The life of Fanny Brice, famed comedienne and entertainer of the early 1900s. We see her rise to fame as a Ziegfeld girl, subsequent career, and her personal life, particularly her relationship with Nick Arnstein.
Matchmaker Dolly Levi travels to Yonkers to find a partner for "half-a-millionaire" Horace Vandergelder, convincing his niece, his niece's intended, and his two clerks to travel to New York City along the way.
Eastern Europe, 1904. A Jewish woman, Yentl, has a thirst for knowledge but is prohibited from learning due to the restrictions of her religion. When her father dies, she sets off to increase her knowledge, posing as a man in order to gain admission to a Jewish religious school.Written by
After Heaven's Gate (1980) lost nearly all of its $40 million budget, this movie was almost canceled. Between its starting budget and storyline, studio heads felt it wouldn't sell tickets. 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 »
You're in the wrong place, storybooks for women are over here.
[holding a book]
I'd like this one, please.
[takes the book away]
Sacred books are for men.
It's the law.
Where's it written?
It doesn't matter where it's written, it's the law.
Well if it's the law it must be written somewhere, perhaps in here
. I'll take it.
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At the very end of the closing credits: This film is dedicated to my father... and to all our fathers. 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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