It is to this family of filmmakers — the clan of Griffith, Walsh and Ford — that King Vidor belongs. In a long and active career he has preserved his personal style from commercial erosion and retained well into the sixties the sense of American landscape which distinguishes his best films. What sets Vidor apart from his contemporaries in this gentle field is, however, a dark, almost demonic view of the land.
Hard riding and soft religion don’t mix, so get goin’. — Title in Vidor’s “The Sky Pilot.”
Duel in the Sun
That Vidor may have seen himself in the same light as these mythical characters is suggested by his frequent confrontations with Hollywood’s most domineering moguls, men with whom no director could hope to work except with a maximum of friction. Sam Goldwyn, Irving Thalberg and David Selznick totally opposed Vidor on three matters closest to his heart, Goldwyn in the creation of screenplays, Thalberg in his subservience to popular appeal, Selznick in the choice of locations. Yet it was for these three men that Vidor created his best work. “One often has to make films just to keep one’s name in the public eye,” he remarks, but the rationalization is thin. It is far more likely that only while working with such men was he pressured to do his best.
The hand of Selznick lies heavily but not without a sureness of touch on Duel in the Sun (1946), perhaps the greatest outdoor film of the forties. Niven Busch’s novel had all Vidor’s preoccupations, in particular a conflict between Man, in the person of Senator McCanles (Lionel Barrymore), a crippled monument in a wheelchair, and Nature, dramatized by his vast ranch, Spanish Bit. Industry — in this case the railroad — invades this empire, helped by McCanles’s gentle son Jess (Joseph Cotten) but opposed, in imitation of his father, by the libidinous and violent Lewt (Gregory Peck). The innocently erotic Pearl Chavez (Jennifer Jones), an orphan half-caste billeted with the family after the execution of her father for her mother’s murder, is flung from the protective Mrs. McCanles, played with a sense of gossamer and steel by Lillian Gish, to the affection of Jess and (her own preference) the satyriasis of Lewt, with whom she perishes in a demon tryst high in the mountains, both of them shot and dying together.
It is impossible not to be exhilarated by Duel in the Sun, in which Selznick tried with typical single-mindedness to recapture the scope and vivacity of Cone With the Wind. The interference of which Vidor complained added significantly to the film’s success, but Vidor found the constant presence of Selznick on the set galling and walked out when the film was not quite completed.
Selznick directed some remaining scenes, William Dieterle handled a Reinhardtesque sequence in the vast bar which opens the film, and second-unit director Otto Brower the train wreck from which Lewt rides away singing, “I’ve Been Working On The Railroad.” Even Josef von Sternberg, hired by Selznick to supervise the costume tests and, hopefully, give Jennifer Jones some of the photographic glamour of Marlene Dietrich — Vidor used him as an assistant, having him douse the star with water in scenes requiring the appearance of sweat — directed one brief scene of a posse searching the McCanles house. So acute was Selznick’s obsession with his star that his visits to the set became embarrassing, the microphone picking up his heavy breathing as he watched her. Equally upsetting was a brief visit by D. W. Griffith. “Lionel Barrymore and Lillian Gish were incapable of speaking their script, especially Barrymore. After a moment I had to ask Mr. Griffith, ‘Would you mind leaving the set or going behind the decor?’ and he said, ‘I’m sorry. I’ve been here too long anyway, I apologize.’ And he left very politely.”
After Duel in the Sun, Vidor had a long spell of inactivity, briefly broken by the sketch film A Miracle Can Happen (1948), also known as On Our Merry Way. Its personnel is a catalogue of renegades.
Gish and Davis: Could the Two Work Together? – By Mike Kaplan (The New York Times – 1993) FILM; Gish and Davis: Could the Two Work Together? By Mike Kaplan The New York Times – April 18, 1993 When “The Whales of August” was filmed in 1986, the story of the relationship between two elderly sisters brought together two of the screen’s most enduring stars, Lillian Gish and Bette Davis. Miss Gish, who died Feb. 27 at the age of 99, will be remembered on Thursday at the Museum of Modern Art with a program called “In Memoriam.” It will include “The Whales of August,” her final film, directed by Lindsay Anderson, as well as her first, D. W. Griffith’s “Unseen Enemy” (1912). Here, Mike Kaplan, who co-produced “The Whales of August,” reflects on the interaction of its two stars. Bette Davis and Lillian Gish – The Whales of August, 1987 In the tributes to Lillian Gish that followed her death, references to her final starring role in “The Whales of August” were always glowing. B
The Movie Magazines and Lillian Gish … The moving Picture World 1914 detail The moving Picture World 1914 The moving Picture World 1914 detail Moving Picture World, November 21, 1914 Her Awakening – Lillian Gish The Angel of Contention Poster The moving Picture World – Mutual Program – A Question of Courage names wrong Lillian Gish And Dorothy The moving Picture World – Mutual Program – The Sisters The Birth of a Nation (David W. Griffith Corp., 1915). Herald2 Sold for Marriage Triangle Plays Program 1916 lillian_gish_photoplay_1917 08 ID Photo Back to Lillian Gish Home page Photoplay, August, 1918 – Dorothy and Lillian Gish in their dressing room Lillian Gish Photoplay August 1918 Lillian Gish Photoplay February 1919 Lillian Gish Photoplay, July, 1919 Back to Lillian Gish Home page Lillian Gish Photoplay October 1920 Orphans of The Storm Prog Herald 1921 Lillian Gish 1921 – The Girl Back Home Motion Picture Classic Magazine (Brewster, 1921) The Lily Maid from Ohio Ph
When Mamaroneck Upstaged Hollywood – By Bruce Berman (The New York Times – June 19, 1977) When Mamaroneck Upstaged Hollywood By Bruce Berman The New York Times – June 19, 1977 BACK in the early 1920’s when Mamaroneck was a center of movie‐making, Joseph Rigano was an employee of D.W. Grif fith’s studio at Orienta. “I was atone mason and mechanic,” the energetic 80year‐old said as we toured on foot Edgewater Point, at the top of the Orienta Peninsula. Griffith Studios, Orienta Point, Mamaroneck NY 1921 “After the studio was finally built, Mr. Griffith asked me to stay on as a set builder. Stone fireplaces were my specialty, but I worked on everything from Gothic walls to painted desert backdrops. The actors were almost always friendly, and I was getting $55 a week and drove a $1,200 Buick. What more could a young man desire?” DW Griffith filming team – Mamaroneck NY – Way Down East In those days the area was less the “East Coast Hollywood” than Hollywood was “the West Co