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Rouben Mamoulian

Personal Profile

Rouben Mamoulian
  • Nickname:
    Mamoo
  • Date of Birth:
    October 8, 1897
  • Zodiac Sign:
    Libra
  • Place of Birth:
    Tiflis, Georgia, Russian Empire
  • Place of Death:
    Woodland Hills, Los Angeles, California, USA
  • Date of Death:
    December 4, 1987
  • Height:
    6' 0½"
  • Sex:
    Male
  • Nationality:
    Indian
  • Education:
     University of Moscow

Family

Rouben Mamoulian
  • Spouse:
    Azadia Newman

Career

Rouben Mamoulian

Trivia

Rouben Mamoulian
  • Innovative director who was both partial to expressionism and realism in his films.
  • He found new and interesting ways of moving the camera, not only with a dolly but also using simple pans that were not "functional" at the time - such as "space pans" - and seldom used, an industry "no, no".
  • In the contemporary film world these kinds of pans are not only accepted but the norm.
  • Mamoulian chafed under the restrictive methods of early-sound filmmaking, and by a process of trial and error obtained adequate recordings with multiple microphones, thereby freeing his cameras and restoring the visual mobility cinematographers had achieved in the silent era.
  • His subsequent films--City Streets (1931), Dr. Jekyll and Mr. Hyde (1931) with Fredric March, and the incomparable Love Me Tonight (1932)--saw Mamoulian refining his cinematic technique while continuing to experiment with subjective camera work and the melding of picture and sound. His Becky Sharp (1935), the first feature film made with the newly perfected three-strip Technicolor process, utilized its bright hues for dramatic rather than merely pictorial effect.
  • In the late 1920s when sound was introduced into motion pictures, beginning with The Jazz Singer (1927), many directors were left stranded, as they could no longer move the camera. The sound of the dolly or the camera itself was recorded on the soundtrack and sounded awful and distracting.
  • Mamoulian was one of the first to introduce the blimp, a box that encased the camera and isolated the sound the camera made. He also refused to let the sound of the dolly or of the camera operators stand in his way and quite often moved the camera regardless.
  • This was rare in the 1930s and made Mamoulian unique. He'd move the camera even if the audience would hear it on the soundtrack, arguing that they would be so engrossed in the scene they were watching that they would not notice. He was right.
  • Vice president of the jury at the Cannes Film Festival in 1963
  • Biography in: "The Scribner Encyclopedia of American Lives". Volume Two, 1986-1990, pages 594-595. New York: Charles Scribner's Sons, 1999.

Quotes

Rouben Mamoulian
  • "I consider that color on the screen must be used as an emotion".
  • "Improvisation is for the birds and the amateurs".
  • "Realism and naturalism are not for me. I think it's too feeble an instrument".
  • "I think that anybody - and I'm not exaggerating - is capable of giving one hell of a good performance".
  • "I visualize a whole film before I come to the set and then I try to match it".
  • "The worst shape ever devised."
  • "You can have all the philosophy you like: if a film doesn't come across in graphic terms, it falls short."
  • "The most important critic is time."
  • "We have foresaken the magic of the cinema. We have gotten too far away from the cinematic effects achievable by camera angles and creative editing."
View all Quotes: Rouben Mamoulian

Biography

Rouben Mamoulian
Last Updated: Monday, August 31, 2009

Rouben MamoulianRouben Mamoulian was born on October 8, 1897. A tireless experimenter whose innate taste and intelligence enabled him to succeed where less talented directors had failed, Mamoulian directed only 16 movies but left an indelible mark on film history. he grew up in Russia and studied law at the University of Moscow, but indulged his passion for the theater by taking acting classes at night. Mamoulian became a director and staged well-received productions in London and New York, culminating in his gugely successful 1926 Broadway play Porgy, which featured an all-black cast. On the strength of that success, he was signed by Paramount to direct its backstage drama Applause (1929), filmed in its Astoria, Long Island studio.

A born maverick whose independence repeatedly clashed with major-studio assembly-line methods of operation, Mamoulian seldom got the opportunity to indulge his penchant for perfectionism, and was fired from nearly as many films as he made (including Laura, Porgy and Bess, and Cleopatra). Other Hollywood technicians caught up to him in the late 1930s and early 1940s, and Mamoulian seemed less an innovator in his later films. He returned frequently to the stage (achieving great success as the original director of Oklahoma!) and in later years turned to writing. But he maintained his passion for cinema, and right up until the time he died, in 1987, he was a frequent and outspoken commentator on the form.

Filmography

Rouben Mamoulian

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