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Cannes 2023 :: Killers of the Flower Moon :: Martin Scorsese’s Bitterest Crime Epic Martin Scorsese triumphs yet again. A story about greed, corruption, and the mottled soul of a country that was born from the belief that it belonged to anyone callous enough to take it.. |
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Berlinale 2023 :: Full Winners List This year’s jury, headed by Kristen Stewart, gave
the Golden Bear award to the French documentary “On the Adamant..” The Silver Bear for
Best Lead Performance notably went to child star Sofia Otero for “20,000 Species of Bees.”
Philippe Garrel's “The Plough” was.. |
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BAFTA 2023 :: ‘All Quiet on the Western Front’
Dominates BAFTA Awards With Seven Wins “All Quiet on the Western Front” dominated the BAFTA Awards in London on
Sunday night with a record-breaking seven wins for a film not in the English languag,
including for Best Director.. |
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Berlinale 2023 :: Golshifteh Farahani :: Talks Role Of
Art In Iran “In A Dictatorship Like
Iran, Art Is Essential, It’s Like Oxygen.” Iranian actress Golshifteh Farahani, who is at the
Berlin Film Festival as a member of Kristen Stewart’s jury, has talked passionately about the
importance of art.. |
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SIFF 2023 :: Shirin Ebadi :: Until We Are Free
This is the amazing, at times harrowing,
simply astonishing story of a woman who would never give up, no matter the risks. The first
Muslim woman to receive the Nobel Peace Prize, Shirin Ebadi has inspired millions around
the globe.. |
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IFFR 2023 Awards :: 'Le spectre de Boko Haram' and
'Endless Borders' are the victors Cyrielle Raingou’s documentary took home the Tiger Award, whilst Abbas
Amini’s feature won the VPRO Big Screen Award, as the Dutch gathering celebrated its in-
person comeback.. |
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Winners of the 2022 ‘Sepanta Awards’ :: 15th Annual
Iranian Film Festival This year, the
festival presented 50 films from Iran, USA, Italy, France, Luxembourg, Greece, UK, Canada,
Australia, and Denmark…, ranging from fiction, documentary, short, animation…. to the
music video.. |
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Opinion :: Will Venice Protests Help or Hurt filmmakers
in Iran? As the Venice Film Festival
celebrates Iranian cinema — with four Iranian films screening at the 79th Biennale — back
home in Tehran, Iranian filmmakers and artists are facing the harshest crackdown in
decades.. |
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Biennale Cinema 2022 :: Awards Ceremony
Official Awards of the 79th Venice Film Festival.
Announced by the five international Juries, chaired by Julianne Moore, during the Awards
Ceremony that was held on Saturday 10th September at 7:00 pm..
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Coming: 15th Annual Iranian Film Festival! : San
Francisco: Sep. 17-18 This year, the
festival presents 50 films from Iran, USA, Italy, France, Luxembourg, Greece, UK, Canada,
Australia, and Denmark…, ranging from fiction, documentary, short, animation…. to the
music video. We are happy and proud to.. |
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Welcome to Online Film Home! |
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Vidor, King |
Birth name
King Wallis Vidor
Date of birth
8 February 1894, Galveston, Texas, U.S.
Date of death
1 November 1982, Paso Robles, California, U.S.
King Vidor (February 8, 1894 – November 1, 1982)
King Wallis Vidor was an acclaimed American film director whose career spanned nearly seven decades.
He was born in Galveston, Texas, where he survived the great Galveston Hurricane of 1900. His grandfather, Charles Vidor, was a refugee of the Hungarian Revolution of 1848 who settled in Galveston in the early 1850s.
A freelance newsreel cameraman and cinema projectionist, he made his debut as a director in 1913 with Hurricane in Galveston.
In Hollywood from 1915, he worked on a variety of film-related jobs before directing a feature film, The Turn in the Road, in 1919.
A successful mounting of Peg o’ My Heart in 1922 got him a long term contract with Goldwyn Studios, later to be absorbed into MGM.
Three years later he made The Big Parade, among the most acclaimed war films of the silent era, and a tremendous commercial success. This success established him as one of MGM’s top studio directors for the next decade.
In 1928, Vidor received his first Oscar nomination, for The Crowd, widely regarded as his masterpiece and one of the greatest American silent films. In the same year, he made the classic Show People, the last silent film of Marion Davies, a comedy about the film industry in which Vidor had a cameo as himself.
Vidor’s first sound film was Hallelujah!, a groundbreaking film featuring an African American cast, and in which he established the new language for sound films (which is still used today by most directors).
His directorial career extended well in to the sound era and he continued making feature films until the late 1950s. Some of his better known sound films include Stella Dallas, Our Daily Bread, The Citadel, Duel in the Sun, The Fountainhead, and War and Peace.
He directed the Kansas sequences in The Wizard of Oz (including “Over the Rainbow”) when director Victor Fleming had to replace George Cukor on Gone with the Wind, but never received screen credit.
Vidor entered in the Guinness Book of World Records for the longest career as a film director: beginning in 1913 with Hurricane in Galveston and ending in 1980 with a short documentary on painting entitled The Metaphor. He was nominated five times for an Oscar but never won in direct competition; he received an honorary award in 1979.
In 1967, Vidor researched the unsolved 1922 murder of fellow director William Desmond Taylor for a possible screenplay. Vidor never published or wrote of this research during his lifetime, but biographer Sidney D. Kirkpatrick posthumously examined Vidor’s notes.
He alleged in his 1986 book Cast of Killers that Vidor had solved the sensational crime but kept his conclusions private to protect individuals still living at the time. The widely cited newsletter Taylorology later noted over 100 factual errors in Cast of Killers and strongly disputes Kirkpatrick’s conclusions but credits the book with renewing popular interest in the crime.
n 1944, Vidor joined the anti-communist Motion Picture Alliance for the Preservation of American Ideals.
Vidor published his autobiography, A Tree is A Tree, 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 Griffith Park” (a nearby public space which was frequently used for film exterior shots). —Wikipedia
Selected filmography of
Vidor, King
1956
War and Peace (1956)
1946
Duel in the Sun (1946)
1939
The Wizard of Oz (1939)
1934
Our Daily Bread (1934)
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