Editing King Vidor (section)

====''Japanese War Bride'' (1952): Twentieth Century Fox====

The topic of the film, white racial prejudice in post-WWII America, had been addressed in a number of Hollywood films of the period, including directors [[Joseph Losey]]'s ''[[The Lawless]]'' (1950) and [[Mark Robson (film director)|Mark Robson]]'s ''[[Home of the Brave (1949 film)|Home of the Brave]]'' (1949).<ref>Durgnat and Simmon, 1988 p. 281: See other film titles offered here in that period.</ref>

The story by co-producer Anson Bond concerns wounded [[Korean War]] veteran Jim Sterling (Don Taylor), who returns with his bride, Japanese nurse Tae (Shirley Yamaguchi), to his parents' farm in California's [[Central Valley (California)|Central Valley]]. Conflicts arise when Jim's sister-in-law falsely accuses Tae of infidelity, sparking conflicts with the neighboring [[Nisei]]-owned farm. The picture locates acts of racism towards non-whites as personal neurosis rather than socially constructed prejudice.<ref>Durgnat and Simmon, 1988 p. 284-285</ref> Vidor's artistic commitments to the film were minimal in a production that was funded as a [[B Movie]], though he meticulously documents the experience of workers in field and factory.<ref>Durgnat and Simmon, 1988 p. 281: The film "hides any depth of commitment behind...B film setups…" And p. 284: "The visual style argues that Japanese War Bride remained an impersonal production for Vidor." And: "he establishes the documentary community...lettuce field-hands...packing plant…[[Cannery Row]]."</ref>

Before beginning direction of ''Japanese War Bride'', Vidor had already arranged with Bernhard to finance his next project and perhaps "the last great film" of his career: ''Ruby Gentry'' (1952).<ref>Durgnat and Simmon, 1988 p. 281: Vidor's eye was on Ruby Gentry..."<br />Baxter, 1976 p. 78: "...the wild and remarkable Ruby Gentry, Vidor's last great film."</ref>