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.

Theatre and film director Rouben Mamoulian (1897-1987) is known chiefly as a technical innovator and stylist. His stage credits include the original Broadway productions of Porgy and Bess (1935), and Oklahoma (1943); his sixteen completed films include Dr. Jekyll and Mr. Hyde (1931), Golden Boy (1939), The Mark of Zorro (1940), and Silk Stockings (1957). In the theatre, Mamoulian integrated the various contributory arts of the American musical, transforming the near variety-show format of musicals into a dramatic unity of plot, character, music, and dance. He thus opened the stage to what would later be termed the "golden age" of the American book musical of the 1950s and 60s. In early sound films, Mamoulian restored mobility to the camera, rediscovered montage, redefined close-ups, split-screen, and dissolves, invented the voice-over, and was first to use multitrack sound recording. He directed the first live-action Technicolor film, Becky Sharp (1935). Spergel introduces previously undisclosed personal documents about the Mamoulian that necessitate a re-examination of Mamoulian's own statements about his life. He shows that the central theme in Mamoulian's art and life, as he describes it--to overcome the world and embrace truth--extended to the telling of his own history. Mamoulian believed he could alter that history through stylized presentation, idealizing the truth, and thereby raising numerous questions about historiography in general.

A former New York Times music critic and award-winning author describes the contributions of the stage and film master director to Gershwin's classic American folk opera that originally premiered in 1935.

The film was based on the story of Dr. Jekyll, a famous young doctor, who experiments upon himself and, by drinking a potion, becomes an evil embodiment of himself. After a time, he realizes that his evil self, Mr. Hyde, returns automatically without the aid of the drug. After murdering a man, Dr. Jekyll fights to remain the good doctor, rather than the evil Mr. Hyde, and ends by killing himself with poison.

One of the most important yet overlooked of Hollywood auteurs, Budd Boetticher was responsible for a number of classic films, including his famous 'Ranown' series of westerns starring Randolph Scott. With influential figures like Martin Scorsese and Clint Eastwood acknowledging Boetticher's influence, and with growing academic interest in his work, Gary D. Rhodes and Robert Singer present a vital collection of essays on the director's long career, from a range of international scholars. Looking at celebrated films like Buchanan Rides Alone (1958) and Comanche Station (1960), as well as at lesser-known works like Escape in the Fog (1945) and Behind Locked Doors (1948), this book also addresses Boetticher's influential television work on the James Garner series Maverick, and Boetticher's continuing aesthetic influence on contemporary TV classics like Breaking Bad.