A Magnificent Barbra Streisand is the Greatest Star in Funny Girl

 

                Stage-to-screen transitions can often be tricky, specifically in the realm of performance. When the opportunity arises for Broadway stars to recreate their highly-acclaimed roles on film, often a studied, worked-out element from playing a part hundreds of times can be discerned among the otherwise skillful playing, taking an audience out of the moment and away from the character, as they ponder all the tactical moves that went into the performance. However, on rare occasions an inspired, gifted artist utilizes the chance the camera provides to dig deeper into an established role, in the process finding even more facets and truth in a part, and commits a phenomenal performance for the ages to film. Such was the case with the 1968 William Wyler-helmed musical biopic Funny Girl, which allowed Barbra Streisand, after years of success as a leading light in theater, television and on records, to assay one of the great film debuts, resulting in one of the late-1960’s biggest successes, and placing Streisand at the forefront of her generation’s most admired and popular talents.

As Fanny Brice, Streisand is transcendent as actor, comic and singer, giving one of the richest, most inspirational performances ever committed to film, and possibly the best ever in a musical-comedy-drama. Listening to the Broadway Original Cast album, it’s clear that Streisand improved on her initial take on the role, adding more spontaneous, ingenious inflections to some of the lyrics with the aplomb of a seasoned, truly original talent. Streisand maintains a level of conviction and drive throughout the movie that is stunning to behold, handling all the elements of a dynamic role with a precision that can only leave a viewer in awe and admiration at the marvelous manner Streisand fully inhabits Brice, while maintaining her own highly individual persona, investing all of her substantial gifts to craft an achievement onscreen second-to-none.

Streisand attains excellence putting over each song in the impeccable Jules Styne/Bob Merrill score, from her heartfelt rendition of “People” to the thrilling force she brings to the first half’s finale, “Don’t Rain on My Parade” and her profound, powerful interpretation of Brice’s signature hit “My Man” to close the movie out with a fervor that would demand several encores in the theater; the dramatic impact of these numbers proves that Streisand, who first yearned for success as an actor, need not have been concerned when her heavenly vocal prowess gained her far more attention, as in song she illustrates a thespian ability to rival any other seminal actor. Watching Streisand artfully execute her first number, “I’m the Greatest Star” with a dizzying adroitness as she switches from comic bravado at the outset to the dramatic intensity of the song’s ending, with Brice justly proclaiming herself the song’s title, Streisand first confirms her worth as a screen immortal, displaying a confidence and passion for performing in a hypnotically believable fashion that is unforgettable. Striving for and meeting perfection in this early sequence, Streisand proves she is up to any challenge the role presents, thereby gathering the audiences’ full investment in every predicament Brice will encounter throughout the rest of the film.  

William Wyler meshes impeccably with his star in a sterling collaboration, showcasing her vast talent with class and skill. From the opening segment, which introduces Fanny as she enters a theater, finally settling on a closeup after she utters her famous first line (“Hello Gorgeous”) to a mirror, then simply focusing on Streisand for a few moments as Fanny walks around the theater clearly in a reflective mood, it’s clear Streisand is in the hands of a director who knows exactly how to play her strengths and modulate her performance to the screen. Although there have been rumors to the contrary, Streisand mentions in her autobiography how she loved working with the director, who was taken with the newcomers’ curiosity regarding all aspects of filmmaking, both in front of and behind the camera. Wyler’s tight association with his star pays off, as the director adeptly sets up the musical numbers to maximize the focus on Streisand, while also adopting inventive staging, such as the way the title song moves from the end of Fanny’s recollection that starts the story back into the present with Brice sitting in the theater, whereupon she finishes the number. Streisand is given room to stretch her talents to the limit, with Wyler assuring her performance is seen to the best advantage in each scene. Also, Wyler beautifully addresses the romance at the center of the film with simplicity and directness, making it clear and feasible how deep the affection is between Fanny and her main man.

As gambler Nicky Arnstein, the love of Fanny’s life, the warm, genial Omar Sharif utilizes the dark, liquid eyes, beatific smile, and continental charm that had established him as one of the 1960’s chief stars via his breakthrough in 1962’s Lawrence of Arabia and as the title character in 1965’s blockbuster Doctor Zhivago. Sharif brings a lovely, serene and ultra-romantic quality to his playing, and clearly has strong chemistry with his leading lady, which aids immensely in keeping things compelling in the second half of the film, when dramatic complications caused by Nick’s wayward, unconventional lifestyle (specifically gambling issues) drive a rift in the bond between Fanny and Nicky. As Arnstein’s fortunes turn downwards, Sharif adds a touching gentleness to his work that indicates how defeated Nicky is, while his love for Fanny remains strong, leading to a final moment between the two that is among the film’s most effective. Sharif also gets a chance for some lighter fare, such as his playful bantering with Streisand as Fanny and Nick go through an unorthodox, on-and-off again courtship, especially in their saucy duet, “You Are Woman/I Am Man.”

Kay Medford, recreating her standout Broadway role as Rose, Fanny’s sage, wry and supportive mother, makes the strongest impact among the rest of the cast. In each of her brief scenes, Medford captures the essence of Rose as a loving, loyal parent, while putting over every one of Rose’s caustic, knowing observations with perfect comic timing that illustrates where Fanny’s incredible humor originated. In her final scene, Medford adopts a more imposing, tense demeanor as Rose questions Fanny concerning her future with Nicky, further enriching the role and allowing Medford’s tough, focused countenance to linger. Mae Questel, with her distinctive Betty Boop voice, is also wonderful as Mrs. Strakosh, Rose’s nosy, opinionated, but also caring friend, who does her best to propel the Arnstein/Brice romance forward. Walter Pidgeon has perhaps his best latter-career role as Florence Ziegfeld, properly displaying the impresario’s classy, commanding presence and exasperation over the equally-forceful and fearless Fanny’s demands. Anne Francis also has a few good moments as Georgia, Fanny’s glamorous Ziegfeld showgirl friend, while Mittie Lawrence lends a nice grace note as Emma, Fanny’s compassionate, observant assistant.   

Released in September of 1968, Funny Girl emulated the success of the 1964 stage production, amassing $26,325,000 in U.S./Canadian rentals (according to Variety) to rank as 1968’s biggest hit. Among accolades, Streisand won a Golden Globe, a Laurel award for Top Female Comedy Performance, and a David di Donatello award for Best Foreign Actress (in a tie with Mia Farrow for Rosemary’s Baby, foreshadowing things to come for Streisand during the 1968 award season), while Wyler was short-listed as a finalist for the Directors Guild of America Award and Isobel Lennart (who wrote the book for the Broadway show) won the Writer’s Guild of America award for her screenplay adaptation. At the Academy Awards, the film received eight nominations, including nods for Best Picture, Director and Supporting Actress (Medford), as well as one of the most warranted Best Actress Oscar wins for Streisand, in a tie with no less than Katharine Hepburn for The Lion in Winter. More recently, Funny Girl placed at #16 on the AFI’s 2006 list of top musicals and was included on the National Film Registry’s selections for 2016. The film’s enormous box-office returns led to a profitable 1975 sequel, Funny Lady, but to witness one of the most sublime fusions of star and role ever seen, lovers of musicals and cinema in general need look no further than Babra Streisand’s inimitable work in Funny Girl.