King Vidor's film The Crowd & John Ford's film The Grapes of Wrath

The industry was thus in turmoil as to the nature of movies in the future, the need for well(p), the cost associated with transforming an industry dedicated to the silent hit into an industry producing sound fritter aways, and the ability of silent actors to succeed or fail in the new reality of sound. The push can thus be seen as an example of the highest development in silent film, and ability Vidor indeed created a film that made full determination of the capabilities of the silent film to tell its story and involve its audience.

The film comes at the end of a decade of increasing prosperity, and merely it was a prosperity that did not affect e precise one. The hero of The Crowd is a common man who has not benefited from the post-World War I boom. Of course, that boom would prove to be illusory within a year with the Stock Market Crash of 1929, but near Americans saw no sign of that coming disaster in 1928. Most films of the time were escapist entertainment of the sort that has been the back of the film industry almost from the beginning, and The Crowd is an exception not only for the industry but especially for Metro-Goldwyn-Mayer, a studio known for its lush productions featuring major(ip) stars. The Crowd, on the other hand, was a serious film about issues of concern to society and without major stars.

The story of The Crowd occurs a year before the fall market crash that would create the Depression so impor

The technique used by the conductor mirrors the nature the main character, creating a world that seems very real, very common, very practically the stuff of quotidian life. Vidor avoids flashy imaging for the most part, preferring to create a series of familiar images of daily life and the work and life of the common man. At the analogous time, he shows a willingness to use the camera cleverly in order to emphasize a theme. The ending of the film is one of the best examples. The man gets a new job exchange sandwiches. It is not a high-paying job, but it is a job. He and his wife celebrate by attending a show at a local theater. The two laugh at the zany performing on stage, and the camera begins in a almost two-shot in which we see only these two community.

The camera thusly slowly pulls back to reveal the crowd of which these two are a part, the audience in the theater. Vidor universalizes his message with such round-eyed movements, linking the two main characters with all of humanity and asserting that the themes of the film apply to everyone.

tant in The Grapes of Wrath, but the main issue is much the same--the hero loses his job and falls into despair. He finds himself one of the crowd, the large number of human beings who move through life not as a unit but as a gazillion or more individuals each with their own lives and concerns. The man is think to represent the common man, with the same problems and the same ability to bray himself out of his problems with effort and the help of his wife, who in this film is extremely supportive and vitally important in this marriage.

Vidor, King. The Crowd. Metro-Goldwyn-Mayer, 1928.

The Joads arrive in California, and Ford uses a number of images and moments to enhance the sense that these people are not welcome and that there is always a conspiracy at work to keep them out. When the Joads arrive at the peach camp, they are met with silence. They ask questions and no one answers. in that respect is a sense of menace in this silence, in the w
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