Word: rouben
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Dates: during 1930-1939
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...combined talents of George Gershwin as composer, DuBose Heyward as librettist and Rouben Mamoulian as director have been welded by the Theatre Guild's skillful wand into "Porgy and Bess" an "American Folk Opera" of unique distinction. Although it is essentially operatic material Mr. Gershwin has put his work upon the legitimate boards through a desire to give it broader circulation than it could achieve through operatic channels, and a good thing it is indeed...
...bare, dusty stage of Manhattan's Guild Theatre last week 75 Negroes sang, swayed, rolled their dice, exultantly prayed to "de Lawd." In the darkened pit lean Rouben Mamoulian, cinema director, tapped on an old-fashioned schoolteacher's bell, interrupted them constantly with "All right, children. . . ." His stage pictures grew steadily in beauty while the tempo of the acting rose to fever pitch...
First calamity was the death of Director Lowell Sherman from pneumonia, when he had shot about one-third of the picture. Second was an attack of pneumonia for Miriam Hopkins, in the middle of a ballroom scene erected on a rented Pathe lot. Director Rouben Mamoulian, hired to replace Sherman, scrapped all the scenes made by his predecessor. A sequence carefully pieced together from 6,000 ft. of negative was burned in a projection machine and had to be recut, which took a week. During these tribulations, Jock Whitney flew to the coast nine times. Final difficulties with Becky Sharp...
...LIVE AGAIN--Despite the fact that Tolstoy's Resurrection has been filmed twice before in the U. S., it took Producer Samuel Goldwyn to set his hand to producing a near-accurate interpretation of the social message contained in the book. He chose Anna Sten, Fredric March and Director Rouben Mamoulian to make this one of the best pictures of the season--and they fulfilled all expectations...
...like the two previous versions, the old tale of young love reunited, We Live Again is comparatively faithful to its Russian original. In the earlier sequences where young Prince Dmitri Nekhlyudov (Fredric March) goes to church with Peasant Katusha Maslova (Anna Sten), before seducing her in a greenhouse. Director Rouben Mamoulian allows his fondness for his scene to delay his story. Later, when Dmitri, a bearded patrician in the jury box, again meets Katusha, a prostitute accused of murder, the class antagonism which put them where they are is carefully accented to make more impressive Dmitri's gestures of remorse...