First National was so impressed by King Vidor's early work it agreed to an unusual contract for a director to fund his own studio. King's Christian Science beliefs were at core of his new venture's films. He issued a decree, published in Variety, stating a series of personal commitments to his movies, emphasizing in his last point "I will make only those founded on the principles of right, and I will endeavor to draw upon the inexhaustible source of good for my stories, my guidance and my inspiration." It was a principle Vidor strived for throughout the remainder of his movie career.
His first First National movie was August 1920 "The Jack-Knife Man." The William Parker script has a lonely old riverboat clock maker who witnesses a dying mother leaving her young child in his care. Along the lines of Charlie Chaplin's 'The Kid,' Vidor's film has authorities severing the strong bond between the two. A twist at the end dealing with the clock maker constructing wooden toys for the boy with his jack knife was praised by critics. First National, however, informed him its executives loved to see a bit more levity in his forthcoming movies, which Vidor accepted. Judging from his next movies he made at 'Vidor Village.'
His first First National movie was August 1920 "The Jack-Knife Man." The William Parker script has a lonely old riverboat clock maker who witnesses a dying mother leaving her young child in his care. Along the lines of Charlie Chaplin's 'The Kid,' Vidor's film has authorities severing the strong bond between the two. A twist at the end dealing with the clock maker constructing wooden toys for the boy with his jack knife was praised by critics. First National, however, informed him its executives loved to see a bit more levity in his forthcoming movies, which Vidor accepted. Judging from his next movies he made at 'Vidor Village.'