Florence Vidor — Blue Book of the Screen (1923) 🇺🇸

Settled down to a quiet life with no special goal; possessing no girlish longings for a “wonderful” stage career, hugging to herself no romantic visions of a princely lover who would ride past some day and carry her away on his white charger; that was Florence Arta, of Houston, Texas.

She had concluded her education in the years following her birth, July 23, 1895, in that same city. The public schools, convent and finishing school had lifted her from them, back into the home of her father, J. P. Arto, a realtor there.

Then a motion picture director came to the city and began producing. He also began calling at the Arto house. He was King Vidor, at the beginning of his screen career. Vidor proved himself successful in his love venture, for he married the beautiful young Florence and, shortly afterwards, they removed to Los Angeles, the home of motion pictures.

Even up to this time no thought of acting had occurred to Florence Vidor. She loved her home, and made it an enjoyable place for her husband to return to after the hard day’s work.

Singular to state, it was not the husband who guided her into pictures. Instead it was an introduction to a Vitagraph director, during a visit to the studio for the purpose of visiting Corinne Griffith, an old friend. The director was pleased with the appearance of the beautiful young woman and asked her to play a small part. She did so. When it was run, officials of the corporation offered her a year’s contract. She accepted, although during all that period she played minor roles only.

But experience came and repaid her, for she branched out during the following season, securing better parts and establishing a reputation for screen work. She played Mimi in “The Tale of Two Cities” with William Farnum, among other productions which brought her to general attention.

Director-husband then decided that too much talent was escaping from the household. Thereupon he began putting on productions with Mrs. Vidor featured. Among these were “The Other Half” and “Poor Relations.” After this series she appeared in such prominent features as “Old Wives for New” with Paramount, Lying Lips for Ince [Thomas H. Ince], and others. She considers her work in the Vidor production, “Alice Adams,” her best performance. Besides cuddling a five-year-old boy, Mrs. Vidor finds time for horseback riding, tennis and bridge. She is an exceptional pianiste.

The Vidor home is in Hollywood.

—

Florence Vidor and her director stop making scenes to discuss the story for a few moments.

Portrait by Witzel • Los Angeles

Collection: The Blue Book of the Screen (1923)