnat and Simmons, 1988: p. 97–98: "The cotton-picking black folk...don't carry

3685:. He published a non-technical handbook providing anecdotes from his film career, 3080:. The production aired on all the major American TV networks on October 24, 1954. 3004:) leads to a deadly shootout, a climax that recalls Vidor's violent 1946 Western. 2612: 2193: 1446:(1946). Homicidal behavior resonates with the brutal and deadly desert landscape, 937:

Metro-Goldwyn-Mayer's cast of rising movie stars included soon-to-be matinee idol

866:-like character. The film would mark Vidor's final collaboration with the couple. 11869: 11857: 11845: 11670: 11568: 11461: 11333: 11161: 10958: 10922: 10914: 10864: 10846: 10814: 10766: 10762: 10732: 10613: 10595: 10387: 10291: 10249: 10215: 10191: 10185: 9915: 9736: 9673: 9509: 9457: 9441: 9433: 9359: 8588: 8581: 8570: 8553: 8536:

https://www.moma.org/explore/inside_out/2012/10/09/king-vidors-northwest-passage/

8393: 8303: 7804: 7603:

wanted to do it, but the ultimate winner was Italian producer Dino De Laurentis…"

6977: 5893: 4566: 4536: 3608:(made as a TV feature without his input), and in the early 1970s another effort, 3579: 3509: 3395: 3250: 3231: 3106: 3015: 3001: 2696: 2562: 2444: 2285: 2019: 2011: 1984: 1485: 1451: 1059: 1049: 897: 830: 782: 487: 415: 11258: 10722: 10637: 6303:

Durgnat and Simmons, 1988: p. 117-118: "...the composition became the action..."

5564:

Durgnat and Simmons, 1988 p. 26: "Vidor's first five features are lost ..."

3780:" (a nearby public space which was frequently used for filming exterior shots). 2782:

high-rise interiors and skylines. The urban landscapes, created by Art Director

1144:, a subsidiary of M-G-M studios and controlled by influential newspaper magnate 531:(1916) survives, in which he plays a chauffeur). As a low-level office clerk at 11803: 11743: 11640: 11479: 11339: 11273: 11181: 11125: 11083: 11037: 10988: 10944: 10878: 10874: 10830: 10774: 10770: 10726: 10631: 10625: 10565: 10559: 10495: 10471: 10379: 10295: 10267: 10211: 10155: 10151: 10056: 9965: 9928: 9855: 9777: 9680: 9596: 9588: 9519: 9453: 9449: 9377: 9371: 8988: 8852: 8720: 8518: 8337:

http://sensesofcinema.com/2007/the-moral-of-the-auteur-theory/vidor-hawks-ford/

7849: 7254:

dismissals that...are the core logic within its designation as a Camp classic."

7175: 6289:

Baxter, 1972 p. 153: Goldwyn "pursuing as ever his goal of 'cultural' films..."

5538: 4762: 4630: 4142: 4006: 3808: 3799: 3763: 3533: 3448: 3246: 3212: 3098: 3088: 3008: 2853: 2783: 2675: 2663: 2557: 2494: 2119: 2015: 1934: 1925:

At a period in the 1930s when Western theme films were relegated to low-budget

1877: 1864:

The topic appealed to the Texas-bred Vidor and he offered a dual vision of the

1846: 1741: 1692: 1628: 1603: 1530: 1481: 1454:

in the United States was saturated with news of the gangster-related killings.

1380: 1223: 1207: 1203: 1179: 1133:

has since been recognized as one of the "masterpieces" of the late silent era.

1044: 1026: 952: 826: 803: 787: 753: 601: 514: 498: 327: 276: 145: 11401: 11005: 10750: 10706: 10317: 9541: 3031:

her lover Boake hunt one another is "perhaps the best sequence ever filmed."

1788:

In 1937 Vidor made his final and most profitable picture with Samuel Goldwyn:

1511: 432: 11891: 11863: 11851: 11833: 11821: 11785: 11773: 11749: 11622: 11598: 11592: 11580: 11544: 11491: 11425: 11419: 11407: 11348: 11175: 11155: 11145: 11065: 11031: 10976: 10968: 10936: 10926: 10918: 10860: 10577: 10483: 10477: 10327: 10281: 10205: 10197: 10179: 10167: 10134: 10124: 10112: 10040: 10020: 10008: 9990: 9948: 9873: 9831: 9827: 9684: 9660: 9640: 9614: 9606: 9572: 9537: 9483: 9429: 9425: 9393: 8956: 8876: 8358:

https://www.filmcomment.com/article/beyond-the-forest-king-vidor-bette-davis/

8356:

Hampton, Howard. 2013. Into the Morass. Film Comment. July–August 2013 Issue

8280:

https://www.berlinale.de/en/programme/programme/detail.html?film_id=202002542

7761: 6668: 5933:

Durgnat and Simmons, 1988 p. 90-91 And p. 92: Vidor's "affable ironies about

5853:

Thomson, 2007: "one of the boldest departures in American silent pictures..."

5243: 4693: 4584: 4511: 4110: 4030: 3885: 3873: 3777: 3710: 3358: 3267: 3239: 3217: 3189: 3073: 3040: 2826: 2795: 2667: 2643: 2604: 2568: 2539: 2432: 2374: 1972:(1931), his portrayal of the savagery of civilization and nature in producer 1869: 1813: 1733: 1471: 1433: 1219: 1097: 846:

impulsively "For Heaven's sake, let's make a test with your own lovely hair!"

730: 722: 717: 653:

I will never picture evil or wrong, except to prove the fallacy of its line.

374: 315: 8296:

Callahan, Dan. 2007. Vidor, King. Senses of Cinema. February 2007, Issue 42

8249:. Simon & Schuster, Inc. Monarch Film Studies. LOC Card Number 75–23544. 7684:

create the only movie version of the greatest Russian novel ever written..."

6276:

Durgnat and Simmon, 1988 p. 152: See here for Vidor's "political ambiguity."

3378: 2353:, in the hopes they might duplicate the profits they reaped from M-G-M star 1876:

by their "Old South" counterparts. The scion of the estate, Duncan Bedford (

1250:(1926), an over-the-top swashbuckling costume drama featuring romantic icon 11791: 11658: 11634: 11616: 11586: 11515: 11497: 11389: 11360: 11309: 11303: 11279: 11059: 10972: 10930: 10778: 10758: 10740: 10712: 10643: 10619: 10571: 10535: 10529: 10511: 10369: 10365: 10331: 10309: 10253: 10201: 10173: 10130: 10106: 10096: 10084: 10072: 10062: 9971: 9938: 9932: 9909: 9905: 9883: 9845: 9815: 9797: 9773: 9751: 9727: 9664: 9654: 9627: 9610: 9495: 9487: 9471: 9461: 9445: 9411: 9399: 9355: 8940: 8900: 8780: 8414:. Oxford University Press. Library of Congress Catalog Card Number 76–9262. 8325: 8017: 7662: 6856:

Baxter, 1976 pp. 66–67: The "actors ... subservient to the landscape".

5393: 5319:

Durgnat and Simmon, 1988 p. 19: His father "owned a hardwood forest in the

4811: 4713: 4094: 4054: 3934: 3926: 3858: 3737: 3443: 3406: 3339: 3314: 3302: 3281:, a fact alarming to Soviet officials, coming as it did near the height of 3262: 3154: 3102: 3093: 2932: 2903: 2883: 2834: 2830: 2543: 2535: 2471: 2410:

would be the "Steel" component of his "War, Wheat and Steel" film trilogy:

2328: 2300: 2198: 2183: 2168: 2157: 2123: 2007: 1906: 1782: 1526: 1227: 1211: 1185: 1079: 700: 676: 527: 335: 319: 8233:

https://notesonfilm1.com/2016/10/21/beyond-the-forest-king-vidor-usa-1949/

7025:

elicited "complaints in Congress about the picture's unbridled sexuality."

6378:

Durgnat and Simmons, 1988: p. 173: Same "no more Goldwyn pictures!" quote.

3430: 2749:(1949): Unhappy with the screen adaptation offered by Warner Brothers for 2431:(1940). Vidor's dissatisfaction with the studio's casting, including lead 1379:

stereotypes and his treatment bears no resemblance to the overt racism in

1261:

Vidor's third and final film with Davies was his second sound film (after

892: 11797: 11779: 11737: 11556: 11485: 11437: 11431: 11366: 11267: 11047: 11021: 10982: 10962: 10902: 10824: 10754: 10589: 10583: 10553: 10523: 10465: 10359: 10337: 10287: 10239: 10219: 10100: 10030: 9996: 9942: 9841: 9837: 9769: 9650: 9515: 9491: 9421: 9365: 9310: 9236: 9044: 9028: 8526:

http://www.moma.org/explore/inside_out/2010/06/15/king-vidors-hallelujah/

8478:

http://www.tcm.turner.com/tcmdb/title/73733/Duel-in-the-Sun/articles.html

8022:

Baxter, 1976 p: 36: Composite image of Vidor and Davies on The Patsy set.

7818:

Durgnat and Simmon, 1988: p. 317: See here for quote and Whitman comment.

7370: 5548: 4607: 4412: 4206: 4190: 3622: 3567: 3547:

introduces a mysterious young woman, "a feminine archetype" (a figure in

3492: 3414: 3343: 3235: 3208: 3181: 3116:

In 1954 Vidor, in collaboration with longtime associate and screenwriter

2937: 2875: 2806: 2763: 2671: 2482: 2370: 2362: 2354: 2350: 2324: 2293: 2244: 2213: 2039: 1988: 1930: 1892: 1761: 1737: 1542: 1437: 1298: 1269: 1240: 1092: 1039: 1004: 948: 9297: 8291:

https://www.berlinale.de/en/archive-2020/programme/detail/202002560.html

8258:

https://www.berlinale.de/en/archive-2020/programme/detail/202011039.html

6598:

Baxter, 1976 p. 58: Over the Rainbow, "the film's most famous sequence…"

6435:

Baxter, 1976 p. 54: See thumbnail sketch of film and "Polka Dot Bandit".

3487:

find the Northwest Passage, although filming never began because author

3007:

Vidor deferred his own salary to make the low-budget work, filming the "

1614:

where banks seized tens-of-thousands of independent family farms in the

11815: 11646: 11610: 11297: 11195: 11121: 11053: 10547: 10501: 10383: 10373: 10355: 10257: 10118: 10034: 9899: 9893: 9765: 9707: 9551: 9437: 8677: 8672: 6953:

Durgnat and Simmons, 1988: p. 243: Duel in the Sun "marks a shift...to

6907:

Baxter, 1976 p. 68: "perhaps the greatest outdoor film of the forties."

6685: 6114: 5537:

Baxter, 1976. p. 9: "the production is frankly a preachment, noted the

4651:

for his incomparable achievements as a cinematic creator and innovator

3877: 3387: 2955: 2907: 2440: 2270: 1705: 1495: 1338: 1235: 1231: 932: 584: 565:

In 1918, at the age of 24, Vidor directed his first Hollywood feature,

536: 281: 11243: 7174:

Stafford, TMC: The Fountainhead's "large, artificial sets designed by

5961:

Baxter 1976 p. 43: On influence of Hemingway's literary style on film.

3692:

On at least one occasion, Vidor made a presentation to film historian

1945:. Vidor presents a morality play where the low-cunning of the outlaws 990:

King Vidor (center) with Renée Adorée and John Gilbert. On the set of

587:, who the director had discovered on a Hollywood streetcar. The films 11550: 11011: 10896: 10892: 10718: 10649: 10447: 10341: 10277: 10066: 10014: 9164: 7807:, asserts that the material world is entirely a product of the mind…" 7600: 7070:

Durgnat and Simmons, 1988: p. 236: Both films "production disasters."

6106: 6079: 6023: 5998:

Durgnat and Simmons, 1988: p. 97: "...both is and isn't a musical..."

4994: 4336: 3718: 3110: 3084: 2898:: His final picture for Warner Brothers, Vidor attempted to create a 2779: 2691:

In 1948 Vidor was diverted from making a series of 16mm Westerns for

2651: 2527: 2358: 2340: 2289: 2217: 2068: 2035: 2034:(AFL) that had already organized actors and screenwriters (deemed a " 1954:

The Texas Rangers: A History of Frontier Defense of the Texas Rangers

1873: 1778: 1753: 1611: 1376: 1313: 1215: 1129:

troubling – reflected in their one-year delay in releasing the film.

863: 522: 392:(DGA) in 1980 Vidor recalled the horrors of the hurricane's effects: 292: 10431:

Directors Guild of America Lifetime Achievement Award – Feature Film

8423:

http://www.tcm.com/tcmdb/title/95243/The-Wedding-Night/articles.html

7215:

Baxter, 1976 p. 72-73: On Cooper and Neal affair, influence on film.

6872:

mutilation of the film "half-chopped lap-dissolves" made in "haste".

6155:

miscegenation were so strong that fatalism was built into premise."

3442:

consists of a number of interviews between the director and painter

3295:

garnered Vidor further offers to film historical epics, among these

2642:(1948) is a film sketch that Vidor participated in with co-director 2395:: With wife and screenwriting partner Elizabeth Hill, Vidor adapted 2349:(1940) was conceived as a vehicle for M-G-M's glamorous acquisition 1606:) abandons her life in a great metropolis to visit her grandfather ( 1297:

Fitzgerald. There Vidor mixed with literary expatriates, among them

721:(1921) was a big-budget western-comedy shot on location in the high 641:

I believe in the motion picture that carries a message to humanity.

457:

At the age of sixteen Vidor dropped out of a private high school in

11071: 9867: 9723: 9712: 9557: 9505: 8964: 8511:. Senses of Cinema. CTEQ Annotations on Film Issue 68 August 2013. 7518:

Baxter, 1976 p. 80: "...Douglas' charmingly lecherous performance…"

7382:

Durgnat and Simmon, 1988 p. 281: Vidor's eye was on Ruby Gentry..."

5818:, was the studio's highest-grossing picture." And: "The success of 5442:

Baxter, 1976, p. 5: Vidor remarked that he "hated" the institution.

5366:"King Vidor, 88, Director of Films for More Than 40 Years, Is Dead" 4118: 3599: 3528: 3521:

In 1960, Vidor resumed efforts to make a sound version of his 1919

3282: 3273:

American audiences showed modest enthusiasm at the box-office, but

3087:, an amusing romantic vignette, as well as an adaption of novelist 2923: 2750: 2700: 1586: 1519:

After finishing the sentimental vehicle starring Wallace Beery, in

967: 943: 458: 6648:

hatred, claiming retaliation for brutal attacks against settlers."

3067: 2890:. Steiner earned an Academy Award nomination for Best Film Score. 2461: 833:

in a film version of her famous juvenile role as Peg O'Connell in

11527: 11151: 9499: 8611:

http://www.tcm.com/tcmdb/title/596/The-Fountainhead/articles.html

6645:

Durgnat and Simmons, 1988: The scripts "astonishing rhetoric..."

3661:

In 1979, Vidor sought financing for a biography of the ill-fated

3153:

Based on a story by Dee Linford of the same name and scripted by

2967: 2266: 2209: 1965: 1926: 1258:

remains the enduring picture of the Vidor–Davies collaborations.

977: 907:

Vidor's yeoman service to Louis B. Mayer secured him entrée into

734: 486:

Vidor, in a partnership with vaudevillian and movie entrepreneur

467: 402: 8600:

http://www.tcm.com/tcmdb/title/14902/Billy-the-Kid/articles.html

8434:

http://www.tcm.turner.com/tcmdb/title/72067/Cynara/articles.html

6824:

to "sustain morale and confidence for audiences" during wartime.

6233:

Higham, 1972: "Thalberg of MGM said it was out of the question."

2216:

in the America of the 18th and 19th century reappeared, notably

561:

Brentwood Film Corporation and the "Preachment" films, 1918–1919

8651: 7639:

Baxter, 1976 p. 80: "...Henry Fonda's languid, puzzled Pierre…"

6731: 6561:

and the problems of an aggressively mercenary medical service…"

6027:

work...the puritan ethic- mediated through an Afro-ethnicity."

