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An Armenian national raised in Russia, Rouben Mamoulian (1897–1987) studied in the influential Stanislavski studio, renowned as the source of the "method" acting technique. Shortly after immigrating to New York in 1926, he created a sensation with an all-black production of Porgy (1927). He then went on to direct the debut Broadway productions of three of the most popular shows in the history of American musical theater: Porgy and Bess (1935), Oklahoma! (1943), and Carousel (1945).
Mamoulian began working in film just as the sound revolution was dramatically changing the technical capabilities of the medium, and he quickly established himself as an innovator. Not only did many of his unusual camera techniques become standard, but he also invented a device that eliminated the background noises created by cameras and dollies. Seen as a rebel earlier in his career, Mamoulian gradually gained respect in Hollywood, and the Directors Guild of America awarded him the prestigious D. W. Griffith Award for Lifetime Achievement in 1983.
In this meticulously researched biography, David Luhrssen paints the influential director as a socially conscious artist who sought to successfully combine art and commercial entertainment. Luhrssen not only reveals the fascinating personal story of an important yet neglected figure, but he also offers a tantalizing glimpse into the extraordinarily vibrant American film and theater industries during the twenties, thirties, and forties.
- Sales Rank: #626876 in Books
- Published on: 2012-12-13
- Original language: English
- Number of items: 1
- Dimensions: .75" h x 6.40" w x 9.30" l, .95 pounds
- Binding: Hardcover
- 208 pages
Review
"David Luhrssen has done yeoman work in researching the neglected theatrical aspect of Mamoulian's career, recreating it with a graceful and often colorful style. Luhrssen does equal justice to Mamoulian's films, giving full attention to his unique style and the technological and artistic advances he helped bring about. This important book helps restore the limelight to an influential artist who has been unjustly overlooked in recent years."―Joseph McBride, author of What Ever Happened to Orson Welles?: A Portrait of an Independent Career
"Mamoulian: Life on Stage and Screen, by David Luhrssen paints the influential stage and film director as a socially conscious artist who sought to successfully combine art and commercial entertainment ― which he did."―Thomas Gladysz, Huffington Post
"Luhrssen's Mamoulian: Life on Stage and Screen provides an in-depth consideration of Mamoulian's remarkable contributions to stage and screen."―Film Threat
"Luhrssen not only reveals the fascinating personal story of an important yet neglected figure, but he also offers a tantalizing glimpse into the extraordinary vibrant American film and theater industries during the twenties, thirties, and fortires."―Yerevan Magazine
"Mamoulian: Life on Stage and Screen paints the influential stage an dfilm director as a socially conscious artist who sought to successfully combine art and commercial entertainment ― which he did."―Huffington Post
"Luhrssen's book is written with passion and benefits from meticulous research. Despite the widely respected erudition of its subject its style is modest and accessible so curious newcomers to the subject should not feel deterred from giving it a try. . . . It is highly recommended."―Eye For Film
"Today, one sees both worlds anew while watching Mamoulian's movies―and while reading Luhrssen's vivid, sensitive account of the magnificent mind that dreamed those worlds into being."―Shepherd Express
"Much thanks and gratitude goes out for Luhrssen on bringing forth Mamoulian's contributions in Hollywood to the 21st century. Without this text, neither I nor many of my contemporaries would be able to appreciate Mamoulian's work."―S. Danielle Galian
"Mamoulian: Life on Stage and Screen by David Luhrssen. Biography by Mamoulian arts and entertainment editor and longtime film critic gives an overdue spotlight to Rouben Mamoulian, who as a director shaped some of Broadway and Hollywood's most notable achievements from the 1920s through the '50s, including Applause (1929), Dr. Jekyll and Mr. Hyde (1932), Becky Sharp (1935), Queen Christina (1935), The Mark of Zorro (1940), Oklahoma! (1943) and Carousel (1945)."―Sunday Journal Sentinel
About the Author
David Luhrssen is the arts and entertainment editor and film critic for the Shepherd Express and cofounder and director of the Milwaukee International Film Festival. He is the author of Hammer of the Gods: Thule Society and the Birth of Nazism and Elvis Presley: Reluctant Rebel.
Most helpful customer reviews
3 of 4 people found the following review helpful.
Life, not Life and Works: long awaited but sloppy on detail
By E.J. Pitt
A proper critical biography of Mamoulian and his work on stage and screen is long overdue, but I'm afraid this isn't exactly what we've been waiting for. This book is a Life, not a Life and Works. There is no sustained critical treatment of the works themselves at all: mostly just quotations from Mamoulian and others. There is an all too brief evaluation of Mamoulian's work as a whole right at the end of the book.
The book is good if brief on Mamoulian's antecedents and stage career, but as regards the movies doesn't really appear to offer anything new. For a critical appraisal of Mamoulian's work, readers should still consult Tom Milne's monograph 'Rouben Mamoulian', 1969, if they can find a copy.
