On Saturday, May 19, The Narekatsi Chair of Armenian Studies together with the Friends of the UCLA Armenian Language and Culture Studies will be hosting the West Coast premiere of veteran documentary filmmaker Patrick Cazals film Rouben Mamoulian: The Golden Age of Broadway and Hollywood (Paris, 2007) at the James Bridges Theater in Melnitz Hall on the UCLA campus at 7:30 p.m. The program also features the screening of Cazals earlier documentary on Parajanov entitled Sergey Parajanov the Rebel ( Paris , 2004). Cazals will be present in person to take part in a discussion of his work during the intermission. The evening will end with a wine and cheese reception. The evening focuses on two very different Armenian directors born in the Georgian capital of Tbilisi . Rouben Mamoulian (1897-1987) received his dramatic training at the innovative Moscow Art Theater under such living legends as Eugene Vakhtangov and Kostantin Stanislavsky. Thereafter he moved to the USA via Paris and London in 1923, where he staged forty-four plays, which included a dramatized version of the novel Porgy and Gershwins operatic version Porgy and Bess (1935), the blockbuster Oklahoma! (1943), Carousel (1945), and Lost in the Stars. He also directed sixteen films, including Applause (1929), Dr. Jekyll and Mr. Hyde (1932), Queen Christina (1933), starring Greta Garbo, and screen classics like Love Me Tonight, Blood and Sand, and Silk Stockings. A stylish innovator, Mamoulian introduced mobile and multiple cameras to Hollywood as well as new sound techniques. His Betty Sharp (1939) was the first film in three-color Technicolor. Meanwhile, Sergey Parajanov (1924-1990) received his directorial training at the famous VGIK film school in Moscow under the guidance of the Ukrainian masters Igor Savchenko and Aleksandr Dovchenko. After graduating, he produced a number of documentaries and a few narrative films based on Ukrainian and Moldovan folktales. His international standing was established by his Shadows of Forgotten Ancestors (1964), which won several awards, inaugurating the Pictorial School in Ukrainian cinema and marking out its author as a dissident. Four years later with Hay Film in Erevan he completed his masterpiece Sayat Nova, which, however, was banned in its original form. In its re-edited version The Color of Pomegranates it continues to fascinate, puzzle, and intrigue audiences the world over. After a spell in prison during the seventies in which he gave himself over to painting and sculpture, he worked on two further films in the next decade, The Legend of Surami Castle (1984) on a medieval Georgian legend, and Ashik Kerib (1988) on a short story by Lermontov based on oral tradition. He had barely started filming his next work Confession (1990), when he fell fatally ill. Veteran filmmaker Patrick Cazals has directed around forty documentaries during his thirty-one years in the profession. He is a former associate of Liberation and Cahiers du Cinema, and a producer at France Culture radio. He created his own production company Les Films du Horla in 1987. His research for his latest work was partly conducted at the Mamoulian archives in the Library of Congress, the archives of the Eastman Center , Rochester , where Mamoulian began his career in America . It is also based on interviews with Mamoulian himself and experts on his oeuvre. Cazals documentary on Parajanov represents the culmination of decades of interest in and involvement with his subject, having produced an earlier documentary on the filming of Ashik Kerib and written the best study in French on the maestro Serguei Paradjanov (Paris: Editions de lEtoile, 1993). Parking is available in Parking Structure 3 at the north of campus near the intersection of Hilgard and Charles Young Drive North . All are welcome. For further information, please call (818) 986-0718 or (310) 825-7893.