3767:

Motion Picture Alliance for the Preservation of American Ideals

3091:'s short story "Leader of the People" (1937) (from his novella 2861: 2247:

system. The picture that emerged is one of his "master works":

2175: 2094: 2028:

Motion Picture Alliance for the Preservation of American Ideals

1983:

In an effort to retain Vidor at Paramount, the production head

1794:. A remake of Goldwyn's most successful silent movie, the 1925 1408: 862:(1923) also written by Manners, with Taylor playing a charming 763:

and romantic melodramas that were typical of his contemporary,

740:

Vidor and Moore would begin a three-year romance on the set of

268: 8135:"Golden Plate Awardees of the American Academy of Achievement" 7797:

Durgnat and Simmon, 1988: p. 123: "In the unyielding terms of

3562:(1963), Vidor briefly corresponded with Fellini while writing 3558: 3270:(uncredited) shot a number of scenes with the principal cast. 2798:, who plays the architect's ally-adversary Dominique Francon. 1554:

During production Vidor began an affair with script assistant

253: 10046: 7452:(1953), he states his case in a nutshell..." See quote above. 7326:

Durgnat and Simmon, 1988 p. 279: Vidor's "fullest attempt at

7295:

Greven, 2011: "A scandalous box-office and critical failure,"

6990:"is racist in the interesting sense of especially admiring a 5952:

Baxter 1976 p. 35 "Not So Dumb reveals Davies' "thin talent""

2963: 2240: 274:

His most acclaimed and successful film in the silent era was

2984: 2182:, including the notable musical production in which Dorothy 869:

Next, Vidor was entrusted to direct Mayer's top female star

780:, was an unabashed imitation of DeMille's outstanding drama 605:, all completed in 1919, also featured future film director 259: 8265:

King Vidor Retrospective 2020: A Very Wide-ranging Director

6957:

neurotic violence and in vindicating a 'notorious' woman."

6390:

Baxter, 1976 p. 53-54: Thumbnail sketch of So Red the Rose.

3278: 2212:. By the end of the decade high-budget films depicting the 8545:. Berkeley Art Museum and Pacific Film Archive (BAM/PFA) 7855:

Tonguette, 2011: "...Wyeth insists he has seen 180 times."

6959:

Durgnat and Simmons, 1988: p.243: "...probably the second

6621:

Baxter 1976 p, 63, p. 66: "...unmistakably a master work."

2646:

during this period of relative inactivity. A "low-budget"

1106: 958:

Vidor's typically "routine" movies of this period include

380:

At the age of six, Vidor witnessed the devastation of the

11721:

Screen Directors Guild and the Directors Guild of America

9523: 8622:

http://www.hollywoodsgoldenage.com/moguls/king_vidor.html

8489:

https://www.wsws.org/en/articles/2020/04/07/ber2-a07.html

8467:

http://www.tcm.com/watchtcm/movies/77194/H-M-Pulham-Esq-/

3640:

Vidor researched the murder of silent era actor-director

3370:

productions, Vidor remarked, "I'm glad I got out of it."

2860:

Vidor's characterization of Davis as the unsophisticated

2542:

takes after his refined mother, while Lewt "the bad son"

2130:

from which he was diverted to perform pre-production for

1622:

Vidor continued his "back to the land" theme in his 1934

1082:

exerted considerable control over the film's production.

896:

Hendrik Sartov (cinematographer), King Vidor (director),

10691: 7276:

male-dominated society, or play the game by male rules."

3699: 3621:

Vidor was involved in script writing for an adaption of

2030:

Vidor failed to bring the SDG into affiliation with the

1960:. Made on the 100th anniversary of the formation of the 1922:(1939) enjoyed immense commercial and critical success. 1136: 613:"Vidor Village" and First National Exhibitors, 1920–1925 7287:

Durgnat and Simmon, 1988 p. 278: "worst" of his career.

6530:(1941) "belong to a period of indecision that produced 5315:

Thomson, 2007: "His father was a well-off lumberman..."

3893:

Vidor died at age 88 of a heart attack at his ranch in

3795:

Vidor was married three times and had three daughters:

2825:

melodrama that tracks the descent of a petty-bourgeois

2699:

studios approached him to direct an adaption of author

1464:

Upon his return to M-G-M after his sojourn to complete

882: 806:. Vidor would soon marry model and future film actress 8443:. Senses of Cinema. CTEQ Annotations on Film Issue 68 7479:

Durgnat and Simmon, 1988 p. 30, p. 236-237, p. 315-316

4657: 3309:. Vidor finally settled on the Old Testament story of 2265:, the film describes a punitive expedition against an 1062:

arranged for Vidor to film two more Gilbert vehicles:

900:(producer) & Lillian Gish (co-star) on the set of 517:

in Hollywood, Florence Vidor procured a contract with

504: 445: 8513:

http://sensesofcinema.com/2013/cteq/the-fountainhead/

8441:

Scary Monsters (and Super Tramps) – Beyond the Forest

8298:

http://sensesofcinema.com/2007/great-directors/vidor/

6764:

Miller, TMC: Background on Vidor 1925 failed affair..

5730: 5728: 5119:

Baxter 1976, p. 41: "...Vidor adapted well to sound."

4829: 3373: 2954:

The story by co-producer Anson Bond concerns wounded

1756:. Goldwyn's effort to elevate Sten to the stature of 1545:, the tropical location and mixed-race love theme in 1078:, a film of "great and enduring merit", leading lady 8632: 8385:. Library of Congress Catalog Card Number 70-186026. 6091:

and other exercises in the celebration of violence."

5541:" and p. 11. Baxter refers to the "preachment" film 3750:

was released in 1982, shortly before Vidor's death.

933:

Vidor and the John Gilbert collaborations: 1925–1926

733:(soon to be famous as the quintessential Hollywood " 621:

Holiday greetings from the Vidors, December 25, 1920

256: 250: 8456:

http://www.tcm.com/watchtcm/movies/12500/Champ-The/

8033: 7894: 7892: 7530:been." And p.320: "Vidor's last commercial films – 7311:Durgnat and Simmons, 1988: p. 273: "...nightmarish 5695:

