Charles Vidor (born Károly Vidor; July 27, 1899 – June 4, 1959) was a Hungarian film director. Among his film successes are The Bridge (1929), Double Door (1934), The Tuttles of Tahiti (1942), The Desperadoes (1943), Cover Girl (1944), Together Again (1944), A Song to Remember (1945), Over 21 (1945), Gilda (1946), The Loves of Carmen (1948), Rhapsody (1954), Love Me or Leave Me (1955), The Swan (1956), The Joker Is Wild (1957), and A Farewell to Arms (1957).

Born Károly Vidor in Budapest, Hungary, he served in the Austro-Hungarian Army during World War I. He first came to prominence during the final years of the silent film era, working with Alex Korda among others. Contrary to common belief, he was not related to fellow director King Vidor (1894–1982).

In 1922, Vidor emigrated to the United States. He worked as a basso for the English Grand Opera Company. He was a chorus boy in Love Song and worked on Hudson Bay as a longshoreman.

Vidor went to Hollywood where he worked as Korda's assistant. He attracted acclaim for a low budget short he made in his spare time with his own money, The Bridge (1929). This led to a contract at Universal Pictures to work in the editorial department.

He did some uncredited directing on MGM's The Mask of Fu Manchu (1932). His first credited feature as director was Sensation Hunters (1933) for Monogram Pictures. Vidor followed it with Double Door (1934) at Paramount.

Vidor accepted a contract to work at RKO Pictures. While there he directed Strangers All (1935), His Family Tree (1935), The Arizonian (1935), and Muss 'Em Up (1936).

Vidor went back to Paramount where he directed A Doctor's Diary (1937), The Great Gambini (1937), and She's No Lady (1937).

Vidor signed with Columbia Pictures where he directed Romance of the Redwoods (1939), Blind Alley (1939) and Those High Grey Walls (1939). These were lower budgeted productions but they were well received. "I enjoyed those little pictures", he said later.