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Charles Vidor

Charles Vidor

Director, also producer and writer · Died June 4, 1959, aged 58 · Budapest, Austria-Hungary [now Hungary]

Charles Vidor (July 27, 1900 – June 4, 1959) was a film director. Born Károly Vidor to a Jewish family in Budapest, Hungary, he served in the Hungarian Army during World War I. He first came to prominence during the final years of the silent film era. Among his film successes are The Bridge (1929), Cover Girl (1944), A Song to Remember (1945), Gilda (1946), The Loves of Carmen (1948), Love Me or Leave Me (1955), The Swan (1956), The Joker Is Wild (1957), and A Farewell to Arms (1957). He was married four times, to Frances Varone (1927–1931), actress Karen Morley (1932–1943), actress Evelyn Keyes (1943–1945), and Doris Warner (1945-1959, until his death), daughter of Warner Bros. President Harry Warner.

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Biography from TMDB.

Born
July 26, 1900
Died
June 4, 1959 (aged 58)
From
Budapest, Austria-Hungary [now Hungary]
Works as
Director, also producer and writer
Titles
21 on MovieCove · 38 credits in all
Links
IMDb (opens in a new tab)TMDB (opens in a new tab)Wikidata (opens in a new tab)

Known for

TMDB popularity, last 37 days to Oct 26Down 19% in 30 days

What are Charles Vidor's films like?

Across their 21 MovieCove titles with a thematic analysis, their films lean Bonds and Self.

Genres

Comedy6 titlesTypical Midcredits score: 59th percentile, at or above their average across these genres
: browse their Comedy movies
Biography5 titlesTypical Midcredits score: 73rd percentile, at or above their average across these genres
: browse their Biography movies
Adventure4 titlesTypical Midcredits score: 42nd percentile
: browse their Adventure movies
Drama4 titlesTypical Midcredits score: 46th percentile
: browse their Drama movies
Action2 titlesTypical Midcredits score: 58th percentile, at or above their average across these genres
: browse their Action movies

Their MovieCove films by primary genre. The badge is the typical Midcredits score of the genre's films, the median percentile; an up arrow marks a genre at or above their average across these genres.

Themes

share of theme weight
Bonds
32%
Self
23%
Morality
21%
Power
10%
Society
7%
Survival
6%
Ideas
1%
Romantic love12 titles, browse their movies with this themeAmbition4 titles, browse their movies with this themeRedemption4 titles, browse their movies with this themeSacrifice4 titles, browse their movies with this themeJustice3 titles, browse their movies with this themeIdentity3 titles, browse their movies with this themeFamily bonds2 titles, browse their movies with this themeCommunity3 titles, browse their movies with this theme

What they feel like to watch

their average across 21 films
ToneFeelDemandtheir average · filled zone: the category
Serious: How heavy the subject matter and outlook get. Browse their serious movies.
Tone · Weight
lightdark

A split, not a type: Light 8 · Serious 5 · Dark 8

Stylized: How far its world departs from everyday reality. Browse their stylized movies.
Tone · Style
naturalisticheightened

A split, not a type: Grounded 10 · Stylized 7 · Heightened 4

Charged: How hard the emotional peaks hit while you watch. Browse their charged movies.
Feel · Intensity
gentleintense

Gentle 7 · Charged 8 · Intense 6

Shifting: How much it swings between very different feelings. Browse their shifting movies.
Feel · Swings
steadyswings

Steady 10 · Shifting 11 · Whiplash 0

Some laughs: How much of the runtime is played for laughs. Browse their some laughs movies.
Feel · Humor
noneconstant

A split, not a type: Straight-faced 10 · Some laughs 8 · Funny 3

Even-paced: How fast it moves from scene to scene. Browse their even-paced movies.
Demand · Pace
slowrelentless

Slow burn 9 · Even-paced 11 · Relentless 1

Casual: How much focus it asks of you — look away and lose the thread? Browse their casual movies.
Demand · Attention
casualfull focus

Casual 15 · Engaged 6 · Full focus 0

Affecting: How much it costs you emotionally; whether you need recovery time. Browse their affecting movies.
Demand · Emotional cost
easyheavy

A split, not a type: Easy watch 10 · Affecting 7 · Heavy 4

Resolved: How much is left for you to interpret. Browse their resolved movies.
Demand · Resolution
resolvedambiguous

Resolved 19 · Open-ended 2 · Ambiguous 0

Moods and endings

endings are an aggregate; no title is named

Dominant moods · mentions across their titles

Tense
10
Melancholic
10
Romantic
9
Warm
6
Joyful
5
Other
16

How their films linger

Feel-good9 titles, browse their movies with this aftertasteBittersweet8 titles, browse their movies with this aftertasteHaunting5 titles, browse their movies with this aftertasteHopeful4 titles, browse their movies with this aftertasteFun4 titles, browse their movies with this aftertasteDevastating2 titles, browse their movies with this aftertaste

How their films end · 2 with a twist

  • Happy8
  • Bittersweet10
  • Tragic2
  • Ambiguous1

AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.

Where can I watch Charles Vidor's films?

As of October 24, 2026, 5 of their 21 MovieCove titles stream on a subscription or free service, most on Tubi (3).

Also on these channels

Subscription and free streaming for Charles Vidor's titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.

Filmography

38 credits, 21 with a MovieCove page; 1 appearance as themselves is hidden until asked for.