Baxter 1976, pp. 14–15, p. 18, marriage to Boardman

5084:In 1964, he received the Golden Plate Award of the 3631:, but Vidor withdrew his name from the production. 2497:and to create a movie rivaling his successful 1939 2003:(DGA), when television directors joined its ranks. 1704:The adoption of the Pulitzer Prize-winning play by 1309:and began recruiting an all African-American cast. 816: 247: 11245:Berlin International Film Festival jury presidents 9804:Society of Motion Picture and Television Engineers 8717:in L. Tom Perry Special Collections at Provo, Utah 8561:The Invention of the Western Film: Duel in the Sun 8487:World Socialist Web Site. Retrieved May 24, 2020. 6580:Baxter, 1976 p. 57: On the "blow up" of the sewer. 5725: 3380:Truth and Illusion: An Introduction to Metaphysics 3126:(1919). Vidor's persistent efforts to revive this 3047: 2886:) in an ironic style reminiscent of film composer 1642:– "wheat" – is a sequel to his silent masterpiece 436:Vidor featured in the February 21, 1920, issue of 8580:. Berkeley Art Museum and Pacific Film Archive. 8405:http://www.tcm.com/watchtcm/movies/100/The-Crowd/ 8392:. August 2013 CTEQ Annotations of Film Issue 68. 6501:Durgnat and Simmons, 1988: p. 173 and p. 351 re: 5262:"12th Berlin International Film Festival: Juries" 4472: 2774:Vidor's most outstanding cinematic innovation in 2122:. Vidor further invested six months shooting an 509:Based on a screen test arranged by Texas actress 11889: 9440:, Devereaux Jennings, Irmin Roberts, Art Smith, 8750: 8157:"11th Moscow International Film Festival (1979)" 7921: 7919: 7889: 7661:Baxter, 1976 p. 82-83: "British cinematographer 5415: 5413: 3787:and wrote occasionally for church publications. 3585:a "quite faithful" version of the 1860 story by 3226:highly compressed version of the literary work. 3120:, pursued a remake of the director's silent era 2717:Vidor's three films for Warner Brothers studios— 2501:. Selzick's personal and artistic ambitions for 1822: 1086:a picaresque swashbuckler mimicked the films of 999:"One of his least satisfactory silent films ... 669:The first production from Vidor Village was his 11983:Golden Lion for Lifetime Achievement recipients 8564:http://archive.bampfa.berkeley.edu/film/FN15062 8547:http://archive.bampfa.berkeley.edu/film/FN19827 7446:Whiteley, 2010: "...a well-received biography…" 5864:Silver 2010: "one of the crown jewels of the ." 5287:"6th Moscow International Film Festival (1969)" 3068:Light's Diamond Jubilee, General Electric, 1954 2572:(1920) both starring Lillian Gish, visited the 1660: 1515:and RKO Pictures : Sojourn in Hawaii, 1932 481: 8582:http://archive.bampfa.berkeley.edu/film/FN6980 8394:http://sensesofcinema.com/2013/cteq/the-crowd/ 8027: 7934:Durgnat and Simmon, 1988: p. 315-317 And p. 17 7317:Levy, 2005: Film score nomination for Steiner. 5254: 3180:(an adaptation of the novel by Russian author 2771:, both in the novel and Vidor's film version. 2345:: A political comedy set in the Soviet Union, 2239:In the summer of 1939, Vidor began filming in 2106:These unconsummated projects at M-G-M include 1895:in its narrative and theme anticipates author 1569: 1273:(1930), adapted from the 1921 Broadway comedy 353:. In 1969, he was a member of the jury at the 11704: 11229: 10677: 10415: 9571:, and the Republic Studio Sound Department / 9326: 8736: 7916: 5591:Durgnat and Simmons, 1988 p. 31 See figure 14 5410: 3477:Vidor attempted to make a sequel to his film 2712: 2624:In the aftermath of his critical failures in 2514:. Vidor was awarded sole screen credit after 2269:(Iroquois) village by a unit of British Army 1724:years, when movie studios feared bankruptcy. 1284: 704:King Vidor and Colleen Moore on location for 11968:Presidents of the Directors Guild of America 8366:. 1972. "Long Live Vidor, A Hollywood King" 8310:. University of California Press, Berkeley. 8201:"Berlinale 2020: Retrospective "King Vidor"" 8040:. Cambridge University Press. pp. 67–. 6164:Durgnat and Simmon 1988 p. 96, 173, 174, 177 5382: 2996:, Vidor revisits the themes and scenario of 2852:Despising the role assigned her by producer 1529:to make a "South Seas" romance for producer 1494:(1921), as well as Vidor's own early silent 542: 9248:(1954) (TV special, with 6 other directors) 8618:King Vidor (1894–1982) Hollywood Golden Age 8149: 5840:Baxter 1976 pp. 26, 28: "a la Fairbanks..." 5166:characterizes any director's mature style." 3862:King Vidor and Colleen Moore on the set of 3466: 3434:: King Vidor meets with Andrew Wyeth (1980) 3386:In the mid-1960s Vidor crafted a 26-minute 3324: 3145: 1716:The excellent cast, drawn largely from the 365:Vidor was born into a well-to-do family in 11711: 11697: 11236: 11222: 10684: 10670: 10422: 10408: 9340: 9333: 9319: 8743: 8729: 7096:Baxter, 1976 p. 71: "controversial novel…" 5354:Gallagher, 2007; Mother was "Scotch-Irish" 5279: 2443:-like" industrial magnate. Film historian 42: 9302: 8230:Beyond the Forest (King Vidor, USA, 1949) 4781:Academy Award for Best Supporting Actress 3672: 3245:Vidor was delighted with the vitality of 1994: 1090:. Vidor would spoof the movie on his own 829:engaged Vidor to direct Broadway actress 470:army parade to a newsreel outfit (titled 8377:Doubleday & Company, Inc. New York. 8375:The Art of the American Film: 1900–1971. 8333:American Triptych: Vidor, Hawks and Ford 8326:https://www.tcm.com/watchtcm/titles/1101 8034:Donald T. Critchlow (October 21, 2013). 6408:Durgnat and Simmons, 1988: p. 172, p.176 5096:, showcasing more than 30 of his films. 4778: 4729: 4678: 3857: 3207:'s offer to create a screen adaption of 3172:, rated as "a minor work" by biographer 3055:In 1953, Vidor's autobiography entitled 2902:tale of a deadly love triangle starring 2882:" theme surfaces (a tune made famous by 2790:and contribute to the film's compelling 2709:. Vidor immediately accepted the offer. 2292:of the post-World War II period and the 2192: 1337: 985: 891: 887: 699: 616: 431: 360: 349:In 1962, he was head of the jury at the 27:American writer and director (1894–1982) 9984:Museum of Modern Art Department of Film 8187:"King Vidor | Deutsche Kinemathek" 7947:Durgnat and Simmon, 1988: p. 86, p. 317 7925:Durgnat and Simmon, 1988: p. 17, p. 317 7448:Callahan, 2007: "In his autobiography, 5094:70th Berlin International Film Festival 5090:11th Moscow International Film Festival 3211:'s vast historical romance of the late- 3195: 2243:a Western-themed picture using the new 2097:director such as Vidor in this period: 1868:'s response to the war among the white 955:'s seducer that one scene was deleted. 461:and returned to Galveston to work as a 351:12th Berlin International Film Festival 220: 1932; died 1978) 14: 11890: 7986:Durgnat and Simmon, 1988: p. 86 p. 317 7154:Baxter, 1976 p. 72: Frank Lloyd Wright 5822:turned Vidor into a top asset at MGM." 3652:(1986), that Vidor solved the murder. 2481:When Selznick purchased the rights to 1551:included nudity and sexual eroticism. 355:6th Moscow International Film Festival 11692: 11217: 10665: 10403: 9314: 9301: 8724: 8098: 8079: 8060: 8001:Thomson, 2007: "Vidor had a ranch in 7527:Baxter, 1976 p. 80: "a minor work..." 7094:. "Vidor was immediately keen on it." 6743:Durgnat and Simmons, 1988: p. 352–353 6105:(1932) and the popularity of mobster 5363: 3679:University of California, Los Angeles 3113:wrote the scripts for both segments. 2778:is his highly stylized images of the 1137:The Marion Davies comedies, 1928–1930 497:In 1915, newlyweds Vidor and actress 11938:American people of Hungarian descent 10693:Golden Lion for Lifetime Achievement 8531:Silver, Charles. 2012. King Vidor's 8349:La furia umana. LFU/28 Winter 2016. 8061:Vidor, King Wallis (June 15, 1963). 7901: 7710:Durgnat and Simmon, 1988: p. 310-311 7537:out to do as a personal project..." 6472:Durgnat and Simmon, 1988: p. 172-173 5364:Flint, Peter B. (November 2, 1982). 3905: 2167:The protagonist, Dr. Andrew Manson ( 1987:offered him a biopic of Texas icon, 1330: 1003:does not wear well: the portrait of 883:Metro-Goldwyn-Mayer (MGM): 1923–1944 346:Lifetime Achievement Award in 1957. 11913:20th-century American screenwriters 9808:Gilbert M. "Broncho Billy" Anderson 8082:"Confidence in Ever-Present Supply" 8080:Vidor, King Wallis (January 1959). 7359:Durgnat and Simmon, 1988 p. 284-285 6522:Baxter, 1976 p. 59, p. 61: Vidor's 6261:Durgnat and Simmon, 1988 p. 149-150 6211:Higham, 1972: "...his masterpiece, 4658:Directed Academy Award performances 3772:Vidor published his autobiography, 3097:) in which a retired wagon-master, 3072:As part of the 75th Anniversary of 2263:an American colonial-era epic novel 2156:The movie is a close adaptation of 2045: 729:stars as the intrepid preacher and 505:Hollywood apprenticeship: 1915–1918 446:Amateur apprenticeship in Galveston 425:Vidor attended grade school at the 388:magazine. In an interview with the 24: 11908:20th-century American male writers 8335:. Senses of Cinema. February 2007 6982:Durgnat and Simmons, 1988: p.243: 5796:(dir: Lewis Milestone, USA 1930)." 4830:Academy Awards in King Vidor films 3374:Post-Hollywood projects, 1959–1981 3022:"as a truly great American film... 1420:Filmed just before passage of the 25: 11994: 11918:Academy Honorary Award recipients 9762:Bausch & Lomb Optical Company 9744:20th Century-Fox Film Corporation 9530:and his associates / Rey Scott / 9408:Museum of Modern Art Film Library 8699:King Vidor: The Editor's Director 8628: 8099:Vidor, King Wallis (March 1961). 6925:Durgnat and Simmons, 1988: p. 239 6916:Durgnat and Simmons, 1988: p. 235 6540:Durgnat and Simmons, 1988: p. 174 6490:Durgnat and Simmons, 1988: p. 172 6417:Durgnat and Simmons, 1988: p. 185 6351:Durgnat and Simmons, 1988: p. 165 6340:Durgnat and Simmons, 1988: p. 166 6287:Durgnat and Simmons, 1988: p. 117 5486:Durgnat and Simmon, 1988 p. 21-22 5475:Durgnat and Simmon, 1988 p. 21-22 3683:University of Southern California 2678:. (An episode with British actor 2560:, famous for his silent classics 2489:in 1944, Vidor agreed to rewrite 2361:(1939). "Comrade" X is played by 1777:) and a farm girl (Sten) from an 571:(1919), a film presentation of a 429:, located in San Antonio, Texas. 8662: 8650: 8635: 8347:King Vidor, An American Romantic 8193: 8179: 8127: 8118: 8092: 8073: 8054: 8010: 7993: 7980: 7961: 7956:Durgnat and Simmon, 1988: p. 317 7950: 7941: 7928: 7880: 7877:(1925)" a film he had studied ." 7858: 7841: 7838:Durgnat and Simmon, 1988: p. 317 7832: 7821: 7812: 7791: 7778: 7767: 7751: 7740: 7725: 7716: 7704: 7691: 7677: 7668: 7655: 7645: 7630: 7617: 7608: 7591: 7579: 7570: 7540: 7521: 7510: 7500: 7491: 7482: 7473: 7464: 7455: 7440: 7431: 7422: 7410: 7400: 7387: 7376: 7362: 7353: 7344: 7335: 7320: 7300: 7281: 7261: 7242: 7233: 7224: 7168: 7159: 7127: 7118: 7108: 7099: 7084: 7073: 7064: 7054: 7045: 7031: 7015: 7006: 6997: 6970: 6947: 6928: 6919: 6910: 6896: 6886: 6875: 6863: 6850: 6839: 6827: 6813: 6790: 6780: 6770: 6755: 6746: 6737: 6722: 6711: 6699: 6678: 6660: 6651: 6639: 6628: 6615: 6605: 6592: 6583: 6564: 6554: 6543: 6516: 6507: 6495: 6484: 6475: 6466: 6457: 6448: 6438: 6429: 6420: 6411: 6402: 6393: 6381: 6370: 6007:Baxter 1972 p. 152: "real negro" 5987:Durgnat and Simmons, 1988: p. 95 3753: 2864:-like Rosa (the film was titled 2474:(1924), this time with producer 1841:Paramount production manager at 1168: 1159: 405:scene for Metro-Goldwyn-Mayer's 243: 192: 162: 10025:National Endowment for the Arts 9532:British Ministry of Information 8143:American Academy of Achievement 8124:Durgnat and Simmon, 1988 p. 319 7674:Durgnat and Simmon, 1988 p. 300 7614:Durgnat and Simmon, 1988 p. 302 7470:Durgnat and Simmon, 1988 p. 254 7341:Durgnat and Simmon, 1988 p. 281 7042:). And "Lust in the Dust" quote 6358: 6345: 6330: 6319: 6308: 6292: 6279: 6266: 6255: 6246: 6227: 6218: 6205: 6196: 6186: 6176: 6167: 6158: 6148: 6136: 6120: 6071: 6058: 6049: 6035: 6016: 6001: 5990: 5981: 5972: 5955: 5940: 5925: 5913: 5904: 5873: 5856: 5845: 5834: 5825: 5808: 5799: 5782: 5773: 5764: 5755: 5746: 5737: 5716: 5707: 5698: 5689: 5680: 5671: 5662: 5653: 5643: 5633: 5624: 5612: 5603: 5594: 5585: 5576: 5567: 5556: 5529: 5520: 5511: 5502: 5489: 5478: 5469: 5454: 5445: 5436: 5422: 5376: 5357: 5348: 5339: 5326: 5309: 5236: 5227: 5218: 5086:American Academy of Achievement 5079: 3495:had proven prohibitive enough. 2840:Who's Afraid of Virginia Woolf? 2762:Rand's political philosophy of 2695:and produced on his ranch when 2323:Vidor used the new three-strip 1202:, a comedy of manners, brought 756:helped to finance the picture. 666:magazine's January 1920 issue. 660:His "manifesto" was carried in 217: 188: 158: 11978:Western (genre) film directors 9522:, John N. A. Hawkins, and the 8412:Hollywood Directors: 1914–1940 8252:Berlinale archive 2020. 2020. 8067:The Christian Science Sentinel 8063:"Overcoming Fear as Ignorance" 7178:who was heavily influenced by 5883:While it was not a smash hit, 5862:Berlinale, 2020. "Guts" quote. 