Editor and assistant director with UFA who arrived in the US in 1924 and, after a stint with a Wagnerian opera company and in a Broadway chorus, left for Hollywood. Vidor made his directorial debut in...
Joined MGM; directed first feature, "The Mask of Fu Manchu" (uncredited; co-directed with Charles Brabin)
Moved to Hollywood; worked as assistant to Alexander Korda; worked as assistant director, editor and scriptwriter in late 1920s
Worked as assistant cutter and assitant director at UFA studios, Berlin, in early 1920s
Moved to USA; sang with English Grand opera company; worked in Broadway chorus and as longshoreman
Quit Columbia after dispute with Harry Cohn; settled breach-of-contract suit out of court; returned to MGM
Formed Aurora Productions
Suffered heart attack in Vienna while filming "Magic Flame" (completed by George Cukor as "Song Without End")
Editor and assistant director with UFA who arrived in the US in 1924 and, after a stint with a Wagnerian opera company and in a Broadway chorus, left for Hollywood. Vidor made his directorial debut in 1931 with the self-financed short, "The Bridge", which landed him a contract with MGM. In 1932 he co-directed his first feature, "The Mask of Fu Manchu", one of the finest screen adaptations of the Sax Rohmer novels. Vidor was noted for his ability to impart a technical fluency to routine subjects; among the best of his prolific output were "Ladies in Retirement" (1941), "Love Me or Leave Me" (1955) and "The Joker Is Wild" (1957). Vidor was also responsible for the trailblazing psychological study, "Blind Alley" (1939), and the two Rita Hayworth vehicles that cemented her stardom: the arresting musical, "Cover Girl" (1944), and the steamy noir thriller, "Gilda" (1946).
married in 1945; daughter of Harry Warner (of Warner Bros.); formerly married to Mervyn LeRoy
married in 1932; divorced in 1943
mother, Doris Warner Leroy; married to Sara Munson; son Zubin LeRoy Vidor born in April 2001