Since some posters objected to my criticism of the music, I gave it another viewing over this past weekend. I still think the music is mediocre at best, but that does not deter from the fact that it is a wonderful movie, full of heart and emotion and true values issues that are missing from far too much of the crap that is being produced these days. Also, I really took pains to observe Streisand's directorial technique. She is a brilliant director. The "Tomorrow Night" segment (Yentil preparing for her wedding) has such beautiful camera work and such power in conveying how conflicted Yentil is about this step she is taking, the scene leaves me breathless. I still don't like the songs, but can look past that and enjoy the movie for all its good values. I think the fact that so many people love the music is due to Streisand's powerful vocal performance that transcends the banality of the songs. As for her age, who cares! That's why we call it "acting"!

The right world is "unbelievable". In the literal sense.

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I saw part of this this past weekend, and I'd forgotten how good it was. The song she sings to her Dad made me cry.
Of course Mandy is so easy on the eye.
Why ain't you at the garden party you heathen?

yesit is beautiful art indeed.

Havent read the book, but I think this film is fantastic.
So underrated and bagged by most people. I love the music, the story, the atmosphere.
It's been badly treated IMO.

And I don't agree on the music. I love most of those songs.
Someone mentioned Tomorrow Night, I love the transition and smart lyrics of tomorrow night .now is tonight. That is a great way to illustrate time.
From the first time I watched I felt the like Barbara put everything just right in the first 1/2 of the movie. The second half still has some good music and some good minutes but it gets confusing, uneven. Never bothered me how old she was.
I watch the 1st half any time and listen to the music - "No matter ."

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I see what you mean about the songs being trite, but I suspect that the music in a good musical has to be accessible. See The Phantom et al. And the last song, where she is singing on the deck of the ship with the Statue of Liberty on the skyline, that was a masterpiece. It is as good a cinematic moment as you can find in all of American cinema (or if you are a cynic it is trite).
Too bad that BS is such a skank to her fans.

The story itself was intriguing; the idea that a woman could not study the Torah and so had to disguise herself, in and of itself was fancinating. And, Mandy Patankin's character, who always respected Yentl's interpretations suddenly turning on her when he finds out she is a woman (all of a sudden her ideas were not worthy?). This was a marvelous revelation of the depth of the different views of men's and women's roles in those days. I was going to call it sexism, but I don't think it was that. It was an attitude steeped in a patriarchal culture and the story, in a way like in "Fiddler", is the story of the old attitudes giving way to the new. Never an easy thing for any culture to understand.
A wonderful story and great social history. But, there are some problems. The songs were vapid and trite. Alan and Marilyn Bergmann are usually reliable and solid, if conventional, lyricists. But, I just cannot warm up to any of the cliched songs here. And, why no songs for Mandy? Sure, his style is affected and annoying, but he has a solid tenor voice and should have been given something to sing. I am not bothered by the fact that Barbra was too old for the role; after all, she was way too young when she did "Hello Dolly" This was a non-musical stage play before it became a movie a bit more subdued and understated compared to the movie; a film of the straight play may have worked as well, maybe even better.

I remember always waning to read the book but never being able to find it, does anybody have this in some form of ebook or txt file they could send me?
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(. (.Ask me about my e-books, I share:)