5794:All Quiet on the Western Front 5208: 5198: 5189: 5179: 5169: 5159: 5140: 5135:All Quiet on the Western Front 5122: 5106: 4732:Academy Award for Best Actress 4542:All Quiet on the Western Front 4473:Academy Awards and nominations 3900: 3574:and they dropped the project. 3221:(1869). In the public domain, 2973:Before beginning direction of 2895:Lightning Strikes Twice (1951) 1964:the picture includes standard 1342:Nina Mae McKinney as Chick in 1184:Right image: Davies imitating 1055:All Quiet on the Western Front 682:As film critic and biographer 13: 1: 11943:American television directors 11923:American Christian Scientists 10051:National Film Board of Canada 8594:Smith, Richard Harland. TMC. 8222: 8101:"That which hath been is now" 8086:The Christian Science Journal 7799:Jonathan Edwards (theologian) 2988:(1952): Twentieth Century Fox 2927:(1952): Twentieth Century Fox 1823:Paramount Pictures: 1935–1936 1178:Left image: Davies imitating 1110:(1928) and cinematic populism 401:In 1939, he would direct the 11963:People from Galveston, Texas 4681:Academy Award for Best Actor 4321:(1939) (Kansas scenes only) 3790: 2786:were strongly influenced by 2032:American Federation of Labor 1661:The Goldwyn films: 1931–1937 1074:, both released in 1926. In 1017:The Art of the American Film 482:Hotex Motion Picture Company 371:Hungarian Revolution of 1848 7: 11933:American male screenwriters 9791:Samurai I: Musashi Miyamoto 8428:Landazuri, Margarita. TMC. 8417:Landazuri, Margarita. TMC. 7437:Baxter, 1976 p. 4, p. 79-80 7040:The Best Years of Our Lives 6821:Higham, 1972: On "trilogy". 3825:(adopted by Jascha Heifetz) 3519:(formerly The Milly Story): 3287:War and Peace (film series) 2593:The Best Years of Our Lives 2128:The Witch in the Wilderness 1570:Great Depression: 1933–1934 382:Galveston Hurricane of 1900 10: 11999: 10809:Paolo and Vittorio Taviani 9480:Motion Picture Relief Fund 8410:Koszarski, Richard. 1976. 4613:You Can't Take It with You 3473:Northwest Passage (Book 2) 2713:Warner Brothers: 1949–1951 2001:Directors Guild of America 1912:The box-office failure of 1457:Shot partially in the new 1285:Early sound era: 1929–1937 1220:Hearst's San Simeon estate 978:A silent-era magnum opus: 390:Directors Guild of America 11958:Film producers from Texas 11953:Film directors from Texas 11727: 11537: 11376: 11251: 10998: 10699: 10437: 10144: 9958: 9748:Bell & Howell Company 9700: 9524:RCA Manufacturing Company 9348: 9308: 8797:The Chocolate of the Gang 8773:The Grand Military Parade 8759: 8598:. Turner Classic Movies. 8476:. Turner Classic Movies. 8454:. Turner Movie Classics. 8452:The Essentials: The Champ 8432:).Turner Classic Movies. 8421:. Turner Movie Classics. 8419:The Wedding Night (1935) 8403:. Turner Classic Movies. 8324:. Turner Classic Movies. 8306:and Simmon, Scott. 1988. 8240:Hollywood in the Thirties 8105:Christian Science Journal 7307:about moving to Chicago." 6109:among some ethnic groups. 4970: 4650: 4578: 4558: 4548: 4498: 4018:(1920) (as King W. Vidor) 4002:(1919) (as King W. Vidor) 3994:(1919) (as King W. Vidor) 3951:The Chocolate of the Gang 3912:The Grand Military Parade 2620:), Universal Studios 1948 2556:The iconic film director 2462:A sound era magnum opus: 2233:North West Mounted Police 1591:Franklin Delano Roosevelt 1527:Radio-Keith-Orpheum (RKO) 1349:Vidor's first sound film 1084:Bardelys the Magnificent, 1034:, a war romance starring 837:, written by her husband 790:. Vidor followed up with 543:Judge Willis Brown series 472:The Grand Military Parade 228: 134: 126: 106: 102:King W. Vidor, John Vidor 98: 79: 53: 41: 34: 11973:Screenwriters from Texas 11928:American anti-communists 9005:Bardelys the Magnificent 8624:Retrieved July 21, 2020. 8609:. Turner Classi Movies. 8602:Retrieved June 26, 2020. 8515:Retrieved July 11, 2020. 8497:. Simon & Schuster. 8483:Reinhardt, Bernd. 2020. 8469:Retrieved June 30, 2020. 8458:Retrieved June 26, 2020. 8447:Retrieved July 11, 2020. 8407:Retrieved June 20, 2020. 8396:Retrieved June 24, 2020. 8360:Retrieved July 11, 2020. 8328:Retrieved June 29, 2020. 8300:Retrieved June 10, 2020. 8271:Retrieved June 20, 2020. 8260:Retrieved June 26, 2020. 8235:Retrieved July 15, 2015. 6691:She Wore a Yellow Ribbon 5950:has the "funniest bits" 5935:Bardelys the Magnificent 5336:Retrieved June 22, 2020. 5099: 4254:(1932) US reissue title 4159:Bardelys the Magnificent 3930:(1916) (*as young actor) 3853: 3504:a biographical study of 3467:Unproduced film projects 3365:Contrary to claims that 2818:Beyond the Forest (1949) 1247:Bardelys the Magnificent 1071:Bardelys the Magnificent 941:. Vidor directed him in 920:(1924), from a story by 912:vulgar and cash-driven. 631:Santa Monica, California 427:Peacock Military Academy 414:Vidor was introduced to 9476:William Cameron Menzies 9245:Light's Diamond Jubilee 9221:Lightning Strikes Twice 8973:The Wife of the Centaur 8616:Whiteley, Chris. 2010. 8613:Retrieved July 7, 2020. 8591:Retrieved July 7, 2020. 8578:The Fountainhead (1949) 8573:Retrieved July 7, 2020. 8556:Retrieved July 3, 2020. 8541:Silver, Charles. 1982. 8538:Retrieved July 3, 2020. 8528:Retrieved June 24, 2020 8523:King Vidor's Hallelujah 8480:Retrieved July 7, 2020. 8465:Turner Classic Movies. 8439:Melville, David. 2013. 8436:Retrieved June 21, 2020 8425:Retrieved June 21, 2020 8373:Higham, Charles. 1973. 8370:Retrieved June 10, 2020 8353:Retrieved June 4, 2020. 8339:Retrieved May 30, 2020. 8331:Gallagher, Tag. 2007. 8293:Retrieved June 30, 2020 8282:Retrieved July 2, 2020. 8274:Berlinale, 2020. 2020. 8003:Paso Robles, California 6445:wipe out a monopolist." 4421:Light's Diamond Jubilee 4397:Lightning Strikes Twice 4127:The Wife of the Centaur 3897:, on November 1, 1982. 3895:Paso Robles, California 3882:William Randolph Hearst 3136:Universal-International 2732:Lightning Strikes Twice 2703:'s controversial novel 2634:Paso Robles, California 1632:was "war" and his 1944 1436:as his nemesis Sheriff 1188:, both from the set of 1146:William Randolph Hearst 1096:(1928) with comedienne 1024:In 1925 Vidor directed 525:studios (the spy drama 91:Paso Robles, California 18:A King Vidor Production 11948:California Republicans 11345:Bjørn Rasmussen (1971) 10797:Michelangelo Antonioni 10091:Michelangelo Antonioni 9615:William Nicholas Selig 9342:Academy Honorary Award 9152:(1939) (Kansas scenes) 8765:Hurricane in Galveston 8587:July 11, 2020, at the 8576:Simmons, Scott. 1988. 8559:Simmons, Scott. 2004. 8552:July 13, 2020, at the 8493:Sarris, Andrew. 1973. 8388:Hodsdon, Bruce. 2013. 8285:Berlinale 2020. 2020. 8263:Berlinale 2020. 2020. 7969:William Desmond Taylor 6549:Baxter, 1976 pp. 55–56 6355:Baxter, 1976 p. 52-53: 5870:Baxter 1976 pp. 30, 33 4647:Academy Honorary Award 4555:Outstanding Production 3919:Hurricane in Galveston 3890: 3867: 3673:Academic Presentations 3648:alleges in his novel, 3642:William Desmond Taylor 3636:William Desmond Taylor 3617:A Man Called Cervantes 3605:Mr and Mrs Bo Jo Jones 3419: 3405:As Vidor describes in 3259: 3101:, rebuffed by his son 3065: 3045: 2610: 2578: 2275:French and Indian Wars 2223:Drums Along the Mohawk 2205: 2162:novel of the same name 2104: 1995:Screen Directors Guild 1800:, also an adaption of 1535:US territory of Hawaii 1525:, Vidor was loaned to 1480:. Based on a story by 1346: 1058:, both 1930. Producer 1021: 994: 904: 848: 774:Vidor's next picture, 712: 658: 622: 581: 442: 399: 344:Screen Directors Guild 11828:Franklin J. Schaffner 11450:Klaus Maria Brandauer 10047:Eastman Kodak Company 9690:The Walls of Malapaga 9303:Awards for King Vidor 9093:The Stranger's Return 8607:The Fountainhead 1949 8605:Stafford, Jeff. TMC. 8569:July 9, 2020, at the 8320:Fristoe, Roger. TMC. 7146:the source material." 6963:in Technicolor after 6688:role in Ford's great 6634:Baxter, 1976 pp. 6465 6399:Baxter, 1976 p. 53-54 6224:Baxter, 1976 p. 51-52 6066:Baxter, 1976 p. 44-45 6011:The Birth of a Nation 5770:Baxter 1976, p. 19–20 5743:Baxter 1976, p. 18-19 5713:Baxter 1976, p. 15-16 5659:Baxter 1976, p. 13-14 5573:Baxter 1976. pp. 9–10 4262:The Stranger's Return 3870: 3861: 3646:Sidney D. Kirkpatrick 3411: 3301:(1961), (directed by 3255: 3061: 3037: 2650:release of the early 2601: 2554: 2196: 2099: 1962:Texas Ranger Division 1599:The Stranger's Return 1576:The Stranger's Return 1459:70 mm Grandeur system 1386:The Birth of a Nation 1341: 1142:Cosmopolitan Pictures 997: 989: 895: 888:Silent era: 1923–1928 843: 703: 639: 620: 577: 435: 394: 361:Early life and career 11768:Joseph L. Mankiewicz 11328:Luis García Berlanga 10857:Francis Ford Coppola 10841:Marcello Mastroianni 10819:Joseph L. Mankiewicz 10602:Francis Ford Coppola 10542:Joseph L. Mankiewicz 10264:Jean-Claude Carrière 9854:/ Fred L. Metzler / 9852:William L. Hendricks 9730:/ George Mitchell / 8909:Conquering the Woman 8829:The Turn in the Road 8659:at Wikimedia Commons 8596:Billy the Kid (1930) 8472:Miller, Frank. TMC. 8461:Miller, Frank. TMC. 8450:Miller, Frank. TMC. 8399:Holliman, Rod. TMC. 8308:King Vidor, American 8245:Baxter, John. 1976. 8238:Baxter, John. 1970. 8228:Arroyo, José. 2016. 7180:German Expressionism 7061:vivid without Vidor. 5831:Berlinale 2020, 2020 5543:The Turn in the Road 4374:A Miracle Can Happen 4220:The Highwayman Rides 4063:Conquering the Woman 3983:The Turn in the Road 3524:The Turn in the Road 3438:Vidor's documentary 3123:The Turn in the Road 2912:Mercedes McCambridge 2788:German Expressionism 2640:A Miracle Can Happen 2618:A Miracle Can Happen 2491:Oliver H. P. Garrett 2126:survival-adventure, 1958:Walter Prescott Webb 1802:Olive Higgins Prouty 947:(1924), based on an 777:Conquering the Woman 769:Famous Players–Lasky 568:The Turn in the Road 492:Moving Picture World 191: 1926; 161: 1915; 11876:Lesli Linka Glatter 11605:Isabella Rossellini 11186:Tony Leung Chiu-wai 10889:Suso Cecchi d'Amico 10747:Alessandro Blasetti 9921:Charles S. Boren / 9578:The House I Live In 9569:Daniel J. Bloomberg 9546:Metro-Goldwyn-Mayer 9181:An American Romance 8925:The Woman of Bronze 8805:Tad's Swimming Hole 8701:, Peter Tonguette, 8343:Gustafsson, Fredrik 8139:www.achievement.org 6965:Leave Her to Heaven 5966:Motion Picture News 5890:Ladri di biciclette 5600:Baxter, 1976. p. 10 5517:Baxter 1976. P. 8-9 5460:Baxter 1976. P. 5: 4353:An American Romance 4180:The Politic Flapper 4079:The Woman of Bronze 3959:Tad's Swimming Hole 3841:Belinda (1930–2023) 3838:Antonia (1927–2012) 3818:Suzanne (1918–2003) 3785:Christian Scientist 3587:Nathaniel Hawthorne 3400:subjective idealism 3188:, a story from the 2626:An American Romance 2512:Josef von Sternberg 2452:An American Romance 2420:An American Romance 2412:An American Romance 2081:An American Romance 2050:Upon completion of 1937:in the lead role.) 1775:F. Scott Fitzgerald 1718:Broadway production 1635:An American Romance 1238:. The scenario for 922:Joseph Hergesheimer 876:The Woman of Bronze 871:Clara Kimball Young 761:comedies of manners 710:Truckee, California 499:Florence Arto Vidor 299:An American Romance 11719:Presidents of the 11665:M. Night Shyamalan 11575:Charlotte Rampling 11474:Volker Schlöndorff 11396:Patricia Highsmith 11384:Jerzy Kawalerowicz 11316:Pierre Braunberger 11264:Jay Carmody (1957) 11112:Jean-Paul Belmondo 11106:Bertrand Tavernier 11096:Thelma Schoonmaker 11042:Stefania Sandrelli 11028:Manoel de Oliveira 11018:Dino De Laurentiis 10907:Giuseppe De Santis 10851:Gian Maria Volonté 10506:William A. Wellman 10244:George Stevens Jr. 9923:Edward G. Robinson 9623:George Kirke Spoor 9460:and Allen Davey / 9456:, Walter Oberst / 9452:, Harry D. Mills, 9277:Truth and Illusion 9253:Man Without a Star 9229:Japanese War Bride 9173:H. M. Pulham, Esq. 8893:The Real Adventure 8869:The Jack-Knife Man 8751:Films directed by 8711:at Virtual History 8667:Works by or about 8463:H. M. PULHAM, ESQ. 7988:Baxter, 1976 p. 91 7936:Baxter, 1976 p. 91 7809:Baxter, 1976 p. 91 7746:Baxter, 1976 p. 85 7555:Gone with the Wind 7532:Man Without a Star 7497:Baxter, 1976 p. 80 7428:Baxter, 1976 p. 79 7201:Gustafsson 2016: " 6696:Baxter, 1976 p. 63 6528:H. M. Pulham, Esq. 6513:Baxter, 1976 p. 58 6338:Baxter, 1976 p. 52 6285:Baxter, 1976 p. 18 6130:Baxter, 1976 p. 45 6111:Baxter, 1976 p. 45 6041:Galleghar, 2007: " 5866:Baxter 1972 p. 151 5816:Gone with the Wind 5805:Higham, 1973 p. 21 5734:Baxter 1976, p. 17 5722:Baxter 1976, p. 16 5677:Baxter 1976, p. 14 5562:Baxter, 1976. P. 9 5370:The New York Times 5321:Dominican Republic 4452:Truth and Illusion 4429:Man Without a Star 4405:Japanese War Bride 4345:H. M. Pulham, Esq. 4047:The Real Adventure 4023:The Jack-Knife Man 3868: 3665:, star of Vidor's 3422:Truth and Illusion 3249:'s performance as 3170:Man Without a Star 3159:Man Without a Star 3147:Man Without a Star 3140:Man Without a Star 3118:Laurence Stallings 2975:Japanese War Bride 2925:Japanese War Bride 2917:Japanese War Bride 2769:Frank Lloyd Wright 2585:Selznick launched 2499:Gone with the Wind 2391:H. M. Pulham, Esq. 2367:Hitler–Stalin Pact 2282:Laurence Stallings 2206: 2075:H. M. Pulham, Esq. 1933:was replaced with 1919:Gone with the Wind 1902:Gone with the Wind 1859:American Civil War 1843:Paramount Pictures 1804:'s popular novel. 