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13. Feb. 2007 · A Vidor woman, like Barbara Stanwyck’s Stella Dallas, Hedy Lamarr’s Marvin Myles, Jennifer Jones’ Pearl Chavez and Ruby Gentry and (most spectacularly) Bette Davis’ Rosa Moline, has all the drive for power and carnal appetite as his men, and these primal urges ensure that they are punished by a hypocritical society.
King Wallis Vidor (February 8, 1894 – November 1, 1982) was an American film director, film producer, and screenwriter whose career spanned nearly seven decades. In 1979, he was awarded an Honorary Academy Award for his "incomparable achievements as a cinematic creator and innovator." He was nominated five times for the Academy Award for Best Director, and won eight international film awards ...
3. Aug. 2022 · King Vidor, the Versatile Messenger. “I believe in the motion picture that carries a message to humanity,” wrote King Vidor in 1920. He’d already directed and appeared in a good number of shorts and features, and then, in his midtwenties, he founded his own production company, Vidor Village, with a brief statement of principles that ...
King Vidor ( Galveston, Teksas, Sjedinjene Države, 8. Veljače 1894. - Paso Robles, Kalifornija, Sjedinjene Države, 1. studenoga 1982.) bio je američki filmski redatelj. Karijeru započinje kao snimatelj filmskih novosti i kino-operater. Godine 1913., redateljski debi ostvaruje kratkim filmom Hurricane in Galveston.
King Wallis Vidor (n. 8 februarie 1894, Galveston (d), Texas, SUA – d. 1 noiembrie 1982, Paso Robles (d), California, SUA) a fost un regizor, producător de film și scenarist american, a cărui carieră de film întinsă pe o perioadă de 67 de ani a cuprins cu succes perioadele filmului mut și a celui sonor. Lucrările sale se ...
King Wallis Vidor (ur. 8 lutego 1894 w Galveston, zm. 1 listopada 1982 w Paso Robles) – amerykański reżyser, scenarzysta i producent filmowy, którego kariera trwała 67 lat. Był pięciokrotnie nominowany do Oscara. Życiorys. Jako reżyser zadebiuto ...
17. Sept. 2020 · King Vidor war ein innovativer Regisseur, der sich über die Jahrzehnte stets mit großem Interesse auch den aktuellen filmtechnischen Entwicklungen stellte. Im Tonfilm setzte er bereits mit seinem ersten Versuch, HALLELUJAH (1929), Maßstäbe. Vidor drehte häufig ‚on location‘, er ließ sich von der sowjetischen Montagekunst ebenso beeinflussen wie von der beweglichen Kamera des Teams ...
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