Tagged King Vidor

Viewing The Big Parade 88 years after its initial release, and 25 years following its inclusion in my upper-level course on the war film, elicited complex feelings. On the one hand, although the film still stan...

The Crowd (1928) was both a groundbreaking and courageous film for a major director to initiate at MGM in the pre-Depression era – a big budget production without major stars, almost plotless, lacking in dramat...

A black sheep with blonde hair, Patsy Harrington has a crush. The younger sister of the social-climbing Grace who, abetted by a single-minded mother and a weak-willed father, always gets her way, Patsy is the f...

The King Vidor/Bette Davis melodrama Beyond the Forest (1949) is mostly remembered today for a single line of dialogue. Davis – miscast as a frustrated housewife in Smalltown USA – surveys her drab but actually...

From Mr. Smith Goes to Washington to Dave, most 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...

In the late 1970s, Catherine Berge’s encounter with both the films and person of King Vidor was a seminal turning point in her life. Here, she talks about her personal history with the director and her 1980 film devoted to him.

A great director, no doubt, but as Peter Tonguette demonstrates, King Vidor was equally proficient at the art and craft of editing.

Illuminating discussion of the æsthetic and philosophical connections between King Vidor and the renowned American painter Andrew Wyeth.

Three legendary classical directors are put under the spotlight, and the results of Gallagher’s analysis are always illuminating and surprising.

b. 1894, Galveston, Texas d. 1982, Paso Robles, California Filmography Select Bibliography Web Resources Committed to the most unyielding and almost brutally positive American determination, King V...