Funny Girl

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thiago S @Thiagostone Mar 9 Filme fraco, o roteiro é fraco, as cenas são fracas, a história é fraca, o elenco é fraco, e ninguém ajuda a melhorar o filme, os personagens são fracos, e o filme deveria ter cenas bem melhores e relevantes, para fazer o filme ser bom See more Victoria @Victoria13 Jan 11 No one does it like Barbra does See more Tim M @tgmacman Oct 30 The eponymous role being Barbra Streisand's most quintessentially iconic, Funny Girl tells a powerful love story and does justice to Fanny Brice's legacy in one fell swoop. See more Stephen C @bob25009 Jun 5 Success in 2 hours and 31 minutes!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! The USA grossed over $223,300.00!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Dubbed and subtitled in worldwide studios!!!!!!!!!!!!!!!!! Filmed in 1968 in color!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! See more shane h @RT05636479 05/25/2025 Streisand is iconic See more Elizabeth W @RT22762184 05/12/2025 Barbra Streisand Shines in Funny Girl: A Classic of Stage and Screen William Wyler directed Funny Girl, an adaptation of the Broadway musical about the life of early 20th-century Fanny Brice. It's available to buy on Apple TV, Amazon, and YouTube and runs for 2 hours and 31 minutes. The film follows Fanny's rise from Brooklyn chorus girl to Ziegfeld Follies headliner and her intense romance with gambler Nick Arnstein. Barbra Streisand reprises her stage role in her film debut and won the Academy Award for Best Actress. Omar Sharif plays Nick, and the movie balances big musical numbers with backstage drama as Fanny reflects on her past. Without Barbara Streisand's performances, Funny Girl wouldn't be the same. She flawlessly blends commanding stage presence with expressive emotion. From the vulnerability of "People" to the belting of "Don't Rain on My Parade," Barbra Streisand gives emotional weight to each song. She also has amazing comedic timing, which is shown in the opening number "Greatest Star" and scenes like the pregnant bride sketch, which showcases her use of facial expressions and also reflects her stage roots. Streisand excellently illustrates Franny's character development throughout the film. At first, she portrays Franny as an awkward and ambitious girl. As the story progresses, Franny slowly changes into a glamorous yet conflicted star. Streisand's gestures, posture, and facial expressions effectively communicate this change, even when the dialogue is limited. Omar Sharif brings charm to the role of Nick Arnstein. His calm, romantic delivery foils Streisand's high-energy performance. Sharif's performance feels more cinematic than theatrical, understated, graceful, and sometimes emotionally distant. While this contrast creates an interesting dynamic, Nick's character feels less fully developed. His descent from gentleman gambler to defeated husband is told more through dialogue than action, and we rarely see him alone or truly vulnerable. Kay Medford, as Fanny's mother, provides sharp comic relief and helps root the story in Fanny's working-class background. Overall, the supporting cast reinforces the film's theatrical style, which is expressive and bold. Director William Wyler brings his signature precision to the film. He shoots musical numbers with visual flair, especially shown in "Don't Rain on My Parade," where Streisand sings from a ferry while Wyler captures it in a helicopter shot. The camera's wide framing usually mimics the proscenium of a stage, especially in Ziegfeld scenes where the chorus and audience appear in the same frame. This method produces clear and beautiful tableaus but can sometimes restrict spontaneity., In dramatic scenes, Wyler's blocking can feel rigid; characters stand and deliver lines rather than interact naturally. While the musical scenes sparkle, some dramatic moments feel more staged than lived. The production design is rich in period detail. Irene Sharaff, who did the costumes, captured the theatrical excess of the 1910s and 1920s, with sequins, feathers, and vivid colors that make Streisand pop on screen. From Fanny's leopard-print coat in the opening to the Ziegfeld gowns, the wardrobe tells its story of rising stardom. The score, by Jule Styne and Bob Merrill, mixes brassy revue numbers with heartfelt ballads. Every major plot turn has a song to match: "I'm the Greatest Star" introduces Fanny's ambition, while "My Man" ends the film with emotional devastation. The songs are well integrated into the narrative. And the vocals are front and center, and Streisand's delivery ensures that the emotional beats land. Funny Girl succeeds because of Streisand's electrifying performance and the film's confident theatrical style. Wyler's direction keeps the story coherent, even if the pacing dips slightly in the later acts. Sharif's quiet intensity contrasts with Streisand's boldness, and the costumes, music, and sets all serve the film's nostalgic showbiz aesthetic. Funny Girl is ultimately a showcase: a film about performance, starring a once-in-a-generation performer. In short, the film may not reinvent the musical, but it perfects its form. Streisand is unforgettable, and the film gives her the spotlight she deserves. See more Read all reviews

Funny Girl

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