Rose and Gregory, both Columbia University professors meet when Rose's sister answers Gregory's "personals" ad. Several times burned, the handsome-but-boring Gregory believes that sex has ... See full summary »
Hillary Kramer, successful Perfume magnate awakes one morning to find that her accountant has robbed her blind and left for South America. Going through all of her remaining assets she ... See full summary »
A matchmaker named Dolly Levi takes a trip to Yonkers, New York to see the "well-known unmarried half-a-millionaire," Horace Vandergelder. While there, she convinces him, his two stock ... See full summary »
Can a bickering odd couple in Manhattan become friends and maybe more? Owlish Felix is an unpublished writer who vents his frustration by reporting to the super that the woman in a ... See full summary »
Henrietta Robins works out of her home and her husband Pete drives a cab to try to support her. When Pete gets a tip from one of his fellow drivers that a deal will be made by the Americans... See full summary »
A young wife and mother, bored with day-to-day life in New York City and neglected by her husband, slips into increasingly outrageous fantasies: her mother breaking into the apartment, an ... See full summary »
Dramatization of "Yentl, the Yeshiva Boy," by Isaac Bashevis Singer (1902-1991); originally published in Yiddish c. 1960, then in English c. 1983. The story: In an Ashkenazic shtetl in Poland, Yentl Mendel is the boyishly klutzy daughter and only child of long widowed Rebbe ("Talmud Teacher") Mendel, who teaches Talmud (a codification of Jewish Law) to local boys - and to Yentl, but secretly because girls were not allowed to learn the law in those days. When her father dies, Yentl is all alone in the world. She takes the momentous decision to leave the village and - disguised as a boy and calling herself by the name of her late brother, Anshel - seeks and gets admitted to a Yeshiva, to study the texts, traditions, subtleties and complexities of Torah, Talmud, etc. She befriends Avigdor who is engaged to Haddas, but her family discovers his brother committed suicide so they call off the wedding (in case Avigdor possesses the same madness). Anshel then finds "him"-self in the awkward ... Written by
Yentl's character was meant to be a 17 year old girl, Barbra was 41 when she played her. See more »
When Yentl sings "Papa, Can You Hear Me?" her glasses are laid down in front of her. They have modern temple and ear pieces. In other scenes Yentl's glasses are the old-fashioned, wrap-around-the-ear-style glasses. See more »
Barbra Streisand has referred to herself as 'an actress who happens to be a singer'. I doubt I am alone in viewing her professional legacy in the reverse: as a great singer who happens to be an actress . . . director, producer, screenplay writer, musical score composer, humanitarian, and lately, concerned with using her production and direction talents to bring out important social issues (like ageism--"The Living Century" is about centurions--people a hundred years old or more).
"Yentl" marks the beginning of a woman blazing a new trail as a director, singer, composer, her hands in the screenplay, and production. She's spoken in a segment on "The Directors," about how various cultures have treated her as a result of her deliberate transcendence of Hollywood's gender-biased boundaries. One of her most interesting points reveals how well she was treated in England by the British filming crew. Since gender-bias against women is not even comparable to gender bias in the US, because England is so far advanced beyond gender discrimination because one is a woman, Streisand remarks how much easier it was for her to accomplish her goals on the set because the British film crew treated her without gender-bias, and with the respect she is certainly due.
"Yentl" royally upset the AFI in the US because Streisand entered into no woman's land when she had a hand in nearly every aspect of the motion picture. "Yentl" has some of the most memorable, touching, humanely familiar music and lyrics, yet it received no Academy Award. The direction was brilliant--no Academy Award. The screenplay was one that was serious, hilarious, religious, spiritual, and even addressed the issues of gender-bias head on--no Academy Award. Streisand's and Amy Irving's acting was stupendous--no Academy Award.
Streisand paved the way and took the non-recognition by the Film Academy without stopping. This musical motional picture pales many that are classics. The story is an extra interesting one, the likes of which have not been reproduced with anything close to as much skill and class.
I'll give this classic about six Academy Awards, including several that go to Streisand alone.
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