1500:Judge Willis Brown 1347: 995: 905: 839:J. Hartley Manners 796:The Real Adventure 713: 695:The Jack Knife Man 672:The Jack Knife Man 623: 549:Judge Willis Brown 452:Box Brownie camera 443: 11885: 11884: 11686: 11685: 11563:Frances McDormand 11456:Guglielmo Biraghi 11444:Gina Lollobrigida 11322:Thorold Dickinson 11211: 11210: 11205: 11204: 11172:Catherine Deneuve 11116:Jerzy Skolimowski 11100:Frederick Wiseman 10911:Goffredo Lombardo 10871:Claudia Cardinale 10659: 10658: 10397: 10396: 10352:Samuel L. Jackson 10314:Donald Sutherland 10300:Frederick Wiseman 9862:William J. Tuttle 9822:Maurice Chevalier 9732:Joseph M. Schenck 9674:The Bicycle Thief 9601:Claude Jarman Jr. 9567:Republic Studio, 9528:Leopold Stokowski 9468:Douglas Fairbanks 9385:The March of Time 9295: 9294: 9269:Solomon and Sheba 9213:Beyond the Forest 9157:Northwest Passage 9125:The Texas Rangers 9109:The Wedding Night 8715:King Vidor papers 8692:Handbook of Texas 8687:King Wallis Vidor 8655:Media related to 8533:Northwest Passage 8507:Shaw, Dan. 2013. 8287:The Texas Rangers 8047:978-1-107-65028-2 7975:A Cast of Killers 7910:Northwest Passage 7699:Solomon and Sheba 7003:Baxter, 1976 p.70 6673:Spanish Civil War 6536:The Texas Rangers 6173:Baxter 1976 p. 49 5851:Baxter 1976 p. 33 5788:Berlinale, 2020: 5779:Baxter 1976 p. 20 5451:Baxter 1976. P. 5 5428:Baxter 1976, p. 5 5345:Baxter 1976, p. 4 5148:Northwest Passage 5077: 5076: 5039:Beyond the Forest 4976:Northwest Passage 4932:The Texas Rangers 4827: 4826: 4655: 4654: 4469: 4468: 4445:Solomon and Sheba 4389:Beyond the Forest 4329:Northwest Passage 4294:The Texas Rangers 4278:The Wedding Night 3876:had driven up to 3783:King Vidor was a 3758:In 1944 Vidor, a 3715:Vitagraph Studios 3696:'s class at USC. 3650:A Cast of Killers 3506:Christian Science 3480:Northwest Passage 3367:Solomon and Sheba 3354:Solomon and Sheba 3348:Gina Lollobrigida 3333:Solomon and Sheba 3326:Solomon and Sheba 3319:Gina Lollobrigida 3311:Solomon and Sheba 3205:Dino De Laurentis 3186:Solomon and Sheba 3128:Christian Science 3078:David O. Selznick 2948:Home of the Brave 2811:Beyond the Forest 2726:Beyond the Forest 2648:Universal Studios 2476:David O. Selznick 2429:Northwest Passage 2407:H. M. Pulham, Esq 2383:H.M. Pulham, Esq. 2333:Northwest Passage 2318:Northwest Passage 2310:Northwest Passage 2257:Northwest Passage 2249:Northwest Passage 2132:Northwest Passage 2063:Northwest Passage 1974:David O. Selznick 1939:The Texas Rangers 1897:Margaret Mitchell 1882:Margaret Sullavan 1835:The Texas Rangers 1767:The Wedding Night 1747:St. Mark's Square 1679:The Wedding Night 1430:Johnny Mack Brown 1424:of 1933, Vidor's 1409:M-G-M 1930–1931: 1361:Nina Mae McKinney 1279:George S. Kaufman 1088:Douglas Fairbanks 786:(1919), starring 573:Christian Science 519:Vitagraph Studios 439:Exhibitors Herald 420:Christian Science 287:Northwest Passage 239:King Wallis Vidor 236: 235: 127:Years active 58:King Wallis Vidor 16:(Redirected from 11990: 11713: 11706: 11699: 11690: 11689: 11653:Juliette Binoche 11629:Darren Aronofsky 11504:Nikita Mikhalkov 11468:Michael Ballhaus 11238: 11231: 11224: 11215: 11214: 11192:Sigourney Weaver 11166:Jamie Lee Curtis 11136:Vanessa Redgrave 11132:David Cronenberg 11090:William Friedkin 11078:Marco Bellocchio 10955:Gérard Depardieu 10941:Vittorio Gassman 10883:Steven Spielberg 10803:Federico Fellini 10791:Cesare Zavattini 10787:Sergei Yutkevich 10737:Anatoli Golovnya 10686: 10679: 10672: 10663: 10662: 10608:Steven Spielberg 10518:Rouben Mamoulian 10490:Alfred Hitchcock 10442:Cecil B. DeMille 10424: 10417: 10410: 10401: 10400: 10236:D. A. Pennebaker 10226:James Earl Jones 10079:Federico Fellini 10003:Barbara Stanwyck 9976:Laurence Olivier 9878:Y. Frank Freeman 9812:Charles Brackett 9720:Merian C. Cooper 9669:Cecil B. DeMille 9646:Monsieur Vincent 9593:Laurence Olivier 9583:Peggy Ann Garner 9562:Margaret O'Brien 9404:W. Howard Greene 9390:W. Howard Greene 9335: 9328: 9321: 9312: 9311: 9299: 9298: 9205:The Fountainhead 9197:On Our Merry Way 9149:The Wizard of Oz 9077:Bird of Paradise 8933:Three Wise Fools 8861:The Family Honor 8813:The Accusing Toe 8745: 8738: 8731: 8722: 8721: 8703:Senses of Cinema 8666: 8654: 8645: 8643:Biography portal 8640: 8639: 8638: 8509:The Fountainhead 8304:Durgnat, Raymond 8216: 8215: 8213: 8211: 8197: 8191: 8190: 8183: 8177: 8176: 8174: 8172: 8167:on July 28, 2014 8163:. Archived from 8153: 8147: 8146: 8131: 8125: 8122: 8116: 8115: 8113: 8111: 8096: 8090: 8089: 8077: 8071: 8070: 8058: 8052: 8051: 8031: 8025: 8014: 8008: 7997: 7991: 7984: 7978: 7965: 7959: 7954: 7948: 7945: 7939: 7932: 7926: 7923: 7914: 7905: 7899: 7896: 7887: 7884: 7878: 7862: 7856: 7845: 7839: 7836: 7830: 7825: 7819: 7816: 7810: 7795: 7789: 7782: 7776: 7771: 7765: 7755: 7749: 7744: 7738: 7729: 7723: 7720: 7714: 7708: 7702: 7695: 7689: 7681: 7675: 7672: 7666: 7659: 7653: 7649: 7643: 7634: 7628: 7621: 7615: 7612: 7606: 7595: 7589: 7583: 7577: 7574: 7568: 7544: 7538: 7525: 7519: 7514: 7508: 7504: 7498: 7495: 7489: 7486: 7480: 7477: 7471: 7468: 7462: 7459: 7453: 7450:A Tree is a Tree 7444: 7438: 7435: 7429: 7426: 7420: 7414: 7408: 7404: 7398: 7391: 7385: 7380: 7374: 7366: 7360: 7357: 7351: 7348: 7342: 7339: 7333: 7324: 7318: 7313:Bernard Herrmann 7304: 7298: 7285: 7279: 7265: 7259: 7246: 7240: 7237: 7231: 7228: 7222: 7207:Kazimir Malevich 7203:The Fountainhead 7192: 7172: 7166: 7163: 7157: 7131: 7125: 7122: 7116: 7112: 7106: 7103: 7097: 7092:The Fountainhead 7088: 7082: 7077: 7071: 7068: 7062: 7058: 7052: 7049: 7043: 7035: 7029: 7019: 7013: 7010: 7004: 7001: 6995: 6974: 6968: 6951: 6945: 6932: 6926: 6923: 6917: 6914: 6908: 6900: 6894: 6890: 6884: 6879: 6873: 6867: 6861: 6854: 6848: 6843: 6837: 6831: 6825: 6817: 6811: 6794: 6788: 6784: 6778: 6774: 6768: 6759: 6753: 6750: 6744: 6741: 6735: 6726: 6720: 6715: 6709: 6703: 6697: 6682: 6676: 6664: 6658: 6655: 6649: 6643: 6637: 6632: 6626: 6619: 6613: 6609: 6603: 6596: 6590: 6587: 6581: 6568: 6562: 6558: 6552: 6547: 6541: 6520: 6514: 6511: 6505: 6503:The Wizard of Oz 6499: 6493: 6488: 6482: 6479: 6473: 6470: 6464: 6461: 6455: 6452: 6446: 6442: 6436: 6433: 6427: 6424: 6418: 6415: 6409: 6406: 6400: 6397: 6391: 6385: 6379: 6374: 6368: 6362: 6356: 6349: 6343: 6334: 6328: 6323: 6317: 6312: 6306: 6296: 6290: 6283: 6277: 6270: 6264: 6259: 6253: 6250: 6244: 6231: 6225: 6222: 6216: 6209: 6203: 6200: 6194: 6190: 6184: 6180: 6174: 6171: 6165: 6162: 6156: 6152: 6146: 6140: 6134: 6124: 6118: 6075: 6069: 6062: 6056: 6053: 6047: 6039: 6033: 6020: 6014: 6005: 5999: 5994: 5988: 5985: 5979: 5976: 5970: 5969:, July 14, 1928) 5959: 5953: 5944: 5938: 5929: 5923: 5917: 5911: 5908: 5902: 5877: 5871: 5860: 5854: 5849: 5843: 5838: 5832: 5829: 5823: 5812: 5806: 5803: 5797: 5786: 5780: 5777: 5771: 5768: 5762: 5759: 5753: 5750: 5744: 5741: 5735: 5732: 5723: 5720: 5714: 5711: 5705: 5702: 5696: 5693: 5687: 5684: 5678: 5675: 5669: 5666: 5660: 5657: 5651: 5647: 5641: 5637: 5631: 5628: 5622: 5616: 5610: 5607: 5601: 5598: 5592: 5589: 5583: 5580: 5574: 5571: 5565: 5560: 5554: 5533: 5527: 5524: 5518: 5515: 5509: 5506: 5500: 5493: 5487: 5482: 5476: 5473: 5467: 5458: 5452: 5449: 5443: 5440: 5434: 5426: 5420: 5417: 5408: 5407: 5380: 5374: 5373: 5361: 5355: 5352: 5346: 5343: 5337: 5330: 5324: 5313: 5307: 5306: 5304: 5302: 5297:on July 28, 2014 5293:. Archived from 5283: 5277: 5276: 5274: 5272: 5258: 5252: 5251: 5240: 5234: 5231: 5225: 5222: 5216: 5212: 5206: 5202: 5196: 5193: 5187: 5183: 5177: 5173: 5167: 5163: 5157: 5144: 5138: 5126: 5120: 5110: 4834: 4833: 4743:Barbara Stanwyck 4662: 4661: 4477: 4476: 4381:The Fountainhead 4372:, also known as 4369:On Our Merry Way 4318:The Wizard of Oz 4243:Bird of Paradise 4178:, also known as 4087:Three Wise Fools 4015:The Family Honor 3967:The Accusing Toe 3906: 3833:Eleanor Boardman 3774:A Tree is a Tree 3700:Vidor as actor: 3554:Federico Fellini 3392:Jonathan Edwards 3307:Miguel Cervantes 3261:Cinematographer 3057:A Tree is a Tree 3050:A Tree is a Tree 2888:Bernard Herrmann 2802:The Fountainhead 2776:The Fountainhead 2756:The Fountainhead 2745:The Fountainhead 2720:The Fountainhead 2706:The Fountainhead 2685:On Our Merry Way 2680:Charles Laughton 2660:Paulette Goddard 2656:Burgess Meredith 2614:On Our Merry Way 2532:Lionel Barrymore 2508:William Dieterle 2397:John P. Marquand 2314: 2203:Over the Rainbow 2188:Over the Rainbow 2180:The Wizard of Oz 2087:The Wizard of Oz 2046:M-G-M: 1938–1944 1866:antebellum South 1806:Barbara Stanwyck 1709:cinematographer 1608:Lionel Barrymore 1564:Bird of Paradise 1560:Eleanor Boardman 1548:Bird of Paradise 1513:Bird of Paradise 1365:William Fontaine 1357:Daniel L. Haynes 1325:Nicholas Schenck 1303:Ernest Hemingway 1182:with King Vidor 1172: 1163: 909:Goldwyn Pictures 808:Eleanor Boardman 765:Cecil B. DeMille 690:The Family Honor 511:Corinne Griffith 408:The Wizard of Oz 367:Galveston, Texas 324:Barbara Stanwyck 280:(1925). Vidor's 266: 265: 262: 261: 258: 255: 252: 249: 221: 219: 196: 194: 190: 176:Eleanor Boardman 166: 164: 160: 99:Other names 86: 83:November 1, 1982 72:Galveston, Texas 68:February 8, 1894 67: 65: 46: 32: 31: 21: 11998: 11997: 11993: 11992: 11991: 11989: 11988: 11987: 11888: 11887: 11886: 11881: 11870:Thomas Schlamme 11858:Taylor Hackford 11846:Martha Coolidge 11810:George Schaefer 11762:George Marshall 11723: 11717: 11687: 11682: 11671:Kristen Stewart 11569:Roland Emmerich 11533: 11462:Rolf Liebermann 11372: 11334:Johannes Schaaf 11247: 11242: 11212: 11207: 11206: 11201: 11162:Roberto Benigni 11142:Pedro Almodóvar 10994: 10959:Stanley Kubrick 10923:Martin Scorsese 10915:Ennio Morricone 10865:Paolo Villaggio 10847:Mario Monicelli 10815:Luigi Comencini 10767:Alexander Kluge 10763:Jean-Luc Godard 10733:Charlie Chaplin 10695: 10690: 10660: 10655: 10614:Martin Scorsese 10596:Stanley Kubrick 10433: 10428: 10398: 10393: 10388:Carol Littleton 10346:Lina Wertmüller 10306:Charles Burnett 10292:Lynn Stalmaster 10250:Angela Lansbury 10216:Jean-Luc Godard 10192:Robert F. Boyle 10186:Ennio Morricone 10140: 9954: 9916:Charlie Chaplin 9768:/ Kemp Niver / 9737:Forbidden Games 9696: 9619:Albert E. Smith 9510:Nathan Levinson 9458:Oliver T. Marsh 9442:Farciot Edouart 9434:Gordon Jennings 9360:Charlie Chaplin 9344: 9339: 9304: 9296: 9291: 9189:Duel in the Sun 9117:So Red the Rose 9101:Our Daily Bread 8917:Peg o' My Heart 8885:Love Never Dies 8755: 8749: 8641: 8636: 8634: 8631: 8589:Wayback Machine 8571:Wayback Machine 8554:Wayback Machine 8543:Duel in the Sun 8519:Silver, Charles 8474:Duel in the Sun 8364:Higham, Charles 8225: 8220: 8219: 8209: 8207: 8199: 8198: 8194: 8185: 8184: 8180: 8170: 8168: 8155: 8154: 8150: 8133: 8132: 8128: 8123: 8119: 8109: 8107: 8097: 8093: 8078: 8074: 8059: 8055: 8048: 8032: 8028: 8023: 8021: 8015: 8011: 8006: 8000: 7998: 7994: 7989: 7987: 7985: 7981: 7972: 7966: 7962: 7957: 7955: 7951: 7946: 7942: 7937: 7935: 7933: 7929: 7924: 7917: 7906: 7902: 7898:Tonguette, 2011 7897: 7890: 7885: 7881: 7872: 7870: 7863: 7859: 7854: 7846: 7842: 7837: 7833: 7828: 7826: 7822: 7817: 7813: 7808: 7805:Bishop Berkeley 7802: 7796: 7792: 7786: 7783: 7779: 7774: 7772: 7768: 7759: 7756: 7752: 7747: 7745: 7741: 7736: 7733: 7730: 7726: 7721: 7717: 7711: 7709: 7705: 7696: 7692: 7687: 7685: 7682: 7678: 7673: 7669: 7660: 7656: 7650: 7646: 7640: 7638: 7635: 7631: 7625: 7622: 7618: 7613: 7609: 7604: 7598: 7596: 7592: 7586: 7584: 7580: 7575: 7571: 7559: 7545: 7541: 7535: 7528: 7526: 7522: 7517: 7515: 7511: 7505: 7501: 7496: 7492: 7487: 7483: 7478: 7474: 7469: 7465: 7460: 7456: 7447: 7445: 7441: 7436: 7432: 7427: 7423: 7418: 7415: 7411: 7405: 7401: 7395:Duel in the Sun 7392: 7388: 7383: 7381: 7377: 7367: 7363: 7358: 7354: 7349: 7345: 7340: 7336: 7331: 7325: 7321: 7316: 7310: 7308: 7305: 7301: 7296: 7294: 7291: 7288: 7286: 7282: 7277: 7274: 7271: 7269: 7266: 7262: 7257: 7255: 7252: 7249: 7247: 7243: 7238: 7234: 7229: 7225: 7216: 7214: 7212: 7210: 7200: 7197: 7194: 7190: 7185: 7183: 7173: 7169: 7164: 7160: 7155: 7153: 7150: 7147: 7144: 7142: 7139: 7137: 7134: 7132: 7128: 7123: 7119: 7113: 7109: 7104: 7100: 7095: 7089: 7085: 7080: 7078: 7074: 7069: 7065: 7059: 7055: 7050: 7046: 7036: 7032: 7026: 7023:Duel in the Sun 7020: 7016: 7011: 7007: 7002: 6998: 6988:Duel in the Sun 6984:Duel in the Sun 6981: 6980:, N.Y. Times)." 