The fall of 2021 marked the 50th anniversary of Fiddler on the Roof, the film Pauline Kael (The New Yorker) called "the most powerful movie musical ever made." Narrated by Jeff Goldblum, FIDDLER'S JOURNEY TO THE BIG SCREEN captures the humor and drama of director Norman Jewison's quest to recreate the lost world of Jewish life in Tsarist Russia and re-envision the beloved stage hit as a wide-screen epic. Oscar-nominated filmmaker Daniel Raim puts us in the director's chair and in Jewison's heart and mind, drawing on behind-the-scenes footage and never-before-seen stills as well as original interviews with Jewison, Topol (Tevye), composer John Williams, production designer Robert F. Boyle, film critic Kenneth Turan, lyricist Sheldon Harnick, and actresses Rosalind Harris, Michele Marsh, and Neva Small (Tevye’s daughters). The film explores how the experience of making Fiddler deepened Jewison as an artist and revived his soul.
The fall of 2021 marked the 50th anniversary of Fiddler on the Roof, the film Pauline Kael (The New Yorker) called "the most powerful movie musical ever made." Narrated by Jeff Goldblum, FIDDLER'S JOURNEY TO THE BIG SCREEN captures the humor and drama of director Norman Jewison's quest to recreate the lost world of Jewish life in Tsarist Russia and re-envision the beloved stage hit as a wide-screen epic. Oscar-nominated filmmaker Daniel Raim puts us in the director's chair and in Jewison's heart and mind, drawing on behind-the-scenes footage and never-before-seen stills as well as original interviews with Jewison, Topol (Tevye), composer John Williams, production designer Robert F. Boyle, film critic Kenneth Turan, lyricist Sheldon Harnick, and actresses Rosalind Harris, Michele Marsh, and Neva Small (Tevye’s daughters). The film explores how the experience of making Fiddler deepened Jewison as an artist and revived his soul.
Pauline Kael (1919–2001) was undoubtedly one of the greatest names in film criticism. A Californian native, she wrote her first review in 1953 and joined ‘The New Yorker’ in 1968. Praised for her highly opinionated and feisty writing style and criticised for her subjective and sometimes ruthless reviews, Kael’s writing was refreshingly and intensely rooted in her experience of watching a film as a member of the audience. Loved and hated in equal measure – loved by other critics for whom she was immensely influential, and hated by filmmakers whose films she trashed - Kael destroyed films that have since become classics such as The Sound of Music and raved about others such as Bonnie and Clyde. She was also aware of the perennial difficulties for women working in the movies and in film criticism, and fiercely fought sexism, both in her reviews and in her media appearances.
