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Online versions of the Goldenrod Handouts have color images & hot links August 28, 2018 (XXXVII:1) http://csac.buffalo.edu/goldenrodhandouts.html King Vidor, THE BIG PARADE (1925, 151 min) DIRECTED BY King Vidor, George W. Hill (uncredited) WRITTEN BY Laurence Stallings (story), Harry Behn (scenario), Joseph Farnham (titles) (as Joseph W. Farnham), Laurence Stallings (screenplay) (uncredited), King Vidor (uncredited) PRODUCED BY Kevin Brownlow (1988 Turner print), David Gill (1988 Turner print), Irving Thalberg (uncredited), King Vidor (uncredited) CINEMATOGRAPHY John Arnold (photography), Charles Van Enger (uncredited) FILM EDITOR Hugh Wynn VISUAL EFFECTS Max Fabian (uncredited) STUNTS Allen Pomeroy Selected for National Film Registry by the National Film Preservation Board, 1992 CAST John Gilbert...James Apperson Renée Adorée...Melisande (as Renée Adorée) Before releasing Peg ‘o My Heart in 1922 and securing Hobart Bosworth...Mr. Apperson a contract with Goldwyn Studios, Vidor would direct films such Claire McDowell...Mrs. Apperson as The Jack-Knife Man (1920), Love Never Dies (1921), The Sky Claire Adams...Justyn Reed Pilot (1921), Real Adventure (1922), Dusk to Dawn (1922), and Robert Ober...Harry Conquering the Woman (1922). The success of The Big Parade Tom O'Brien...Bull (1925) would establish Vidor as one of the premier directors at Karl Dane...Slim the newly-formed MGM. Building up to his career-defining work Rosita Marstini...French Mother in The Big Parade, Vidor would direct Happiness (1924) and Proud Flesh (1925). The latter half of the 1920s would see such KING VIDOR (b. King Wallis Vidor, 8 February 1894, films as La Bohème (1926), The Crowd (1928), The Patsy Galveston, TX, U.S.A.—d. 1 November 1982, Paso Robles, CA, (1928), and Hallelujah (1929), his first sound film. He is U.S.A.) was primarily a film director who also ventured into nominated for Best Director Oscars for The Crowd and screenwriting and production. He directed 78 films, beginning Hallelujah. with The Grand Military Parade and Hurricane in Galveston, After spending the first half of the 1930s directing such both released in 1913. In 1918, he began directing shorts for a films as Not So Dumb (1930), Billy the Kid (1930), Street Scene discredited juvenile court judge who had gone into producing (1931), Bird of Paradise (1932), Cynara (1932), and The films in a moral crusade to address problems faced by young Stranger's Return (1933), Vidor would return to the world he boys. Films in this series include Love of Bob, Thief or Angel, directed in his silent classic The Crowd (1928) with Our Daily The Accusing Toe, and Bud's Recruit, all released in 1918. In Bread (1934). At this time, he is, once again, nominated for Best 1919, he would direct, develop the story, and write the Director Oscars for The Champ (1931). After directing The screenplay for his first feature The Turn in the Road. 1919 would Wedding Night (1935), So Red the Rose (1935), The Texas also see the release of Poor Relations and Better Times. Vidor—THE BIG PARADE—2 Rangers (1936), Stella Dallas (1937), he is, again, nominated for the Kid (1930), The Champ (1931), Bird of Paradise (1932), Our the Best Director Oscar for The Citadel (1938). Daily Bread (1934), The Texas Rangers (1936), Comrade X It would be over fifteen years before being nominated (1940), H.M. Pulham, Esq. (1941), and An American Romance for a final time for the Best Director Oscar for 1956’s War and (1944). He continued producing films into the 1950s, such as an Peace adaptation. He would spend the intervening time directing early Charlton Heston film, Ruby Gentry (1952). He produced such films as Northwest the final film he directed, 1980’s short documentary The Passage (1940), Comrade Metaphor. X (1940), H.M. Pulham, Esq. (1941), Duel in the GEORGE W. HILL (b. 25 April 1895, Douglas, Kansas, Sun (1946), The U.S.—d. 10 August 1934, Venice, CA, U.S.), at age 13, began Fountainhead (1949), and his film career as a stagehand for D. W. Griffith. He progressed Beyond the Forest (1949) into cinematography, noted for his skill in lighting female stars. in the 1940s. In addition After doing cinematography for 23 films throughout the 1910s, to his Oscar-nominated Will had moved into directing. He began directing films such as turn in War and Peace, he While the Devil Laughs (1921), The Midnight Express (1924), would direct such films as The Foolish Virgin (1924), and The Limited Mail (1925). He was Lightning Strikes Twice recognized for these early directorial efforts by MGM and began (1951), Japanese War directing exclusively for the company as it secured dominance in Bride (1952), Ruby the latter 1920s and the 1930s. While at MGM, he had an Gentry (1952), Light's uncredited role in co-directing King Vidor’s The Big Parade Diamond Jubilee (a 1954 (1925). Before death of apparent suicide in 1934, Hill had spent TV Movie documentary), nearly a decade directing such works as The Barrier (1926), Tell Man Without a Star (1955), and Solomon and Sheba (1959) in It to the Marines (1926), Min and Bill (1930), The Secret 6 the 1950s. He would finally win an Oscar in the form of an (1931), Révolte dans la prison (1931), Hell Divers (1931), and, Honorary Award recognizing “his incomparable achievements as finally, Clear All Wires! (1933). a cinematic creator and innovator” in 1979, the year before he would release his final directorial outing, a documentary short about American painter Andrew Wyeth, The Metaphor (1980). In lieu and in support of his primary directorial efforts, Vidor is credited with involvement in different stages of the writing process for 28 films. Moving to Hollywood in 1915, before making his feature directorial debut in 1919, Vidor took on work as a screenwriter and director of shorts. In 1916 and 1917 he developed the story for two shorts When It Rains, It Pours! and A Bad Little Good Man, respectively. In 1918, he developed the story for the short The Pursuing Package. In 1919, he developed the story and wrote the screenplay for his first feature as a director, The Turn in the Road. In the 1920s, he was active in the writing process. For example, he adapted Love Never Dies (1921), wrote Three Wise Fools (1923), came up with the titles for His Hour (1924), had an uncredited contribution to The Big Parade (1925), wrote the screenplay and developed the story for The Crowd (1928), and developed the story for Hallelujah (1929). In the 1930s and 1940s, he would remain at times involved in the writing process. For instance, he had an uncredited writing contribution to Susan Lenox (1931), he developed the stories for Our Daily Bread (1934) and The Texas KEVIN BROWNLOW (b. 2 June 1938, Crowborough, Sussex, Rangers (1936), and wrote the screenplay for H.M. Pulham, Esq. England) has spent most of his career documenting and restoring (1941) and Streets of Laredo (1949). He significantly earned his film, rescuing many silent films and their history. He broke final Oscar nomination for his adaptation of Leo Tolstoy’s tome ground in preserving the legacy of early cinema in the 1960s and War and Peace (1956). 1970s by interviewing many then largely forgotten film pioneers. Vidor also spent a significant portion of his career He was the first film preservationist honored by the Academy of producing 23 films. He was very active in production in the Motion Picture Arts and Sciences, receiving an Academy 1920s, producing such films as The Family Honor (1920), The Honorary Award in 2010. He has produced 24 films and film Jack-Knife Man (1920), Love Never Dies (1921), Real Adventure restoration projects. His production work includes It Happened (1922), Dusk to Dawn (1922), Conquering the Woman (1922), Here (1965), Winstanley (1975), Hollywood (1980), a TV Mini- Alice Adams (1923), Wine of Youth (1924), The Big Parade Series documentary, two episodes of the TV Series documentary (1925), The Patsy (1928), Show People (1928), and Hallelujah American Masters (1989-1993), the TV Mini-Series (1929). In the 1930s and 1940s, he remained active in documentary Cinema Europe: The Other Hollywood (1995), and, production, producing such films as Not So Dumb (1930), Billy most recently, Letters from Baghdad (2016, consulting Vidor—THE BIG PARADE—3 producer). His production work in film restoration has focused Heidelberg (1927) and The Crowd (1928); The Broadway on films from the 1920s, such as his 1987 restoration of Fred Melody, The Trial of Mary Dugan, The Voice of the City, Niblo’s Ben-Hur: A Tale of the Christ (1925), a 1988 restoration Hallelujah, His Glorious Night, and The Kiss in 1929; Anna of King Vidor’s The Big Parade (1925), the 1986 restoration of Christie, Billy the Kid, and The Big House in 1930; Trader Horn, Erich von Stroheim’s Greed (1924), an adaptation of the Frank The Champ, Private Lives, and Mata Hari in 1931; Freaks, Norris’s novel McTeague. Perhaps his major restoration project Tarzan the Ape Man, Grand Hotel, Red-Headed Woman, Strange has been Abel Gance’s Napoleon (1926), which was first Interlude, Red Dust, and Rasputin and the Empress in 1932; exhibited in 1980. He’s continued working on it ever since. Tugboat Annie and Eskimo in 1933; The Barretts of Wimpole He has also directed 19 documentaries, including Ascot, Street, The Merry Widow, What Every Woman Knows in 1934; A a Race Against Time (1961, documentary short) Nine, Dalmuir Night at the Opera and Mutiny on the Bounty in 1935; Romeo West (1962, documentary short) It Happened Here (1965), Abel and Juliet and Camille in 1936; The Good Earth and A Day at Gance: The Charm of Dynamite (1968), Winstanley (1975), the Races in 1937.

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