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| King
Vidor |
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| Director
/ Producer / Screenwriter |
| 1894 - 1982 |
| Born February 8,
Galveston, Texas, USA |
| Key
Production Country: USA |
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Key Genres: Drama,
Melodrama, Psychological Drama |
| Key
Collaborators:
Cedric Gibbons (Production Designer), Hugh Wynn (Editor), Irving Thalberg (Producer), Laurence Stallings
(Screenwriter), Sidney Bracey (Character Player), Jennifer
Jones (Leading Player),
Hedy Lamarr (Leading Player), Robert Young (Leading Player), Joseph Cotten
(Leading Player), John Arnold (Cinematographer) |
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Highly Recommended:
The Crowd (1928), Stella Dallas (1937), Duel
in the Sun (1946), The Fountainhead (1949), Beyond the Forest (1949),
Ruby Gentry (1952) |
| Recommended: The
Big Parade (1925), Show
People (1928), Hallelujah! (1929), Our Daily Bread (1934),
The
Citadel (1938), Northwest Passage (1940), H.M. Pulham, Esq. (1941), Man
Without a Star (1955) |
| Links:
[ IMDB
] [
TCMDB ] [ All-Movie
Guide ] [
Senses of Cinema: Great Directors ] [
Film Reference ]
[ Reel
Classics Page ] [
International Silent Movie Profile
] [
Senses of Cinema Article (2007) ] |
| Books: [
King
Vidor ] [ The
Men Who Made the Movies ] |
| DVD's:
[ Amazon
] |
| 1,000
Greatest Films: The Big Parade (1925), The Crowd (1928), Hallelujah!
(1929), Our Daily Bread (1934), Duel in the Sun
(1946), The Fountainhead (1949) |
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250 Quintessential Noir Films:
Beyond the Forest (1949) |
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"King
Vidor is a director for anthologies. He has created more great
moments and fewer great films than any director of his rank.
Vidor's is an unusually intuitive talent, less grounded than
most in theory. The classics of his humanistic museum period -
The Big Parade, The Crowd, Hallelujah - are no less
uneven or more impressive than the classics of his delirious
modern period - Duel in the Sun, The Fountainhead, Ruby
Gentry." - Andrew
Sarris (The American Cinema, 1968) |
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"Though Vidor was a versatile director whose finest films
include sophisticated comedy (Show People) and
poignant melodrama (Stella Dallas), his most typical work
is notable for an emotional and visual boldness, later often
bordering on bombast...Though Vidor's work was seldom subtle,
the vigour and scale of his storytelling and imagery make for
enjoyably forthright entertainment." -
Geoff
Andrew (The Director's Vision, 1999) |
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"Informing
most of his lasting work is the struggle of Man against Destiny
and Nature. In his great silent pictures, The Big Parade
and The Crowd, the hero wanders through an anonymous and
malevolent environment, war-torn Europe and the American City,
respectively...Vidor exercised more control on his films after
Our Daily Bread (1934), often serving as producer, but
his projects continued to fluctuate between intense metaphysical
drama and light-weight comedy and romance." -
Michael Selig (International Dictionary of Films and Filmmakers,
1991) |
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"A great populist of the American cinema, Vidor never let theme
or story obscure the needs of his characters. Sometimes this
resulted in lumbering productions, but more often his work
radiated a real, warm, humorous tone." -
William R. Meyer (The Film Buff's Catalog, 1978) |
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