Finding Aid for the King Vidor Papers LSC.0934

Finding aid prepared by Manuscripts Division staff; machine-readable finding aid created by Caroline Cubé after initial encoding by Alight Tsai.
UCLA Library Special Collections
Online finding aid last updated 2003.
Room A1713, Charles E. Young Research Library
Box 951575
Los Angeles, CA 90095-1575
Business Number: 310-825-4988
Fax Number: 310-206-1864

Contributing Institution: UCLA Library Special Collections
Title: King Vidor papers
Creator: Vidor, King, 1894-1982
Identifier/Call Number: LSC.0934
Physical Description: 7.0 Linear Feet (14 boxes)
Date (inclusive): 1920-1965
Abstract: King Wallis Vidor (1894-1982) made over fifty feature films and received five Academy Award nominations before retiring from films in the late 1950s. His directorial debut was The turn in the road (1919), but he is best known for The big parade (1925), The champ (1931), and Duel in the sun (1947). The collection contains annotated scripts, correspondence, photographs, and ephemera for 22 films Vidor produced or directed including The big parade, Duel in the sun, Northwest passage, and Stella dallas.
Physical Location: Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page.
Language of Material: Materials are in English.

Restrictions on Access

Open for research. All requests to access special collections materials must be made in advance using the request button located on this page.

Restrictions on Use and Reproduction

Property rights to the physical objects belong to UCLA Library Special Collections. All other rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.

Preferred Citation

[Identification of item], King Vidor papers (Collection 934). UCLA Library Special Collections, Charles E. Young Research Library, University of California, Los Angeles.

Provenance/Source of Acquisition

Gift of King Vidor, 1966.

Processing Information

Processed by Manuscripts Division staff.
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UCLA Catalog Record ID

UCLA Catalog Record ID: 9934671443606533 


King Wallis Vidor was born February 8, 1894 in Galveston, Texas; made fifty-six feature films in forty years; married Florence Arto, 1915 (divorced 1925); married Eleanor Boardman, 1926 (later divorced); married Elizabeth Hill; his directorial debut was The turn in the road (1919); made Hallelujah! (1929), the first sound picture with an all black cast; best known for The big parade (1925), The crowd (1928), The champ (1931), Stella Dallas (1937), and Duel in the sun (1947); wrote an autobiography, A tree is a tree (1953); retired from films in the late 1950s; taught a graduate cinema class during the 1960s at UCLA; received Edinburgh Film Festival award for career achievements, 1964; after receiving five Academy Award nominations during the course of his career, he was granted a special award for his innovations in cinema, 1979; died of congestive heart failure, Paso Robles, California, on November 1, 1982.

Scope and Content

Collection consists of materials related to Vidor's career as a motion picture director and producer. Contains annotated scripts, correspondence, photographs, and ephemera for 22 films including The big parade, Duel in the sun, Northwest passage, and Stella dallas.

Related Oral History

The following oral history is available through the UCLA Library Center for Oral History Research:

Subjects and Indexing Terms

Motion picture producers and directors -- United States -- Archives.
Film scripts.
Silent films -- Production and direction -- United States -- Archives.
Vidor, King, 1894-1982--Archives.

box 1

Three Wise Fools (M-G-M, 1946).

  • Completely annotated continuity.
  • Completely annotated scenario by King Vidor.
box 1

The Strangers' Return (M-G-M, 1933).

  • Typed copy of novel with King Vidor's holographic notes for adaptation.
  • Fully annotated treatment.
box 1

So Red the Rose (Paramount, 1935).

  • One final annotated script.
  • One annotated censorship script.
box 1

Wild Oranges (Metro-Goldwyn, 1924).

  • Fully annotated working script and production breakdown.
  • Script and holographic notes.
box 2

H.M. Pulham, Esqire (M-G-M, 1941).

  • Fully annotated working script.
  • Annotated script before J.P. Marquand arrived.
  • Photographs -- clippings.
box 2

The Texas Rangers (Paramount, 1936).

  • Fully annotated working script.
  • Progression of scripts including production orders, and casting notes -- annotated.
  • Rare personal photographs.
box 3

Wedding Night (United Artists, 1935).

Scope and Contents note

Fully annotated script.
box 3

His Hour (Metro-Goldwyn, 1924).

  • Fully annotated working script.
  • Original treatment by Elinor Glyn -- holographic notes.
box 3

Hallelujah! (M-G-M, 1929).

Scope and Contents note

Annotated script.
box 3

Stella Dallas (United Artists, 1937).

  • Annotated script and working notes.
  • Silent picture detail upon which remake was based.
  • Clippings and publicity.
box 4

The Jack Knife Man (First National, 1920).

Scope and Contents note

Key album of photographs.


box 4

Production and correspondence, In re Northwest Passage. 1939-1941.

box 4

Production and correspondence, 1937-1959.

box 4

Southern Storm.

Scope and Contents note

Original manuscript -- annotated.
box 4

Museum of Modern Art -- pamphlets.

box 5

The Standard, 1933.

box 5

The Hollywood Reporter, Thirteenth Anniversary Edition.

box 5

The Cast, February 1933.

box 5

The Cast, October 1932.

box 5

Witch Of The Wilderness (Original, never produced).

box 5

Six miscellaneous folders.

box 6

Proud Flesh (Metro-Goldwyn, 1925).

Scope and Contents note

Working script, fully annotated, including production notes, cuts and revisions.
box 6

The Big Parade (M-G-M, 1925).

Scope and Contents note

Holographic production notes; instructions to assistant director; cutting notes; grosses; prop lists; daily reports -- fully annotated.
box 6

Miracles Can Happen (United Artists, 1948).

Scope and Contents note

Fully annotated script progression including all changes and additions.
box 6

Duel in the Sun (Selznick, 1946).

  • Original continuity sketches -- water color, pencil, pen and ink.
  • Clippings and reports.
box 7

Comrade X (M-G-M, 1940).

Scope and Contents note

Fully annotated working script including all changes and revisions and progression of scripts.
box 7

The Patsy (M-G-M, 1928).

Scope and Contents note

Fully annotated treatment and script.
box 7

The Fountainhead (Warner Brothers, 1949).

Scope and Contents note

Fully annotated working script.
box 8, box 9

Northwest Passage (M-G-M, ). 1940

  • Fully annotated working script with additions and notes.
  • Fully annotated dialogue cutting continuity.
  • One script with changes.
  • An earlier script by Robert Sherwood -- not used.
  • Clippings and publicity.
box 9, box 10

The Citadel (M-G-M, 1938).

  • Fully annotated progression of scripts, including working script.
  • Miscellaneous holographic research and notes.
  • Folder of photographs.
box 11, box 12

Our Daily Bread (United Artists, 1934).

  • Holographic production notes and correspondence.
  • Interviews, reviews, advertising.
  • Two albums of photographs.
  • Photographs of King Vidor ( re The League of Nations Medal).
box 13, box 14

American Romance (M-G-M, 1944).

  • Progression of scripts leading to final script. Includes retakes, outtakes, fully annotated working script with holographic notes, changes, revisions, cuts and research.
  • Holographic file on Vincent Lawrence (writer) and Holographic file on William Ludwig (writer).
  • Miscellaneous correspondence with studio, agent, etc.