6978:Bosley Crowther 6975: 6971: 6958: 6952: 6948: 6943: 6941: 6938: 6936: 6933: 6929: 6924: 6920: 6915: 6911: 6906: 6904: 6901: 6897: 6891: 6887: 6882: 6880: 6876: 6870: 6868: 6864: 6859: 6857: 6855: 6851: 6846: 6844: 6840: 6835: 6832: 6828: 6822: 6820: 6818: 6814: 6808: 6805:Our Daily Bread 6798: 6795: 6791: 6785: 6781: 6775: 6771: 6765: 6763: 6760: 6756: 6751: 6747: 6742: 6738: 6729: 6727: 6723: 6718: 6716: 6712: 6706: 6704: 6700: 6695: 6683: 6679: 6665: 6661: 6656: 6652: 6646: 6644: 6640: 6635: 6633: 6629: 6624: 6622: 6620: 6616: 6610: 6606: 6601: 6599: 6597: 6593: 6588: 6584: 6579: 6569: 6565: 6559: 6555: 6550: 6548: 6544: 6539: 6532:So Red the Rose 6521: 6517: 6512: 6508: 6500: 6496: 6491: 6489: 6485: 6480: 6476: 6471: 6467: 6462: 6458: 6453: 6449: 6443: 6439: 6434: 6430: 6425: 6421: 6416: 6412: 6407: 6403: 6398: 6394: 6389: 6386: 6382: 6377: 6375: 6371: 6365: 6363: 6359: 6354: 6352: 6350: 6346: 6341: 6339: 6337: 6335: 6331: 6326: 6324: 6320: 6315: 6313: 6309: 6304: 6302: 6300: 6297: 6293: 6288: 6286: 6284: 6280: 6275: 6273: 6271: 6267: 6262: 6260: 6256: 6251: 6247: 6242: 6239: 6237: 6234: 6232: 6228: 6223: 6219: 6210: 6206: 6201: 6197: 6191: 6187: 6181: 6177: 6172: 6168: 6163: 6159: 6153: 6149: 6144: 6141: 6137: 6131: 6129: 6127: 6125: 6121: 6112: 6110: 6092: 6083: 6076: 6072: 6067: 6065: 6063: 6059: 6055:Reinhardt, 2020 6054: 6050: 6040: 6036: 6031: 6028: 6021: 6017: 6008: 6006: 6002: 5997: 5995: 5991: 5986: 5982: 5977: 5973: 5962: 5960: 5956: 5951: 5945: 5941: 5932: 5930: 5926: 5920: 5918: 5914: 5909: 5905: 5899: 5897: 5894:Bicycle Thieves 5881: 5878: 5874: 5869: 5867: 5865: 5863: 5861: 5857: 5852: 5850: 5846: 5841: 5839: 5835: 5830: 5826: 5813: 5809: 5804: 5800: 5787: 5783: 5778: 5774: 5769: 5765: 5760: 5756: 5751: 5747: 5742: 5738: 5733: 5726: 5721: 5717: 5712: 5708: 5703: 5699: 5694: 5690: 5685: 5681: 5676: 5672: 5667: 5663: 5658: 5654: 5648: 5644: 5638: 5634: 5629: 5625: 5619: 5617: 5613: 5608: 5604: 5599: 5595: 5590: 5586: 5581: 5577: 5572: 5568: 5563: 5561: 5557: 5552: 5546: 5536: 5534: 5530: 5526:Berlinale, 2020 5525: 5521: 5516: 5512: 5507: 5503: 5497: 5494: 5490: 5485: 5483: 5479: 5474: 5470: 5465: 5464:"a documentary" 5459: 5455: 5450: 5446: 5441: 5437: 5432: 5429: 5427: 5423: 5418: 5411: 5404: 5381: 5377: 5362: 5358: 5353: 5349: 5344: 5340: 5331: 5327: 5318: 5316: 5314: 5310: 5300: 5298: 5285: 5284: 5280: 5270: 5268: 5260: 5259: 5255: 5242: 5241: 5237: 5232: 5228: 5223: 5219: 5213: 5209: 5203: 5199: 5194: 5190: 5184: 5180: 5174: 5170: 5164: 5160: 5155: 5145: 5141: 5132: 5130: 5127: 5123: 5118: 5116: 5114: 5111: 5107: 5102: 5082: 5073: 5068: 5051: 5046: 5029: 5024: 5017:Duel in the Sun 5007: 5002: 4988: 4983: 4966: 4961: 4944: 4939: 4922: 4917: 4898: 4893: 4874: 4869: 4849: 4844: 4832: 4818:Duel in the Sun 4769:Duel in the Sun 4660: 4567:Irving Thalberg 4537:Lewis Milestone 4475: 4470: 4361:Duel in the Sun 4286:So Red the Rose 4270:Our Daily Bread 4071:Peg o' My Heart 4039:Love Never Dies 3903: 3891: 3856: 3835:(m. 1926–1931) 3807:(later married 3802:(m. 1915–1924) 3793: 3756: 3730:Our Daily Bread 3706: 3675: 3580:The Marble Faun 3510:Mary Baker Eddy 3489:Kenneth Roberts 3485:Rogers' Rangers 3469: 3436: 3396:Bishop Berkeley 3384: 3376: 3330: 3251:Natasha Rostova 3232:Pierre Bezukhov 3201: 3151: 3109:. Screenwriter 3107:Brandon deWilde 3070: 3053: 3048:Autobiography: 3016:Raymond Durgnat 3014:Film historian 3002:Charlton Heston 2998:Duel in the Sun 2990: 2929: 2737:Duel in the Sun 2715: 2697:Warner Brothers 2630:Duel in the Sun 2622: 2587:Duel in the Sun 2579: 2574:Duel in the Sun 2563:Broken Blossoms 2523:Duel in the Sun 2516:Directors Guild 2503:Duel in the Sun 2487:Duel in the Sun 2468: 2464:Duel in the Sun 2456:Duel in the Sun 2450:The failure of 2445:Raymond Durgnat 2312: 2305:interventionist 2286:Talbot Jennings 2178:" sequences in 2109:National Velvet 2048: 2020:Lewis Milestone 2012:William Wellman 1997: 1985:William LeBaron 1978:Duel in the Sun 1914:So Red the Rose 1889:So Red the Rose 1855:So Red the Rose 1829:So Red the Rose 1825: 1740:, the story by 1663: 1650:Our Daily Bread 1640:Our Daily Bread 1624:Our Daily Bread 1602:, a city girl ( 1582:Our Daily Bread 1572: 1566:was completed. 1539:Dolores del Río 1517: 1486:Charlie Chaplin 1452:Prohibition era 1443:Duel in the Sun 1422:Production Code 1418: 1395:Our Daily Bread 1336: 1287: 1195: 1194: 1193: 1192: 1183: 1175: 1174: 1173: 1165: 1164: 1139: 1112: 1060:Irving Thalberg 1050:Lewis Milestone 1022: 984: 935: 898:Irving Thalberg 890: 885: 856:Peg o' My Heart 835:Peg o' My Heart 831:Laurette Taylor 823: 819:Peg o' My Heart 783:Male and Female 749:Love Never Dies 725:of California. 615: 563: 545: 507: 488:Edward Sedgwick 484: 448: 416:Mary Baker Eddy 363: 305:Duel in the Sun 246: 242: 224: 223: 215: 211: 208: 198: 195: 1931) 186: 182: 179: 178: 168: 165: 1924) 156: 152: 149: 148: 122: 94: 88: 84: 75: 69: 63: 61: 60: 59: 49: 37: 28: 23: 22: 15: 12: 11: 5: 11996: 11986: 11985: 11980: 11975: 11970: 11965: 11960: 11955: 11950: 11945: 11940: 11935: 11930: 11925: 11920: 11915: 11910: 11905: 11900: 11883: 11882: 11880: 11879: 11873: 11867: 11861: 11855: 11849: 11843: 11837: 11831: 11825: 11819: 11813: 11807: 11804:Robert Aldrich 11801: 11795: 11789: 11783: 11777: 11771: 11765: 11759: 11753: 11747: 11744:George Stevens 11741: 11735: 11728: 11725: 11724: 11716: 11715: 11708: 11701: 11693: 11684: 11683: 11681: 11680: 11677:Lupita Nyong'o 11674: 11668: 11662: 11656: 11650: 11644: 11641:Paul Verhoeven 11638: 11632: 11626: 11620: 11614: 11608: 11602: 11596: 11590: 11584: 11578: 11572: 11566: 11560: 11554: 11548: 11541: 11539: 11535: 11534: 11532: 11531: 11525: 11519: 11513: 11507: 11501: 11495: 11489: 11483: 11480:Annie Girardot 11477: 11471: 11465: 11459: 11453: 11447: 11441: 11435: 11429: 11423: 11417: 11414:Jutta Brückner 11411: 11405: 11399: 11393: 11387: 11380: 11378: 11374: 11373: 11371: 11370: 11364: 11358: 11355:David Robinson 11352: 11346: 11343: 11340:George Stevens 11337: 11331: 11325: 11319: 11313: 11307: 11301: 11295: 11289: 11283: 11277: 11274:Robert Aldrich 11271: 11265: 11262: 11255: 11253: 11249: 11248: 11241: 11240: 11233: 11226: 11218: 11209: 11208: 11203: 11202: 11200: 11199: 11189: 11182:Liliana Cavani 11179: 11169: 11159: 11149: 11139: 11129: 11126:Robert Redford 11119: 11109: 11103: 11093: 11087: 11084:Francesco Rosi 11081: 11075: 11069: 11063: 11057: 11051: 11045: 11038:Hayao Miyazaki 11035: 11025: 11015: 11009: 11002: 11000: 10996: 10995: 10993: 10992: 10989:Clint Eastwood 10986: 10980: 10966: 10952: 10949:Michèle Morgan 10945:Dustin Hoffman 10934: 10900: 10886: 10879:Roman Polanski 10875:Robert De Niro 10868: 10854: 10844: 10834: 10831:Robert Bresson 10828: 10822: 10812: 10806: 10800: 10794: 10775:Michael Powell 10771:Akira Kurosawa 10744: 10730: 10727:Ingmar Bergman 10716: 10710: 10703: 10701: 10697: 10696: 10689: 10688: 10681: 10674: 10666: 10657: 10656: 10654: 10653: 10647: 10641: 10635: 10632:Norman Jewison 10629: 10626:Clint Eastwood 10623: 10617: 10611: 10605: 10599: 10593: 10587: 10581: 10575: 10569: 10566:Akira Kurosawa 10563: 10560:Ingmar Bergman 10557: 10551: 10545: 10539: 10533: 10527: 10521: 10515: 10509: 10499: 10496:Fred Zinnemann 10493: 10487: 10481: 10475: 10472:George Stevens 10469: 10463: 10457: 10451: 10445: 10438: 10435: 10434: 10427: 10426: 10419: 10412: 10404: 10395: 10394: 10392: 10391: 10380:Angela Bassett 10377: 10363: 10349: 10335: 10321: 10303: 10296:Anne V. Coates 10285: 10275: 10272:Maureen O'Hara 10268:Hayao Miyazaki 10261: 10247: 10233: 10223: 10212:Kevin Brownlow 10209: 10195: 10189: 10183: 10177: 10171: 10165: 10159: 10156:Robert Redford 10152:Sidney Poitier 10148: 10146: 10142: 10141: 10139: 10138: 10128: 10122: 10116: 10110: 10104: 10094: 10088: 10082: 10076: 10070: 10060: 10057:Akira Kurosawa 10054: 10044: 10038: 10028: 10018: 10012: 10006: 10000: 9994: 9987: 9969: 9966:Margaret Booth 9962: 9960: 9956: 9955: 9953: 9952: 9946: 9936: 9929:Henri Langlois 9926: 9919: 9913: 9903: 9897: 9887: 9881: 9871: 9865: 9859: 9856:Jerome Robbins 9849: 9835: 9825: 9819: 9801: 9795: 9787: 9778:Vincent Winter 9759: 9741: 9717: 9704: 9702: 9698: 9697: 9695: 9694: 9681:Louis B. Mayer 9678: 9658: 9638: 9604: 9597:Ernst Lubitsch 9589:Harold Russell 9586: 9565: 9555: 9549: 9535: 9520:William Garity 9513: 9503: 9500:Technicolor SA 9465: 9454:Louis Mesenkop 9450:Loren L. Ryder 9418:J. Arthur Ball 9415: 9397: 9381: 9378:D. W. Griffith 9375: 9372:Shirley Temple 9369: 9363: 9352: 9350: 9346: 9345: 9338: 9337: 9330: 9323: 9315: 9309: 9306: 9305: 9293: 9292: 9290: 9289: 9281: 9273: 9265: 9257: 9249: 9241: 9233: 9225: 9217: 9209: 9201: 9193: 9185: 9177: 9169: 9161: 9153: 9145: 9137: 9129: 9121: 9113: 9105: 9097: 9089: 9081: 9073: 9065: 9057: 9049: 9041: 9033: 9025: 9017: 9009: 9001: 8993: 8989:The Big Parade 8985: 8977: 8969: 8961: 8953: 8945: 8937: 8929: 8921: 8913: 8905: 8897: 8889: 8881: 8873: 8865: 8857: 8853:Poor Relations 8849: 8845:The Other Half 8841: 8833: 8825: 8817: 8809: 8801: 8793: 8785: 8777: 8769: 8760: 8757: 8756: 8748: 8747: 8740: 8733: 8725: 8719: 8718: 8712: 8706: 8696: 8684: 8675: 8660: 8647: 8646: 8630: 8629:External links 8627: 8626: 8625: 8614: 8603: 8592: 8574: 8557: 8539: 8529: 8516: 8505: 8491: 8481: 8470: 8459: 8448: 8437: 8426: 8415: 8408: 8397: 8386: 8371: 8361: 8354: 8340: 8329: 8318: 8301: 8294: 8283: 8272: 8261: 8250: 8243: 8236: 8224: 8221: 8218: 8217: 8192: 8178: 8148: 8126: 8117: 8091: 8072: 8053: 8046: 8026: 8009: 7992: 7979: 7960: 7949: 7940: 7927: 7915: 7900: 7888: 7879: 7875:The Big Parade 7867:The Big Parade 7857: 7850:The Big Parade 7840: 7831: 7820: 7811: 7790: 7777: 7766: 7750: 7739: 7724: 7715: 7703: 7690: 7676: 7667: 7654: 7644: 7629: 7616: 7607: 7590: 7578: 7569: 7539: 7520: 7509: 7499: 7490: 7481: 7472: 7463: 7454: 7439: 7430: 7421: 7409: 7399: 7386: 7375: 7361: 7352: 7343: 7334: 7319: 7299: 7280: 7260: 7241: 7232: 7223: 7176:Edward Carrere 7167: 7158: 7126: 7117: 7107: 7098: 7083: 7072: 7063: 7053: 7044: 7030: 7014: 7005: 6996: 6969: 6946: 6927: 6918: 6909: 6895: 6885: 6874: 6862: 6849: 6838: 6826: 6812: 6801:The Big Parade 6799:Higham, 1972: 6789: 6779: 6769: 6754: 6745: 6736: 6721: 6710: 6698: 6677: 6659: 6650: 6638: 6627: 6614: 6604: 6591: 6582: 6563: 6553: 6542: 6515: 6506: 6494: 6483: 6474: 6465: 6456: 6447: 6437: 6428: 6419: 6410: 6401: 6392: 6380: 6369: 6357: 6353:Landazuri, TMC 6344: 6329: 6327:Landazuri, TMC 6318: 6307: 6291: 6278: 6265: 6254: 6245: 6226: 6217: 6204: 6195: 6185: 6175: 6166: 6157: 6147: 6135: 6119: 6070: 6057: 6048: 6034: 6015: 6000: 5989: 5980: 5971: 5954: 5939: 5924: 5912: 5903: 5872: 5855: 5844: 5833: 5824: 5820:The Big Parade 5807: 5798: 5790:The Big Parade 5781: 5772: 5763: 5754: 5745: 5736: 5724: 5715: 5706: 5697: 5688: 5679: 5670: 5661: 5652: 5642: 5632: 5623: 5611: 5602: 5593: 5584: 5575: 5566: 5555: 5539:New York Times 5535:Thompson, 2011 5528: 5519: 5510: 5501: 5488: 5477: 5468: 5453: 5444: 5435: 5421: 5409: 5402: 5375: 5356: 5347: 5338: 5325: 5308: 5278: 5253: 5235: 5226: 5217: 5207: 5197: 5188: 5178: 5168: 5158: 5139: 5121: 5104: 5103: 5101: 5098: 5081: 5078: 5075: 5074: 5071: 5069: 5066: 5064: 5057: 5053: 5052: 5049: 5047: 5044: 5042: 5035: 5031: 5030: 5027: 5025: 5022: 5020: 5013: 5009: 5008: 5005: 5003: 5000: 4998: 4990: 4989: 4986: 4984: 4981: 4979: 4972: 4968: 4967: 4964: 4962: 4959: 4957: 4950: 4946: 4945: 4942: 4940: 4937: 4935: 4928: 4924: 4923: 4920: 4918: 4915: 4913: 4906: 4900: 4899: 4896: 4894: 4891: 4889: 4882: 4876: 4875: 4872: 4870: 4867: 4865: 4858: 4852: 4851: 4848:Academy Award 4846: 4843:Academy Award 4841: 4838: 4831: 4828: 4825: 4824: 4821: 4814: 4809: 4805: 4804: 4801: 4794: 4789: 4785: 4784: 4776: 4775: 4772: 4765: 4763:Jennifer Jones 4760: 4756: 4755: 4752: 4745: 4740: 4736: 4735: 4727: 4726: 4723: 4716: 4711: 4707: 4706: 4703: 4696: 4691: 4685: 4684: 4676: 4675: 4672: 4669: 4666: 4659: 4656: 4653: 4652: 4649: 4644: 4640: 4639: 4631:George Stevens 4628: 4621: 4617: 4616: 4605: 4598: 4594: 4593: 4582: 4576: 4575: 4564: 4557: 4552: 4546: 4545: 4534: 4527: 4521: 4520: 4509: 4502: 4497: 4491: 4490: 4487: 4484: 4481: 4474: 4471: 4467: 4466: 4462: 4461: 4455: 4449: 4441: 4433: 4425: 4417: 4409: 4401: 4393: 4385: 4377: 4365: 4357: 4349: 4341: 4333: 4325: 4314: 4306: 4298: 4290: 4282: 4274: 4266: 4258: 4256:I Was Faithful 4247: 4239: 4231: 4223: 4218:, US TV title 4211: 4203: 4195: 4185: 4184: 4183: 4171: 4163: 4155: 4147: 4143:The Big Parade 4139: 4131: 4123: 4115: 4107: 4099: 4091: 4083: 4075: 4067: 4059: 4051: 4043: 4035: 4027: 4019: 4011: 4007:Poor Relations 4003: 3999:The Other Half 3995: 3987: 3979: 3971: 3963: 3955: 3947: 3939: 3931: 3923: 3915: 3904: 3902: 3899: 3869: 3855: 3852: 3851: 3850: 3849:(m. 1932–1978) 3847:Elizabeth Hill 3844: 3843: 3842: 3839: 3830: 3829: 3828: 3827: 3826: 3820: 3819: 3815: 3814: 3813: 3812: 3809:Jascha Heifetz 3792: 3789: 3764:anti-communist 3755: 3752: 3748:Love and Money 3743:Love and Money 3705: 3702:Love and Money 3698: 3687:On Film Making 3674: 3671: 3602:'s 1967 novel 3572:Allied Artists 3534:The Big Parade 3468: 3465: 3457:The Big Parade 3449:The Big Parade 3435: 3429: 3383: 3377: 3375: 3372: 3329: 3323: 3247:Audrey Hepburn 3213:Napoleonic era 3200: 3194: 3150: 3144: 3132:Allied Artists 3099:Walter Brennan 3089:John Steinbeck 3069: 3066: 3052: 3046: 3009:North Carolina 2989: 2983: 2960:Central Valley 2928: 2922: 2784:Edward Carrere 2753:'s 1938 novel 2714: 2711: 2676:George Stevens 2664:Dorothy Lamour 2621: 2611: 2558:D. W. Griffith 2553: 2518:arbitration. 