  • Song Without End(1960)

    Director

    Midcredits score: 40th percentile of all films

  • A Farewell to Arms(1957)

    Director

    Midcredits score: 34th percentile of all films

  • The Joker Is Wild(1957)

    Director

    Midcredits score: 84th percentile of all films

  • The Swan(1956)

    Director

    Midcredits score: 60th percentile of all films

  • Love Me or Leave Me(1955)

    Director

    Midcredits score: 83rd percentile of all films

  • Rhapsody(1954)

    Director

    Midcredits score: 53rd percentile of all films

  • Hans Christian Andersen(1952)

    Director

    Midcredits score: 73rd percentile of all films

  • Thunder in the East(1952)

    Director

    Midcredits score: 39th percentile of all films

  • It's a Big Country: An American Anthology(1951)

    Director

    Midcredits score: 40th percentile of all films

  • The Loves of Carmen(1948)

    Director · Producer

    Midcredits score: 48th percentile of all films

  • Gilda(1946)

    Director

    Midcredits score: 95th percentile of all films

  • Over 21(1945)

    Director

    Midcredits score: 50th percentile of all films

  • A Song to Remember(1945)

    Director

    Midcredits score: 67th percentile of all films

  • Together Again (not in the MovieCove catalog yet)(1944)

    Director

  • Cover Girl(1944)

    Director

    Midcredits score: 71st percentile of all films

  • The Desperadoes(1943)

    Director

    Midcredits score: 57th percentile of all films

  • The Tuttles of Tahiti(1942)

    Director

    Midcredits score: 36th percentile of all films

  • New York Town (not in the MovieCove catalog yet)(1941)

    Director

  • Ladies in Retirement (not in the MovieCove catalog yet)(1941)

    Director

  • They Dare Not Love(1941)

    Director

    Midcredits score: 40th percentile of all films

  • The Lady in Question(1940)

    Director

    Midcredits score: 57th percentile of all films

  • My Son, My Son! (not in the MovieCove catalog yet)(1940)

    Director

  • Those High Grey Walls(1939)

    Director

    Midcredits score: 58th percentile of all films (provisional, few ratings)

  • Blind Alley (not in the MovieCove catalog yet)(1939)

    Director

  • Romance of the Redwoods (not in the MovieCove catalog yet)(1939)

    Director

  • She's No Lady (not in the MovieCove catalog yet)(1937)

    Director

  • The Great Gambini (not in the MovieCove catalog yet)(1937)

    Director

  • A Doctor's Diary (not in the MovieCove catalog yet)(1937)

    Director

  • Muss 'em Up (not in the MovieCove catalog yet)(1936)

    Director

  • His Family Tree (not in the MovieCove catalog yet)(1935)

    Director

  • The Arizonian (not in the MovieCove catalog yet)(1935)

    Director

  • Strangers All (not in the MovieCove catalog yet)(1935)

    Director

  • Double Door (not in the MovieCove catalog yet)(1934)

    Director

  • Sensation Hunters (not in the MovieCove catalog yet)(1933)

    Director

  • Me and My Gal(1932)

    Additional Writing · Writer

    Midcredits score: 65th percentile of all films

  • The Mask of Fu Manchu(1932)

    Director · Producer

    Midcredits score: 44th percentile of all films

  • Good Sport (not in the MovieCove catalog yet)(1931)

    Writer

  • The Bridge (not in the MovieCove catalog yet)(1929)

    Director · Screenplay

Career shape

A full career of 37 titles from 1929 to 1960.

Biggest box office

A Farewell to Arms (1957)

$18K worldwide

Highest rated

Gilda (1946)

Midcredits 95th

Most popular right now

A Farewell to Arms (1957)

By role

only this rolewith another role
Directing34 of 37: 32 only directing, 2 with another role · typical Midcredits score57thWriting2 of 37: 1 only writing, 1 with another roleProducing2 of 37: 1 only producing, 1 with another roleOther crew1 of 37: 1 only other crew, 0 with another role

By decade

1920s1 · crew1930s15 · crew1940s12 · crew1950s8 · crew1960s1 · crew

Counts from TMDB across their full career, self appearances out; a title counts in every role they held on it. The ring is the typical Midcredits score (the median percentile) of the role's titles that are on MovieCove, shown from 5 scored.

How do Charles Vidor's films land?

Their typical MovieCove film has a Midcredits score in the 57th percentile, the median of all 21; across their 21 films with reception data, the typical film sits in the 57th percentile for acclaim.

Acclaim · how much people like their films

57thpercentile
Typical film, the median of 21

Approval · how many liked their films

52ndpercentile
Typical film, the median of 21

Reach · how many have seen their films

54thpercentile
Typical film, the median of 21

Midcredits score across 21 titles, by percentile

  • 75th and up3
  • 50th to 74th10
  • 25th to 49th8

Shape of the crowd

12 of their 21 titles are Crowd Pleasers.

  • Universally Loved1
  • Crowd Pleaser12
  • Broadly Agreed5
  • Mixed3

Most divisive · director

They Dare Not Love (1941)

50th percentile spread · 20% rated it 4 or lower

Most loved · director

Gilda (1946)

Midcredits 95th · 84% liked

Reviewers score the atmosphere 69/100 and the pacing 46/100 in their films, across 20 reviewed titles. The element that speaks to their work as a director.

Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.

Who does Charles Vidor work with?

People who share at least 2 of Charles Vidor's MovieCove titles, grouped by what they did on them; Lewis Meltzer shares the most, 5.

Writers

Actors

Cinematographers and editors

Producers

Mixed roles