Yentl Reviews

In his autobiography, Charlton Heston recalls asking director William Wyler if he had any problems with Barbra Streisand on Funny Girl. “Nah, not really,” said Wyler, “considering it's the first film she ever directed.” And when, 15 years later, Streisand did finally get to direct, co-produce, co-write and star in a movie (Yentl), her perfectionism became the stuff of legend. Based on a story by Isaac Bashevis Singer and set in 1904 in central Europe, this musical drama is about a Jewish girl who dresses as a boy to receive a religious education. Such complications suggest a kosher Victor/Victoria or Tootsie, but Streisand approached it very seriously. Despite the obvious pains taken with the period setting (British studio interiors plus Czech location work), it rather lumbers along, suggesting that Streisand learned too much from Wyler and should have watched some early Ernst Lubitsch pictures instead. The film won the Oscar for best original score and two of the songs were nominated.

A personal and some would say megalomaniac extravagance by its producer-director-writer-star, who before embarking should have learned the value of brevity. Nevertheless there is about the enterprise a certain heavy style which may appeal strongly to Jews

Despite Streisand's apparently hypnotic hold over a large portion of the earth's population, it's still almost... read more on Time Out

In his autobiography, Charlton Heston recalls asking director William Wyler if he had any problems with Barbra Streisand on Funny Girl. “Nah, not really,” said Wyler, “considering it's the first film she ever directed.” And when, 15 years later, Streisand did finally get to direct, co-produce, co-write and star in a movie (Yentl), her perfectionism became the stuff of legend. Based on a story by Isaac Bashevis Singer and set in 1904 in central Europe, this musical drama is about a Jewish girl who dresses as a boy to receive a religious education. Such complications suggest a kosher Victor/Victoria or Tootsie, but Streisand approached it very seriously. Despite the obvious pains taken with the period setting (British studio interiors plus Czech location work), it rather lumbers along, suggesting that Streisand learned too much from Wyler and should have watched some early Ernst Lubitsch pictures instead. The film won the Oscar for best original score and two of the songs were nominated.

A personal and some would say megalomaniac extravagance by its producer-director-writer-star, who before embarking should have learned the value of brevity. Nevertheless there is about the enterprise a certain heavy style which may appeal strongly to Jews

Despite Streisand's apparently hypnotic hold over a large portion of the earth's population, it's still almost... read more on Time Out