2495:Jennifer Jones 2467: 2460: 2280:The script by 2120:Clarence Brown 2047: 2044: 2016:Ernst Lubitsch 1996: 1993: 1935:Fred MacMurray 1878:Randolph Scott 1847:Ernst Lubitsch 1824: 1821: 1742:Francis Marion 1693:Samuel Goldwyn 1662: 1659: 1629:The Big Parade 1604:Miriam Hopkins 1571: 1568: 1562:shortly after 1556:Elizabeth Hill 1533:filmed in the 1531:David Selznick 1516: 1510: 1482:Francis Marion 1448:Hemingwayesque 1417: 1407: 1381:D. W. Griffith 1335: 1329: 1286: 1283: 1224:Gloria Swanson 1210:, veterans of 1208:Dell Henderson 1204:Marie Dressler 1180:Gloria Swanson 1177: 1176: 1167: 1166: 1158: 1157: 1156: 1155: 1154: 1138: 1135: 1111: 1105: 1045:Westfront 1918 1032:The Big Parade 1027:The Big Parade 1013:Charles Higham 1001:The Big Parade 996: 992:The Big Parade 983: 980:The Big Parade 976: 972:The Big Parade 953:Aileen Pringle 934: 931: 889: 886: 884: 881: 827:Louis B. Mayer 825:Film producer 822: 815: 804:Jascha Heifetz 792:Woman, Wake Up 788:Gloria Swanson 754:Thomas H. Ince 627:First National 614: 611: 602:Poor Relations 596:The Other Half 562: 559: 544: 541: 515:Charles Rosher 506: 503: 483: 480: 447: 444: 362: 359: 328:Jennifer Jones 277:The Big Parade 234: 233: 230: 226: 225: 213: 209: 206:Elizabeth Hill 204: 203: 202: 201: 184: 180: 174: 173: 172: 171: 154: 150: 144: 143: 142: 141: 138: 136: 132: 131: 128: 124: 123: 121: 120: 117: 114: 110: 108: 104: 103: 100: 96: 95: 89: 87:(aged 88) 81: 77: 76: 70: 57: 55: 51: 50: 47: 39: 38: 35: 26: 9: 6: 4: 3: 2: 11995: 11984: 11981: 11979: 11976: 11974: 11971: 11969: 11966: 11964: 11961: 11959: 11956: 11954: 11951: 11949: 11946: 11944: 11941: 11939: 11936: 11934: 11931: 11929: 11926: 11924: 11921: 11919: 11916: 11914: 11911: 11909: 11906: 11904: 11901: 11899: 11896: 11895: 11893: 11877: 11874: 11871: 11868: 11865: 11864:Paris Barclay 11862: 11859: 11856: 11853: 11852:Michael Apted 11850: 11847: 11844: 11841: 11838: 11835: 11834:Gene Reynolds 11832: 11829: 11826: 11823: 11822:Gilbert Cates 11820: 11817: 11814: 11811: 11808: 11805: 11802: 11799: 11796: 11793: 11790: 11787: 11786:George Sidney 11784: 11781: 11778: 11775: 11774:George Sidney 11772: 11769: 11766: 11763: 11760: 11757: 11756:John Cromwell 11754: 11751: 11750:Mark Sandrich 11748: 11745: 11742: 11739: 11736: 11733: 11730: 11729: 11726: 11722: 11714: 11709: 11707: 11702: 11700: 11695: 11694: 11691: 11678: 11675: 11672: 11669: 11666: 11663: 11660: 11657: 11654: 11651: 11648: 11645: 11642: 11639: 11636: 11633: 11630: 11627: 11624: 11623:James Schamus 11621: 11618: 11615: 11612: 11609: 11606: 11603: 11600: 11599:Werner Herzog 11597: 11594: 11593:Tilda Swinton 11591: 11588: 11585: 11582: 11581:Paul Schrader 11579: 11576: 11573: 11570: 11567: 11564: 11561: 11558: 11555: 11552: 11549: 11546: 11545:Bill Mechanic 11543: 11542: 11540: 11536: 11529: 11526: 11523: 11522:Ángela Molina 11520: 11517: 11514: 11511: 11508: 11505: 11502: 11499: 11496: 11493: 11492:Jeremy Thomas 11490: 11487: 11484: 11481: 11478: 11475: 11472: 11469: 11466: 11463: 11460: 11457: 11454: 11451: 11448: 11445: 11442: 11439: 11436: 11433: 11430: 11427: 11426:Jeanne Moreau 11424: 11421: 11420:Joan Fontaine 11418: 11415: 11412: 11409: 11408:Ingrid Thulin 11406: 11403: 11400: 11397: 11394: 11391: 11388: 11385: 11382: 11381: 11379: 11375: 11368: 11365: 11362: 11359: 11356: 11353: 11350: 11349:Eleanor Perry 11347: 11344: 11341: 11338: 11335: 11332: 11329: 11326: 11323: 11320: 11317: 11314: 11311: 11308: 11305: 11302: 11299: 11296: 11293: 11290: 11287: 11284: 11281: 11278: 11275: 11272: 11269: 11266: 11263: 11260: 11257: 11256: 11254: 11250: 11246: 11239: 11234: 11232: 11227: 11225: 11220: 11219: 11216: 11197: 11193: 11190: 11187: 11183: 11180: 11177: 11176:Paul Schrader 11173: 11170: 11167: 11163: 11160: 11157: 11156:Tilda Swinton 11153: 11150: 11147: 11146:Julie Andrews 11143: 11140: 11137: 11133: 11130: 11127: 11123: 11120: 11117: 11113: 11110: 11107: 11104: 11101: 11097: 11094: 11091: 11088: 11085: 11082: 11079: 11076: 11073: 11070: 11067: 11066:John Lasseter 11064: 11061: 11058: 11055: 11052: 11049: 11046: 11043: 11039: 11036: 11033: 11032:Stanley Donen 11029: 11026: 11023: 11019: 11016: 11013: 11010: 11007: 11004: 11003: 11001: 10997: 10990: 10987: 10984: 10981: 10978: 10977:Andrzej Wajda 10974: 10970: 10969:Warren Beatty 10967: 10964: 10960: 10956: 10953: 10950: 10946: 10942: 10938: 10937:Robert Altman 10935: 10932: 10928: 10927:Alberto Sordi 10924: 10920: 10919:Alain Resnais 10916: 10912: 10908: 10904: 10901: 10898: 10894: 10890: 10887: 10884: 10880: 10876: 10872: 10869: 10866: 10862: 10861:Jeanne Moreau 10858: 10855: 10852: 10848: 10845: 10842: 10838: 10837:Miklós Jancsó 10835: 10832: 10829: 10826: 10823: 10820: 10816: 10813: 10810: 10807: 10804: 10801: 10798: 10795: 10792: 10788: 10784: 10780: 10776: 10772: 10768: 10764: 10760: 10756: 10752: 10748: 10745: 10742: 10738: 10734: 10731: 10728: 10724: 10720: 10717: 10714: 10711: 10708: 10705: 10704: 10702: 10698: 10694: 10687: 10682: 10680: 10675: 10673: 10668: 10667: 10664: 10651: 10648: 10645: 10642: 10639: 10636: 10633: 10630: 10627: 10624: 10621: 10618: 10615: 10612: 10609: 10606: 10603: 10600: 10597: 10594: 10591: 10588: 10585: 10582: 10579: 10578:Robert Altman 10576: 10573: 10570: 10567: 10564: 10561: 10558: 10555: 10552: 10549: 10546: 10543: 10540: 10537: 10534: 10531: 10528: 10525: 10522: 10519: 10516: 10513: 10510: 10507: 10503: 10500: 10497: 10494: 10491: 10488: 10485: 10484:William Wyler 10482: 10479: 10478:Frank Borzage 10476: 10473: 10470: 10467: 10464: 10461: 10458: 10455: 10452: 10449: 10446: 10443: 10440: 10439: 10436: 10432: 10425: 10420: 10418: 10413: 10411: 10406: 10405: 10402: 10389: 10385: 10381: 10378: 10375: 10371: 10367: 10364: 10361: 10357: 10353: 10350: 10347: 10343: 10339: 10336: 10333: 10329: 10328:Lalo Schifrin 10325: 10322: 10319: 10315: 10311: 10307: 10304: 10301: 10297: 10293: 10289: 10286: 10283: 10282:Gena Rowlands 10279: 10276: 10273: 10269: 10265: 10262: 10259: 10255: 10251: 10248: 10245: 10241: 10237: 10234: 10231: 10227: 10224: 10221: 10217: 10213: 10210: 10207: 10206:Gordon Willis 10203: 10199: 10198:Lauren Bacall 10196: 10193: 10190: 10187: 10184: 10181: 10180:Robert Altman 10178: 10175: 10172: 10169: 10168:Blake Edwards 10166: 10163: 10162:Peter O'Toole 10160: 10157: 10153: 10150: 10149: 10147: 10143: 10136: 10135:Ernest Lehman 10132: 10129: 10126: 10125:Andrzej Wajda 10123: 10120: 10117: 10114: 10113:Stanley Donen 10111: 10108: 10105: 10102: 10098: 10095: 10092: 10089: 10086: 10083: 10080: 10077: 10074: 10071: 10068: 10064: 10061: 10058: 10055: 10052: 10048: 10045: 10042: 10041:Ralph Bellamy 10039: 10036: 10032: 10029: 10026: 10022: 10021:James Stewart 10019: 10016: 10013: 10010: 10009:Mickey Rooney 10007: 10004: 10001: 9998: 9995: 9992: 9991:Alec Guinness 9988: 9985: 9981: 9977: 9973: 9970: 9967: 9964: 9963: 9961: 9957: 9950: 9949:Mary Pickford 9947: 9944: 9940: 9937: 9934: 9930: 9927: 9924: 9920: 9917: 9914: 9911: 9907: 9904: 9901: 9898: 9895: 9891: 9890:John Chambers 9888: 9885: 9882: 9879: 9875: 9874:Yakima Canutt 9872: 9869: 9866: 9863: 9860: 9857: 9853: 9850: 9847: 9843: 9839: 9836: 9833: 9832:Lee de Forest 9829: 9828:Buster Keaton 9826: 9823: 9820: 9817: 9813: 9809: 9805: 9802: 9799: 9796: 9793: 9792: 9788: 9785: 9784: 9779: 9775: 9771: 9767: 9763: 9760: 9757: 9753: 9749: 9745: 9742: 9739: 9738: 9733: 9729: 9725: 9721: 9718: 9715: 9714: 9709: 9706: 9705: 9703: 9699: 9692: 9691: 9686: 9685:George Murphy 9682: 9679: 9676: 9675: 9670: 9666: 9662: 9661:Jean Hersholt 9659: 9656: 9652: 9648: 9647: 9642: 9641:Walter Wanger 9639: 9636: 9635: 9630: 9629: 9624: 9620: 9616: 9612: 9608: 9607:James Baskett 9605: 9602: 9598: 9594: 9590: 9587: 9584: 9580: 9579: 9574: 9573:Walter Wanger 9570: 9566: 9563: 9559: 9556: 9553: 9550: 9547: 9543: 9539: 9538:Charles Boyer 9536: 9533: 9529: 9525: 9521: 9517: 9514: 9511: 9507: 9504: 9501: 9497: 9493: 9489: 9485: 9484:Jean Hersholt 9481: 9477: 9473: 9469: 9466: 9463: 9459: 9455: 9451: 9447: 9443: 9439: 9435: 9431: 9430:Mickey Rooney 9427: 9426:Deanna Durbin 9423: 9419: 9416: 9413: 9409: 9405: 9401: 9398: 9395: 9394:Harold Rosson 9391: 9387: 9386: 9382: 9379: 9376: 9373: 9370: 9367: 9364: 9361: 9357: 9354: 9353: 9351: 9347: 9343: 9336: 9331: 9329: 9324: 9322: 9317: 9316: 9313: 9307: 9300: 9287: 9286: 9282: 9279: 9278: 9274: 9271: 9270: 9266: 9263: 9262: 9261:War and Peace 9258: 9255: 9254: 9250: 9247: 9246: 9242: 9239: 9238: 9234: 9231: 9230: 9226: 9223: 9222: 9218: 9215: 9214: 9210: 9207: 9206: 9202: 9199: 9198: 9194: 9191: 9190: 9186: 9183: 9182: 9178: 9175: 9174: 9170: 9167: 9166: 9162: 9159: 9158: 9154: 9151: 9150: 9146: 9143: 9142: 9138: 9135: 9134: 9133:Stella Dallas 9130: 9127: 9126: 9122: 9119: 9118: 9114: 9111: 9110: 9106: 9103: 9102: 9098: 9095: 9094: 9090: 9087: 9086: 9082: 9079: 9078: 9074: 9071: 9070: 9066: 9063: 9062: 9058: 9055: 9054: 9053:Billy the Kid 9050: 9047: 9046: 9042: 9039: 9038: 9034: 9031: 9030: 9026: 9023: 9022: 9018: 9015: 9014: 9010: 9007: 9006: 9002: 8999: 8998: 8994: 8991: 8990: 8986: 8983: 8982: 8978: 8975: 8974: 8970: 8967: 8966: 8962: 8959: 8958: 8957:Wine of Youth 8954: 8951: 8950: 8946: 8943: 8942: 8938: 8935: 8934: 8930: 8927: 8926: 8922: 8919: 8918: 8914: 8911: 8910: 8906: 8903: 8902: 8898: 8895: 8894: 8890: 8887: 8886: 8882: 8879: 8878: 8877:The Sky Pilot 8874: 8871: 8870: 8866: 8863: 8862: 8858: 8855: 8854: 8850: 8847: 8846: 8842: 8839: 8838: 8834: 8831: 8830: 8826: 8823: 8822: 8818: 8815: 8814: 8810: 8807: 8806: 8802: 8799: 8798: 8794: 8791: 8790: 8789:Bud's Recruit 8786: 8783: 8782: 8778: 8775: 8774: 8770: 8767: 8766: 8762: 8761: 8758: 8754: 8746: 8741: 8739: 8734: 8732: 8727: 8726: 8723: 8716: 8713: 8710: 8707: 8704: 8700: 8697: 8695: 8693: 8688: 8685: 8683: 8679: 8676: 8674: 8670: 8665: 8661: 8658: 8653: 8649: 8648: 8644: 8633: 8623: 8619: 8615: 8612: 8608: 8604: 8601: 8597: 8593: 8590: 8586: 8583: 8579: 8575: 8572: 8568: 8565: 8562: 8558: 8555: 8551: 8548: 8544: 8540: 8537: 8534: 8530: 8527: 8524: 8520: 8517: 8514: 8510: 8506: 8504: 8503:9780671213411 8500: 8496: 8495:Primal Screen 8492: 8490: 8486: 8482: 8479: 8475: 8471: 8468: 8464: 8460: 8457: 8453: 8449: 8446: 8442: 8438: 8435: 8431: 8427: 8424: 8420: 8416: 8413: 8409: 8406: 8402: 8398: 8395: 8391: 8387: 8384: 8383:0-385-06935-9 8380: 8376: 8372: 8369: 8365: 8362: 8359: 8355: 8352: 8348: 8344: 8341: 8338: 8334: 8330: 8327: 8323: 8319: 8317: 8316:0-520-05798-8 8313: 8309: 8305: 8302: 8299: 8295: 8292: 8288: 8284: 8281: 8277: 8273: 8270: 8266: 8262: 8259: 8255: 8251: 8248: 8244: 8241: 8237: 8234: 8231: 8227: 8226: 8206: 8202: 8196: 8188: 8182: 8166: 8162: 8158: 8152: 8144: 8140: 8136: 8130: 8121: 8106: 8102: 8095: 8087: 8083: 8076: 8068: 8064: 8057: 8049: 8043: 8039: 8038: 8030: 8019: 8013: 8004: 7996: 7983: 7976: 7970: 7964: 7958:Thomson, 2007 7953: 7944: 7931: 7922: 7920: 7912: 7911: 7904: 7895: 7893: 7883: 7876: 7868: 7861: 7852: 7851: 7844: 7835: 7824: 7815: 7806: 7800: 7794: 7781: 7770: 7763: 7762:Andrew Sarris 7754: 7743: 7728: 7719: 7707: 7700: 7694: 7680: 7671: 7664: 7658: 7648: 7633: 7620: 7611: 7602: 7594: 7582: 7573: 7566: 7564: 7557: 7556: 7551: 7550: 7543: 7533: 7524: 7513: 7503: 7494: 7485: 7476: 7467: 7458: 7451: 7443: 7434: 7425: 7413: 7403: 7396: 7390: 7379: 7372: 7365: 7356: 7347: 7338: 7329: 7323: 7314: 7303: 7284: 7264: 7245: 7236: 7227: 7220: 7208: 7204: 7189: 7181: 7177: 7171: 7162: 7130: 7121: 7111: 7102: 7093: 7087: 7076: 7067: 7057: 7048: 7041: 7034: 7024: 7021:Miller, TMC: 7018: 7009: 7000: 6993: 6989: 6985: 6979: 6973: 6966: 6962: 6956: 6950: 6931: 6922: 6913: 6899: 6889: 6878: 6866: 6853: 6842: 6830: 6816: 6806: 6802: 6793: 6783: 6773: 6758: 6749: 6740: 6734:-era cinema." 