Fiddler on the Roof
Topol, Norma Crane, Leonard Frey; Directed by Norman Jewison
At the turn of the twentieth century, Russia is still under the rule of Czar Nicholas II, and the rampant poverty and political turmoil is causing restlessness throughout the people. Change is coming, but the path will run right through a bloody revolution. This story centers on one man and his family during this era in history. Tevye is a poor milkman who struggles to support a wife and five daughters. Though they do not enjoy all the comforts of life, they are a close and loving family who remain strong through their faith and steady through their traditions. Things begin to unravel for Tevye when his daughter is matched with the town butcher. Tzeitel is heartbroken when her father breaks the ‘good news’ to her the next morning. She is expected to be grateful, to accept the match wholeheartedly, as her father had already struck the deal and the matchmaker’s fee had already been paid. But she cannot bring herself to face a life with the 30-year-older butcher, and she begs her father not to force the marriage on her.
Tevye relents; horrified to learn soon after that Tzeitel had made a pledge of marriage with her lifelong friend, a local tailor. This break with tradition is followed on the heels by two more unorthodox romances involving his daughters. One concerns a young Jewish activist who does not ask Tevye’s permission before proposing to his second daughter. The other, a Gentile farmer who encourages the third daughter to abandon her beliefs so that they may be together. This throws the family into a whirlwind of devastation and confusion. Meanwhile, the outside world is closing in on the small Jewish community, and Tevye struggles to hold fast to the only thing he knows that can save him, - his unwavering devotion to God.
This is an extraordinary film. To start, the story itself is a dramatic and emotional weave of events that were based on the real life trials of writer Sholom Aleichm. It balances the tragedy with quick and clever humor, two elements I believe the best stories should always have. The tremendous orchestration and choreography masterfully heightened the emotional power through each song and each composition. The actors take us on the ups and downs of all the joys and sorrows they experience. Topol as Tevye is a witty and good-humored man who enjoys having daily talks with God like any man would have with his best friend, sometimes even over a bottle of vodka. His wife, Golda (played by Norma Crane), has a sharp tongue that keeps him in check, and their relationship is pure fun to watch play out onscreen. The cast is full of both lovable and despicable characters, but the people are never totally one way or the other. They are multi-dimensional souls, trying to deal with the conflict inside of themselves while dealing with bigger troubles outside. The images of a rural landscape going through the four changing seasons of a year affect the viewer further. A Spring of hope for good things begins with a breathtaking sunrise and green pastures and fields that rise with the notes of Isaac Sterns’ magic violin. And by the end, the brutal injustice that befalls the village makes the frozen fields and frost-covered rooftops of Winter all the more bleak and desolate. Director Norman Jewison also knows the importance of ‘the quiet moments’ of a film, catching faces that are deep in thought, and savoring silences between conversations. This film is not a music video musical. Singing and dancing don’t have to cover every single inch of film. Miraculously, the song and dance numbers don’t even seem random. They sneak up on you. One minute, you’re deeply involved in a moment with a crestfallen father, the next you realize “Oh, he’s...singing.”
There is nothing more relevant than the subject matter presented here. Values and beliefs are corroding and twisting. Questions aren’t answered. The choices that are made will affect generations. And this isn’t a lone cowboy we’re following all of this through with, it’s a family, it’s a whole village. It causes us to think about how problems affect everyone. It’s not “What am I going to do? What’s going to happen to me?”. Instead, it’s “Am I going to be able to feed and protect my family now that we’ve lost everything? Are my friends and neighbors even going to survive their journeys? Should we band together, or go separate ways?” Forces outside themselves and their realms of knowledge are in play. The spirit of the family’s faith is personified by a sprightly young violinist who follows the family through good and bad. It’s an inspiring figure that encourages us to consider our own religions and traditions. Long after the film has ended, you are still thinking about these people because you know what came next in history. You worry about them, you wonder if anyone will end up walking straight into Auschwitz or the like. This anxiousness adds to the great successes it achieves on multiple levels. This film won three Academy Awards and the play continues to run on the stages of Broadway and in the auditoriums of high schools everywhere. The story is so deeply meaningful that I don’t think it’s possible for someone not to be affected by this film. The film is far from being preachy, we get what we want or need to get from it. The wisdom of the messages are clear, and no one could deny that we all need something to hold onto.
Story = A+
Originality = A+
DVD Extras = A
Acting = A
Enjoyability = A
Visuals = A
Overall Grade = A
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