They also smile a lot through tears. The punch line is that he accepts the tailor and the Marxist but draws the line at the goy. At the beginning of the twentieth century, Jews and Orthodox Christians live in the little village of Anatevka in the pre-revolutionary Russia of the Czars. He often talks to himself and to God to try to determine the best course of action for his family. However Tzeitel is in love with the poor tailor Motel Kamzoil and they ask permission to Tevye to get married that he accepts to please his daughter. Watching the turn of events from Tevya's point of view is highly endearing. Despite these hardships, Tevya and his family try to look to the future with hope of better things to come.
His daughters are nearly grown and old enough to make their own choices. When Perchik is arrested by the Czar troops and sent to Siberia, Hodel decides to leave her family and homeland and travel to Siberia to be with her beloved Perchik. During the course of the play, four big things happen: The three daughters get married, and the Jews are forced off their land by a pogrom. Each couple comes to the father. Then his second daughter Hodel Michele Marsh and the revolutionary student Perchik decide to marry each other and Tevye is forced to accept. I don't like much of anything else in threes, either. The Israeli actor Topol makes a good Tevye, and I liked as the tailor whose first sewing machine is like his first baby.
Tevya and his wife struggle to make ends meet while raising their five daughters. I know the classic pattern for a joke is three times through, with the punch line at the end of the third movement, but forgive me I think straightforward narrative jokes that tell a story without repetition are funnier. Tevya is the main character and narrator of the film, and we see how the story plays out largely through his eyes. Jewison moves his camera in among the dancers and gives us a real feeling of celebration and ceremony. And the three daughters two of whom look more gentile than the third one's husband hardly come alive at all. As the head of the family, this causes Tevya some concern as he watches his children grow up and fly off in their own directions. Advertisement That leaves you are probably bursting to tell me the songs and the dances, of course.
The film depicts very well the differing roles that people from the time period depicted play. The film depicts the Jews as being very devout to their faith even in the face of persecution. Meanwhile, revolution is sweeping the land. Fiddler on the Roof is a musical film adaptation of the Broadway play by the same name. .
The powerful musical composition by Jerry Bock and Sheldon Harnick truly adds depth and feeling to the movie. Among the traditions of the Jewish community, the matchmaker arranges the match and the father approves it. But in the process it's become so polished, so packaged, so distanced from the real feelings that inspired the original stories of Sholem Aleichem who didn't even make it onto the mimeographed list of credits that it's become just another pleasant product of American entertainment industrialism. We know this because a guy with a newspaper turns up in the first reel and tells us. But Molly Picon's matchmaker is too much of a star turn. They are introduced, fall in love and go through the on-the-one-hand, etc.
When the local matchmaker Yente arranges the match between his older daughter Tzeitel and the old widow butcher Lazar Wolf, Tevye agrees with the wedding. The men were expected to work and study and the women to keep the home running. They walk away in silhouette while the symbolic fiddler continues to play. The problem is that we have to wait an unbearably long time for all the anticipated events to take place, and then when they do, they all take place in the same way. I hate things that come in threes. We know this is going to take place a long time before it does; we meet all the boys early on, and somehow we catch on from all the close-ups of loving eyes that there's no way these couples are going to be kept apart, tradition or no tradition. Actor Topol plays the character of Tevya in a manner that is convincing and realistic.
I hate movies in which the dancers are carefully choreographed to play to an actual theater audience. Throughout the village, each person has also their part to play in the community. During this particular period in Russia, the Jews were not looked upon favorably and were often persecuted. I am not quite sure that the young Israeli men and women who fought the Six-Day War would identify with his acceptance, but never mind. It is good to hear the show's hit songs for the 400th time, with a chorus of thousands brought in to bolster the simple peasant's simple songs. The milkman Reb Tevye is a poor man that has been married for twenty-five years with Golde and they have five daughters. Instead of waiting for the matchmaker to fix them a match, the first marries a poor tailor, the second marries a Marxist and the third, God forbid, marries a goy.
He is also a Jew. He stands for indomitable Jewish courage and forebearance, of course. It continues to sweep until the end of the film, when the Jews are deprived of their land and homes and sent into exile: some to Israel, some to Chicago, and so on. Because what it does, it does well. You get the pattern with the first one, and then you have to sit through the other two.
So why do I give it three stars? He walks off a distance and has a long talk with god about on the one hand yes and then on the other had no. Every ethnic group on Earth shrugs its shoulders and has a special relationship with God and is philosophical about things and wants its kids to marry the correct person in the correct way. It is good to see the dancing -- which Jewison has liberated from its stage limitations. In the village of Anatevka, the locals are just grateful to be left alone for the time being. . . .
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