‘Fiddler’s Journey’ chronicles the stage-to-screen odyssey of landmark musical

“Fiddler’s Journey to the Big Screen”

Not Rated. At the Coolidge Corner.

Grade: A-

Unlike “Fiddler: A Miracle of Miracles,” the fine 2019 documentary exploring the origin of the “Fiddler on the Roof” Broadway musical, “Fiddler’s Journey to the Big Screen” is the story of how the work of art that Pauline Kael hailed as “the most powerful movie musical ever made” made its way from stage to screen. Co-written by Daniel Haim (“In Search of Ozu”) and the film critic Michael Sragow, directed by Haim and narrated by Jeff Goldblum, the film starts out with background provided by veteran Los Angeles Times film critic Kenneth Turan. “Fiddler on the Roof” is based on stories by Yiddish author Sholem Aleichem. The 1964 stage musical, which was not expected to appeal to audiences far outside of New York City’s Jewish population, was a surprise smash hit.

Some time later, Arthur B. Krim, the head of United Artists, approached Academy Award-nominated, Toronto-born director Norman Jewison (“In the Heat of the Night,” “The Russians Are Coming the Russians Are Coming”) to direct the 1971 film version of the play. Jewison’s first reaction was, “I’m a goy.” Luckily, he got the job anyway. Jewison’s most controversial decision was not to cast critically-acclaimed, Tony Award-winning actor Zero Mostel, who helped to develop the character of Tevye the Dairyman for the stage, in the film version. Danny Kaye and (oy) Frank Sinatra let it be known that they were interested in playing the film role. Instead, Jewison placed a bet on a little known Israeli actor named Topol (“Galileo,” “Flash Gordon”), who also appears in Haim’s documentary.

“Fiddler’s Journey to the Big Screen” is a resonating deep dive. Boston Pops Laureate conductor and legendary film composer John Williams (“Star Wars”), who served as conductor and arranger on the film, talks about the art of timing musical beats to screen action. Williams made the score bigger and more orchestral, winning his first of five Academy awards for his work. 98-year-old “Fiddler” lyricist Sheldon Harnick offers further insights into the sublime score. The great Isaac Stern was persuaded to play the Williams-composed “fiddler’s cadenza” used to open the film. Production designer and Hitchcock veteran Robert F. Boyle talks about recreating the look of the turn-of-the-century stetl named Anatevka. The film was shot by the great Oswald Morris (“Oliver!”). A suitable location was found in the former Yugoslavia outside Zagreb. Since not one had survived the war, a wooden synagogue had to be built on location. Sound stages at England’s Pinewood Studios were also used. Visual cues were found in the work of French-Russian artist Marc Chagall and Russian-American photographer Roman Vishniac. Rosalind Harris, Michelle Marsh and Neva Small, who played three of Tevye’s daughters, provide moving and amusing recollections of their work and the impact the film had on their lives.

“Fiddler’s Journey to the Big Screen” never loses sight of the fact that the story of “Fiddler on the Roof” was forged in a crucible of pain, loss and genocide, a prelude to the Holocaust. An animated Jewison, who is 95, describes what it was like to watch his film seated beside Israeli Prime Minister Golda Meir. Just a few months after the film’s 50th anniversary, “Fiddler’s Journey to the Big Screen” arrives, and it’s a marvelous birthday present to the film and its many admirers.

(“Fiddler’s Journey to the Big Screen” contains mature themes)

from Boston Herald https://ift.tt/ejvZzm4