As regards biography, by the time we get to 1934 the author has already confused Dashiell Hammett with Raymond Chandler; has confused Paramount's marketing department with MGM's; and has apparently confused Korda's "The Private Life of Helen of Troy" (1927) with his "The Private Life of Henry VIII", in an otherwise inexplicable anachronism concerning 'the vogue ... that began with Alexander Korda's "The Private Lives of Henry VIII"' (released 8/1933 and made in UK) as 'the impetus' for Queen Christina (first conceived 1927, serious planning from 3/1933, principal photography started 8/1933). The book has endnotes but no filmography or bibliography. It cites the unreliable Charles Higham and John Houseman several times without comment. All this is rather disappointing from someone with an MA in history.
0 of 0 people found the following review helpful.
The "Compleat" Mamoulian
By Paul McComas
After reading Mamoulian: Life on Stage and Screen (University Press of Kentucky), David Luhrssen's comprehensive, illuminating biography of the pioneering director, I'm tempted to call its subject "the Kevin Bacon of the early-to-mid-20th century." One could easily play Six Degrees of Rouben Mamoulian, given this visionary artist's associations with myriad colleagues from Gershwin to Garbo to Martha Graham, Hammerstein to Hepburn to Lena Horne.
But only one "degree" is needed for Mamoulian, who over three decades directed and/or collaborated with countless key figures both in Hollywood and on Broadway. What's more, while Bacon's presence improves his movies, Mamoulian truly was his movies, plays and operas. His productions were defined by a unique style, a tailor-made vision of how each piece should be lit, paced, choreographed, costumed, acted, scored, shot--and experienced.
Born to Armenian parents in Russian Georgia in 1897, Mamoulian inherited his interest in performing arts from his mother, Virginie, whose "greatest love," Luhrssen notes, "apart from her son, was the theater.... She often appeared onstage [and] was president of the [local] dramatic society," prior to the family's emigration to England.
Mamoulian made his directorial debut in London's storied West End, then relocated in 1923 to Rochester, N.Y., to teach and direct for George Eastman in the camera tycoon's performing arts academy. Through the combined force of charisma and talent, Mamoulian enlarged his role beyond Eastman's original intentions--then promptly made the leap to Broadway. When Hollywood beckoned, Mamoulian fashioned for himself a long-term bi-coastal career, shuttling back and forth between Manhattan and Los Angeles as his stage and screen projects dictated.
Luhrssen evokes Mamoulian as "an elegantly Old World figure: tall, slender and black haired, with a pince-nez perched on his prominent nose, [wearing] beautifully tailored Savile Row suits and spats, and [carrying] a gold-headed black walking stick." While his East-European bearing and exotic accent fed his mystique, Mamoulian's "otherness" also played into the prejudices of columnists like The New York Times' Dwight MacDonald, who, in a 1929 review, criticized the director's "Oriental greasiness."
But Mamoulian's status as a kind of non-white, along with his heritage as an Armenian--victimized in the 20th century's first holocaust--equipped him with the sensitivity needed to co-adapt and then mount (with an unprecedented all-black cast) the wildly successful first stage production of DuBose Heyward's novel "Porgy" in 1927. Eight years later, Mamoulian directed the even more celebrated debut of the opera "Porgy and Bess." In time, he'd introduce "Oklahoma!" and "Carousel" to Broadway as well, again to acclaim--but his "Porgy" doubleheader remains Mamoulian's towering theatrical achievement, given the steep socio-cultural obstacles overcome alongside the artistic ones.
Luhrssen thoroughly documents Mamoulian's willfully eclectic film career, from early efforts like the audacious Garbo vehicle "Queen Christina" (1933) through the mid-career "Mark of Zorro" (1940) to his swan song, "Silk Stockings" (1957). From the start, genius was afoot: for 1931's "Dr. Jekyll and Mr. Hyde," Mamoulian shot the first reel entirely via subjective camera, from the point of view of Dr. Jekyll (an Oscar-bound Fredric March), as if to tell the viewer: "This isn't just his story; it's yours. We all have Hyde inside."
A jaw-dropping choice--but for Mamoulian, par for the course: this same innovator created the internal-monologue voice-over and brought multi-track audio recording and overlapping dialogue to the movies. When the equipment he needed didn't exist, he commissioned its invention. One grins at the thought of Hollywood honchos enlisting this supposed stage director to helm their early talkies, assuming he would deliver by-the-book filmed plays, only to find "Mamoo" reinventing the medium before their eyes, steering cinema in ever-edgier directions.
He never won an Oscar, though multiple lifetime-achievement awards bespeak Mamoulian's recognized impact on theater and, especially, film. Then again, for this driven artist and empathetic aesthete, it was never about recognition; it was about, in his own words, "Style--your point of view on life [and] on the world...[in] literature, drama, music, painting--you see the world, and you also see the other world. The one we're longing for."
Today, one sees both worlds anew while watching Mamoulian's movies--and while reading Luhrssen's vivid, sensitive account of the magnificent mind that dreamed those worlds into being.
(This review was published in the May 2, 2013 issue of "Milwaukee Shepherd-Express.")
2 of 3 people found the following review helpful.
Fascinating Look at the Stage and Screen Director
By Geliot
Mamoulian: Life on Stage and Screen is a valuable look at a director whose achievements have often been overlooked. Accessible yet scholarly, this book is a delight to read--a compact biography that gets the facts straight, touches on all the high points and never bogs down in the sort of "critical" theorizing beloved by pseudo-intellectuals.
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