“Fidler’s journey to the big screen”: a film review

Fiddler on the Roof It seems to be enjoying the revival and not that it has disappeared. In recent years, the 1964 musical classic has received an acclaimed Broadway revival, another famous off-Broadway play performed entirely in Yiddish, and was the subject of the 2019 documentary. Violinist: a miracle of miracles.

Now, I’m a little late to celebrate the 50th anniversary of the 1971 film version.^me fashion birthday The Violinist’s Journey to Big screen, a documentary by Daniel Rhyme showing a highly successful film adaptation that won three Oscars. If this continues, it could become a tradition.

Raim is no stranger to film history, he has made films like the Oscar-nominated short films The A man on Lincoln’s nose And a documentary feature film Harold and Lillian: The Hollywood Love Story, Among many others. It was his work on former production designer Robert F. About Boyle that inspired this latest effort. Rhyme talked to Boyle (famous for restoring Mount Hitchcock at Rashmore north northwest) and director Norman Jevison in their collaboration The GardnerAnd subsequently, he spent more than a decade interviewing many of the characters who starred in the film, including Topol, composer John Williams, lyricist Sheldon Harnick and the actors who played Tevia’s daughters Rosalind Harris, Neva Smolsh and Mi.

The results, with overloaded movie clips and behind-the-scenes footage, will be mesmerizing. The Gardner lovers. The filmmaker takes a fairly broad look at the origins of the Broadway musical and takes an in-depth look at Jevison, who spent several years of his directorial career filming comedic formulas for Universal such as 40 pounds Problem s don’t send me flowers. His passionate interest in social activism led him to the 1967 innovation in the heat of the nightWhich won the Oscar for Best Picture.

Despite the success, he was surprised when United Artists director Arthur Krim asked if he was interested in the film version of the film. The Gardner. Uyson sadly informed Crimea that, despite his name, he was a goy. “We don’t want 2^s “Doing Yiddish on the avenue,” Krim replied. We want a movie for everyone.

That’s exactly what Jevison set out to do. I decided to make the film realistic and avoid cinematic musical catastrophes like draw your carriage s CamelotHe decided that Zero Mostel would not repeat his legendary stage performance and was replaced by the then lesser-known Israeli actor Topol, who played the title role on the London stage. Among those who likely wanted to play Tevye, according to the documentary, was Frank Sinatra (which leads you to want a story).

The documentary contains a lot of fascinating information on how to make a movie. Whenever looking for authenticity, product designer Boyle used Roman Vishniak’s famous photographs of Eastern European state life as inspiration and created a wooden synagogue from scratch (all were destroyed during the Holocaust). Jevison asked Isaac Stern to play the violin, to which the famous musician terrifiedly replied, “I can’t get on the roof!” Jevison reported that they just needed to record the song. To create a darker look suitable for a film depicting Jewish struggles during the pogroms, cinematographer Oswald Morris used silk stockings to create a brown effect on the camera lens.

Not that the movie was authentic. Each Respect. Harris, who plays his eldest daughter Ceitel, tells how he, Marsh and Small decided to more accurately portray what women were like at the time, letting their hair stand on end. When he found out, Jevison stopped filming and ordered the three of them to “shave their armpits”.

Another hilarious moment comes courtesy of lyricist Harnick, who takes the opportunity to sing “Sunrise, Sunset” during the interview, a song that has since become a wedding classic. After his snarling broadcast, he tells the team with mocking indignation, “Aren’t they crying? How do I go?”

Jevison describes his fears sitting next to Israeli Prime Minister Golda Meir during the film’s Israeli premiere and the tremendous relief he felt when he was caught secretly wiping away his tears.

Narrated by Jeff Goldblum in his typical bittersweet way, which makes everything he says sound strange; Fidler’s journey on the big screen It is purely solemn in tone and may benefit from more objective perspectives. But this is a little joke about this documentary for which everyone The Gardner “L’Chaim!” fan