6733: 6725: 6714: 6702: 6693: 6692: 6687: 6681: 6674: 6670: 6669:isolationists 6663: 6654: 6642: 6631: 6618: 6608: 6595: 6586: 6577: 6573: 6567: 6557: 6546: 6537: 6533: 6529: 6525: 6519: 6510: 6504: 6498: 6492:Thomson, 2011 6487: 6478: 6469: 6460: 6451: 6441: 6432: 6423: 6414: 6405: 6396: 6384: 6373: 6361: 6348: 6333: 6322: 6311: 6295: 6282: 6269: 6258: 6249: 6230: 6221: 6214: 6208: 6199: 6189: 6179: 6170: 6161: 6151: 6139: 6123: 6116: 6108: 6104: 6103: 6098: 6097: 6090: 6089: 6081: 6074: 6061: 6052: 6044: 6038: 6025: 6019: 6012: 6004: 5993: 5984: 5975: 5968: 5967: 5958: 5949: 5943: 5936: 5928: 5916: 5907: 5895: 5891: 5886: 5876: 5868:Thomson, 2007 5859: 5848: 5837: 5828: 5821: 5817: 5811: 5802: 5795: 5791: 5785: 5776: 5767: 5758: 5749: 5740: 5731: 5729: 5719: 5710: 5701: 5692: 5683: 5674: 5665: 5656: 5646: 5636: 5627: 5615: 5606: 5597: 5588: 5579: 5570: 5559: 5550: 5544: 5540: 5532: 5523: 5514: 5508:Holliman, TMC 5505: 5492: 5481: 5472: 5463: 5457: 5448: 5439: 5425: 5419:Thomson, 2007 5416: 5414: 5405: 5403:0-609-60233-0 5399: 5395: 5391: 5390: 5389:Isaac's Storm 5385: 5379: 5371: 5367: 5360: 5351: 5342: 5335: 5329: 5322: 5312: 5296: 5292: 5288: 5282: 5267: 5263: 5257: 5249: 5245: 5239: 5230: 5221: 5211: 5201: 5192: 5182: 5172: 5162: 5153: 5149: 5143: 5136: 5125: 5109: 5105: 5097: 5095: 5091: 5087: 5070: 5065: 5063: 5062: 5061:War and Peace 5058: 5055: 5054: 5048: 5043: 5041: 5040: 5036: 5033: 5032: 5026: 5021: 5019: 5018: 5014: 5011: 5010: 5004: 4999: 4997: 4996: 4992: 4991: 4985: 4980: 4978: 4977: 4973: 4969: 4963: 4958: 4956: 4955: 4951: 4948: 4947: 4941: 4936: 4934: 4933: 4929: 4926: 4925: 4919: 4914: 4912: 4911: 4907: 4905: 4902: 4901: 4895: 4890: 4888: 4887: 4883: 4881: 4878: 4877: 4871: 4866: 4864: 4863: 4859: 4857: 4854: 4853: 4847: 4842: 4839: 4836: 4835: 4822: 4820: 4819: 4815: 4813: 4810: 4807: 4806: 4802: 4800: 4799: 4798:Stella Dallas 4795: 4793: 4790: 4787: 4786: 4783: 4782: 4777: 4773: 4771: 4770: 4766: 4764: 4761: 4758: 4757: 4753: 4751: 4750: 4749:Stella Dallas 4746: 4744: 4741: 4738: 4737: 4734: 4733: 4728: 4724: 4722: 4721: 4717: 4715: 4712: 4709: 4708: 4704: 4702: 4701: 4697: 4695: 4694:Wallace Beery 4692: 4690: 4687: 4686: 4683: 4682: 4677: 4673: 4670: 4667: 4664: 4663: 4648: 4645: 4642: 4641: 4638: 4637: 4632: 4629: 4627: 4626: 4625:War and Peace 4622: 4619: 4618: 4615: 4614: 4609: 4606: 4604: 4603: 4599: 4596: 4595: 4592: 4591: 4586: 4585:Frank Borzage 4583: 4581: 4580:Best Director 4577: 4574: 4573: 4568: 4565: 4563: 4562: 4556: 4553: 4551: 4547: 4544: 4543: 4538: 4535: 4533: 4532: 4528: 4526: 4523: 4522: 4519: 4518: 4513: 4512:Frank Borzage 4510: 4508: 4507: 4503: 4501: 4500:Best Director 4496: 4493: 4492: 4488: 4485: 4482: 4479: 4478: 4465: 4459: 4456: 4453: 4450: 4447: 4446: 4442: 4439: 4438: 4437:War and Peace 4434: 4431: 4430: 4426: 4423: 4422: 4418: 4415: 4414: 4410: 4407: 4406: 4402: 4399: 4398: 4394: 4391: 4390: 4386: 4383: 4382: 4378: 4375: 4371: 4370: 4366: 4363: 4362: 4358: 4355: 4354: 4350: 4347: 4346: 4342: 4339: 4338: 4334: 4331: 4330: 4326: 4324: 4320: 4319: 4315: 4312: 4311: 4307: 4304: 4303: 4302:Stella Dallas 4299: 4296: 4295: 4291: 4288: 4287: 4283: 4280: 4279: 4275: 4272: 4271: 4267: 4264: 4263: 4259: 4257: 4253: 4252: 4248: 4245: 4244: 4240: 4237: 4236: 4232: 4229: 4228: 4224: 4221: 4217: 4216: 4215:Billy the Kid 4212: 4209: 4208: 4204: 4201: 4200: 4196: 4193: 4192: 4188: 4187: 4186: 4181: 4177: 4176: 4172: 4169: 4168: 4164: 4161: 4160: 4156: 4153: 4152: 4148: 4145: 4144: 4140: 4137: 4136: 4132: 4129: 4128: 4124: 4121: 4120: 4116: 4113: 4112: 4111:Wine of Youth 4108: 4105: 4104: 4100: 4097: 4096: 4092: 4089: 4088: 4084: 4081: 4080: 4076: 4073: 4072: 4068: 4065: 4064: 4060: 4057: 4056: 4052: 4049: 4048: 4044: 4041: 4040: 4036: 4033: 4032: 4031:The Sky Pilot 4028: 4025: 4024: 4020: 4017: 4016: 4012: 4009: 4008: 4004: 4001: 4000: 3996: 3993: 3992: 3988: 3985: 3984: 3980: 3977: 3976: 3972: 3969: 3968: 3964: 3961: 3960: 3956: 3953: 3952: 3948: 3945: 3944: 3943:Bud's Recruit 3940: 3937: 3936: 3932: 3929: 3928: 3924: 3921: 3920: 3916: 3913: 3910: 3909: 3908: 3907: 3898: 3896: 3889: 3887: 3883: 3879: 3875: 3874:Colleen Moore 3865: 3864:The Sky Pilot 3860: 3848: 3845: 3840: 3837: 3836: 3834: 3831: 3824: 3823: 3822: 3821: 3817: 3816: 3810: 3806: 3805: 3804: 3803: 3801: 3800:Florence Arto 3798: 3797: 3796: 3788: 3786: 3781: 3779: 3778:Griffith Park 3775: 3770: 3768: 3765: 3762:, joined the 3761: 3754:Personal life 3751: 3749: 3745: 3744: 3739: 3734: 3732: 3731: 3726: 3725: 3720: 3716: 3712: 3703: 3697: 3695: 3694:Arthur Knight 3690: 3688: 3684: 3680: 3670: 3668: 3664: 3660: 3658: 3653: 3651: 3647: 3643: 3639: 3637: 3632: 3630: 3629: 3624: 3620: 3618: 3613: 3611: 3607: 3606: 3601: 3597: 3595: 3590: 3588: 3584: 3582: 3581: 3575: 3573: 3569: 3565: 3561: 3560: 3555: 3550: 3546: 3542: 3541: 3536: 3535: 3530: 3526: 3525: 3520: 3518: 3513: 3511: 3507: 3503: 3502:(late 1950s): 3501: 3496: 3494: 3490: 3486: 3482: 3481: 3476: 3474: 3464: 3460: 3458: 3453: 3451: 3450: 3445: 3441: 3433: 3428: 3425: 3423: 3418: 3416: 3410: 3408: 3403: 3401: 3397: 3393: 3389: 3381: 3371: 3368: 3363: 3360: 3359:Andrew Sarris 3355: 3351: 3349: 3345: 3341: 3336: 3334: 3327: 3322: 3320: 3316: 3312: 3308: 3304: 3300: 3299: 3298:King of Kings 3294: 3293:War and Peace 3290: 3288: 3284: 3280: 3276: 3275:War and Peace 3271: 3269: 3268:Mario Soldati 3264: 3258: 3254: 3252: 3248: 3243: 3241: 3240:Peter Ustinov 3237: 3233: 3227: 3224: 3223:War and Peace 3220: 3219: 3218:War and Peace 3214: 3210: 3206: 3198: 3197:War and Peace 3193: 3191: 3190:Old Testament 3187: 3183: 3179: 3178:War and Peace 3175: 3171: 3167: 3163: 3160: 3156: 3148: 3143: 3141: 3137: 3133: 3129: 3125: 3124: 3119: 3114: 3112: 3108: 3104: 3100: 3096: 3095: 3090: 3086: 3081: 3079: 3075: 3074:Thomas Edison 3064: 3060: 3058: 3051: 3044: 3042: 3036: 3034: 3029: 3025: 3021: 3017: 3012: 3010: 3005: 3003: 2999: 2995: 2987: 2982: 2980: 2976: 2971: 2969: 2965: 2961: 2957: 2952: 2950: 2949: 2944: 2940: 2939: 2934: 2926: 2921: 2919: 2918: 2913: 2909: 2905: 2901: 2897: 2896: 2891: 2889: 2885: 2881: 2877: 2872: 2870: 2867: 2863: 2858: 2855: 2850: 2848: 2847: 2843:and its 1966 2842: 2841: 2836: 2832: 2828: 2827:Madame Bovary 2824: 2820: 2819: 2814: 2812: 2808: 2803: 2799: 2797: 2796:Patricia Neal 2793: 2789: 2785: 2781: 2777: 2772: 2770: 2765: 2760: 2758: 2757: 2752: 2748: 2747: 2746: 2740: 2738: 2734: 2733: 2728: 2727: 2722: 2721: 2710: 2708: 2707: 2702: 2698: 2694: 2689: 2687: 2686: 2681: 2677: 2673: 2669: 2668:James Stewart 2665: 2661: 2657: 2653: 2649: 2645: 2644:Leslie Fenton 2641: 2637: 2635: 2631: 2627: 2619: 2615: 2609: 2606: 2605:Andrew Sarris 2600: 2597: 2595: 2594: 2588: 2583: 2577: 2575: 2571: 2570: 2569:Way Down East 2565: 2564: 2559: 2552: 2550: 2545: 2541: 2540:Joseph Cotten 2537: 2533: 2529: 2525: 2524: 2519: 2517: 2513: 2509: 2504: 2500: 2496: 2492: 2488: 2484: 2479: 2477: 2473: 2465: 2459: 2457: 2453: 2448: 2446: 2442: 2436: 2434: 2433:Brian Donlevy 2430: 2425: 2423: 2422: 2421: 2415: 2413: 2408: 2404: 2400: 2398: 2394: 2393: 2392: 2386: 2384: 2378: 2376: 2375:Walter Reisch 2372: 2368: 2364: 2360: 2356: 2352: 2348: 2344: 2343: 2342: 2336: 2334: 2330: 2326: 2321: 2319: 2311: 2306: 2302: 2297: 2295: 2291: 2287: 2283: 2278: 2276: 2272: 2268: 2264: 2260: 2259: 2258: 2252: 2250: 2246: 2242: 2237: 2235: 2234: 2229: 2225: 2224: 2219: 2215: 2211: 2204: 2200: 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1700: 1699: 1694: 1689: 1687: 1686: 1685:Stella Dallas 1681: 1680: 1675: 1674: 1669: 1668: 1658: 1654: 1651: 1647: 1645: 1641: 1638:was "steel". 1637: 1636: 1631: 1630: 1625: 1620: 1617: 1613: 1609: 1605: 1601: 1600: 1594: 1592: 1588: 1584: 1583: 1578: 1577: 1567: 1565: 1561: 1557: 1552: 1550: 1549: 1544: 1540: 1536: 1532: 1528: 1524: 1523: 1514: 1509: 1507: 1506: 1501: 1497: 1493: 1492: 1487: 1483: 1479: 1478: 1473: 1472:Jackie Cooper 1469: 1468: 1462: 1460: 1455: 1453: 1449: 1445: 1444: 1439: 1435: 1434:Wallace Beery 1432:as Billy and 1431: 1427: 1426:Billy the Kid 1423: 1416: 1412: 1411:Billy the Kid 1406: 1403: 1399: 1397: 1396: 1390: 1388: 1387: 1382: 1378: 1374: 1369: 1366: 1363:as Chick and 1362: 1358: 1354: 1353: 1345: 1340: 1333: 1328: 1326: 1323: 1319: 1315: 1310: 1308: 1304: 1300: 1296: 1292: 1282: 1280: 1276: 1272: 1271: 1266: 1265: 1259: 1257: 1253: 1249: 1248: 1243: 1242: 1237: 1233: 1229: 1225: 1221: 1217: 1213: 1209: 1205: 1201: 1200: 1191: 1187: 1181: 1171: 1162: 1153: 1151: 1147: 1143: 1134: 1132: 1128: 1122: 1119: 1118: 1109: 1104: 1101: 1099: 1098:Marion Davies 1095: 1094: 1089: 1085: 1081: 1077: 1073: 1072: 1067: 1066: 1061: 1057: 1056: 1051: 1047: 1046: 1041: 1037: 1033: 1029: 1028: 1020: 1018: 1014: 1010: 1009:Western Front 1006: 1002: 993: 988: 981: 975: 973: 969: 965: 961: 960:Wine of Youth 956: 954: 950: 946: 945: 940: 930: 927: 923: 919: 913: 910: 903: 899: 894: 880: 878: 877: 872: 867: 865: 861: 857: 854:Pleased with 852: 847: 842: 840: 836: 832: 828: 820: 814: 811: 809: 805: 799: 797: 793: 789: 785: 784: 779: 778: 772: 770: 766: 762: 757: 755: 751: 750: 745: 743: 742:The Sky Pilot 738: 736: 732: 731:Colleen Moore 728: 724: 723:Sierra Nevada 720: 719: 718:The Sky Pilot 711: 707: 706:The Sky Pilot 702: 698: 696: 692: 691: 685: 680: 678: 674: 673: 667: 665: 664: 657: 654: 651: 648: 645: 642: 638: 636: 635:Vidor Village 632: 628: 619: 610: 608: 604: 603: 598: 597: 592: 591: 586: 580: 576: 574: 570: 569: 558: 556: 555: 554:Bud's Recruit 550: 540: 538: 534: 530: 529: 524: 520: 516: 512: 502: 500: 495: 493: 489: 479: 477: 473: 469: 464: 460: 455: 453: 441: 440: 434: 430: 428: 423: 421: 417: 412: 410: 409: 404: 398: 393: 391: 387: 383: 378: 376: 375:Davy Crockett 372: 368: 358: 356: 352: 347: 345: 339: 337: 333: 329: 325: 321: 317: 316:Wallace Beery 312: 309: 307: 306: 301: 300: 295: 294: 289: 288: 283: 279: 278: 272: 270: 264: 240: 231: 227: 207: 200: 199: 177: 170: 169: 147: 146:Florence Arto 140: 139: 137: 133: 129: 125: 118: 115: 113:Film director 112: 111: 109: 105: 101: 97: 92: 82: 78: 73: 56: 52: 48:Vidor in 1925 45: 40: 33: 30: 19: 11792:Delbert Mann 11731: 11659:Jeremy Irons 11635:Meryl Streep 11617:Wong Kar-wai 11587:Costa-Gavras 11538:2001–present 11516:Ben Kingsley 11498:Lia van Leer 11390:Senta Berger 11361:Rodolfo Kuhn 11310:John Gillett 11304:Anthony Mann 11291: 11280:Harold Lloyd 11259:Marcel Carné 11060:Ermanno Olmi 10999:2001–present 10973:Sophia Loren 10931:Monica Vitti 10782: 10779:Satyajit Ray 10759:George Cukor 10741:Billy Wilder 10723:Marcel Carné 10713:Orson Welles 10644:Ridley Scott 10638:Miloš Forman 10620:Mike Nichols 10572:Sidney Lumet 10536:Billy Wilder 10530:Orson Welles 10512:George Cukor 10459: 10370:Diane Warren 10366:Euzhan Palcy 10332:Cicely Tyson 10310:Owen Roizman 10254:Steve Martin 10202:Roger Corman 10174:Sidney Lumet 10145:2001–present 10131:Jack Cardiff 10107:Michael Kidd 10097:Kirk Douglas 10085:Deborah Kerr 10073:Satyajit Ray 10063:Sophia Loren 9989:Hal Elias / 9979: 9972:Walter Lantz 9939:Howard Hawks 9933:Groucho Marx 9910:Orson Welles 9906:Lillian Gish 9884:Arthur Freed 9846:Hayley Mills 9816:B. B. Kahane 9798:Eddie Cantor 9789: 9783:Gate of Hell 9782: 9774:Jon Whiteley 9752:Joseph Breen 9735: 9728:Harold Lloyd 9711: 9688: 9672: 9665:Fred Astaire 9655:Adolph Zukor 9644: 9632: 9628:Bill and Coo 9626: 9611:Thomas Armat 9576: 9496:Conrad Nagel 9488:Ralph Morgan 9472:Judy Garland 9462:Harry Warner 9446:Loyal Griggs 9412:Mack Sennett 9400:Edgar Bergen 9383: 9356:Warner Bros. 9285:The Metaphor 9283: 9275: 9267: 9259: 9251: 9243: 9235: 9227: 9219: 9211: 9203: 9195: 9187: 9179: 9171: 9163: 9155: 9147: 9139: 9131: 9123: 9115: 9107: 9099: 9091: 9083: 9075: 9067: 9061:Street Scene 9059: 9051: 9043: 9035: 9027: 9019: 9011: 9003: 8995: 8987: 8979: 8971: 8963: 8955: 8947: 8941:Wild Oranges 8939: 8931: 8923: 8915: 8907: 8901:Dusk to Dawn 8899: 8891: 8883: 8875: 8867: 8859: 8851: 8843: 8837:Better Times 8835: 8827: 8819: 8811: 8803: 8795: 8787: 8781:The Lost Lie 8779: 8771: 8763: 8752: 8702: 8690: 8617: 8606: 8595: 8577: 8560: 8542: 8532: 8522: 8508: 8494: 8484: 8473: 8462: 8451: 8440: 8430:Cynara (1932 8429: 8418: 8411: 8400: 8389: 8374: 8346: 8332: 8321: 8307: 8286: 8275: 8264: 8253: 8246: 8239: 8229: 8210:February 28, 8208:. 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Starring 1438:Pat Garrett 1322:Lowe's Inc. 1299:James Joyce 1270:Not So Dumb 1256:Show People 1241:Show People 1150:"screwball" 1093:Show People 1040:G. W. 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At the 4995:Comrade X 4910:The Champ 4862:The Crowd 4700:The Champ 4561:The Champ 4506:The Crowd 4337:Comrade X 4235:The Champ 4175:The Patsy 4167:The Crowd 4151:La Bohème 4103:Happiness 3975:I'm a Man 3791:Marriages 3724:The Patsy 3719:Inceville 3667:The Crowd 3657:The Actor 3628:Cervantes 3594:The Crowd 3543:(1928)). 3540:The Crowd 3483:in which 3111:Ben Hecht 3085:Kim Novak 3024:film noir 2900:film noir 2792:film noir 2780:Manhattan 2652:baby boom 2549:film noir 2485:'s novel 2359:Ninotchka 2347:Comrade X 2341:Comrade X 2290:film noir 2069:Comrade X 2036:Bolshevik 1966:B western 1874:secession 1779:Old World 1754:Anna Sten 1644:The Crowd 1612:Dust Bowl 1522:The Champ 1477:The Champ 1415:The Champ 1377:Uncle Tom 1359:as Zeke, 1318:Movietone 1314:Vitaphone 1267:(1929)): 1216:slapstick 1199:The Patsy 1190:The Patsy 1131:The Crowd 1127:The Crowd 1117:The Crowd 1108:The Crowd 1076:La Bohème 1065:La Bohème 902:La Bohème 864:Pollyanna 860:Happiness 633:, dubbed 533:Universal 523:Inceville 293:Comrade X 130:1913–1980 11072:John Woo 9868:Bob Hope 9724:Bob Hope 9713:Rashomon 9558:Bob Hope 9506:Bob Hope 8965:His Hour 8585:Archived 8567:Archived 8550:Archived 8521:. 2010. 8345:. 2016. 7785:spirit." 7758:effort." 7642:reason." 7273:acting." 7028:tale..." 6236:project. 6102:Scarface 6088:Scarface 5948:Pangborn 5922:persona" 5901:office." 5386:(1999). 5186:forces." 5176:nature." 5137:(1930)." 4590:Bad Girl 4119:His Hour 3681:and the 3669:(1928). 3600:Ann Head 3564:Conquest 3545:Conquest 3529:Colorado 3517:Conquest 3508:founder 3289:(1967). 3283:Cold War 3142:(1955). 2981:(1952). 2951:(1949). 2920:(1952). 2866:La Garce 2813:(1949). 2751:Ayn Rand 2723:(1949), 2701:Ayn Rand 2596:(1946). 2458:(1946). 2414:(1944). 2385:(1941). 2251:(1940). 2210:B movies 2201:singing 2090:(1939). 2072:(1940), 2066:(1940), 2060:(1938), 1980:(1946). 1927:B movies 1770:(1935). 1758:Dietrich 1682:(1935), 1676:(1932), 1670:(1931), 1646:(1928). 1587:New Deal 1389:(1915). 1019:(1973). 968:Jazz Age 944:His 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