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Probably the best Barbra Streisand movie nobody has ever seen, director Irvin Kershner's expose of urban angst is funny and sad but ultimately uplifting. Streisand plays a NYC housewife, sick to death of her disengaged husband, impossible mother, and overall lack of confidence. She finds release in fantasies: one moment she's frolicking with a very surprising Fidel Castro and the next she's helping to blow up the Statue of Liberty. Streisand has rarely been better. Director Kershner gets a very toned down performance out of her. David Selby, as the husband, is duly caddish and Paul Benedict, Conrad Bain and Isabel Sanford have small roles. Benedict is particularly funny as an especially inept great white hunter!

"Up the Sandbox" could be a bigger classic if it had a better development of its ideas while telling the near-crazed ramblings of a neurotic housewife (Barbra Streisand) who has an emotional breakdown that shelters her from reality, shifting from delusional grandiosity to the real chaos of dealing with husband (David Selby), kids, a dominating mother (Jane Hoffman), and helpless friends. Irvin Kershner's film doesn't have a fine balance between comedy and drama, and we depend so much on an unreliable and frustrated lead character that there are times it's difficult to know what exactly does she want from life and relationships, what's real and what's not. I'd like to imagine what Woody Allen would turn if having the chance to direct this material (pity he only deals with his own material).

It's not a total mess since there are noble messages intertwined through it all, and there are moments of true brilliance (the exchange between Barbra and her husband's lover was hilarious as both women accept the fact of one another), wild mayhem (Fidel Castro becoming a female with a world domination where women rule the world), and pure outrageous fun (her parents anniversary being ruined because she refused to give the only thing her mother wanted in order to be truly happy).

If the lady's wildest dreams are fun to watch despite some nightmarish bits, the reality of it all is unappealing and nothing gets solved.

The film's idea seems to defend that once a woman gets married her dreams and wishes are inexistent as she needs to accomodate her family before herself, and to fight such notion are pointless and selfish acts. Her only comfort comes from dreams where she rejects the possibility of having a third kid, or finding solutions to improve the female cause, or commit a random terrorist attack on the Statue of Liberty. We keep waiting, with anxious hopes, that one day she'll wake up and finally act, do something different. But at the end of it all, there's no pay-off to her situation and it's frustrating - sure it can be said it was a realistic portrayal of its period and that audiences of then should know how to change such scenario.

By itself, I tried to like it but couldn't. If comparing a key scenario, the theme was better presented in "Diary of a Mad Housewife" (to Kerhsner's film disadvantage, I saw the other film a few days earlier and it stayed in my head). A few points from that film: worst husband, worst kids and the woman's little relief was having an affair with a careless chauvinist lover. Here, Barbra's dream of another man in her life comes with the presence of a charming university teacher and even that slight chance of affair is ruined because his date invitation for both was attending the Castro political meeting where she cried against his revolution. Had not seen "Diary of..." it might impact less the difficulties I had with this one, and it'd become something manageable.

Fine performances all around, but nothing so outstanding that requires new viewers to it. You won't be missing much, except for the really funny sequences. 5/10.

Low-keyed, but nevertheless wicked and funny comedy-drama that sneaks up on you. Barbra Streisand, in terrific comic form, plays a stressed-out, unsatisfied New York housewife afraid of telling her brilliant husband she's pregnant for the third time. The film is made up of her many daydreams, some of which are hilarious (the bit where she enlarges her breasts at a party) and some that meander without much point (the assault on the Statue of Liberty). Nevertheless, Barbra's lovely and is completely at ease in this non-flashy role, just as content to sit and listen to her girlfriends bitch in the park as she is telling off Fidel Castro at a political rally. David Selby is nicely understated as Barbra's husband and Jane Hoffman is a hoot as her meddling mother. I have many favorite lines from this film, but you rent "Up The Sandbox" and discover them for yourself. A minor treat. *** from ****

This is One of Barbra's finest movies and, ironicly, did the poorest at the box office. After playing larger than life characters in her last 5 films, here Barbra plays a "normal", regular human being. A bored New York housewife who uses daydreams to escape from her unfullfulling life. There are many touching and heartfelt moments in this film, as well as very funny ones. It is a comedy/drama with depth and dimmensions. In one scene Barbra stands up to Fidel Castro with her views on womanhood and war.Yet, a little later the two have a hystericly funny scene where he reveals a "secret" to her. Barbra stands up to her domineering mother,unexpectedly, at her parents anniversary party, and...lets just say that someone ends up with something other than egg, on their face! The moments where Barbra is washing and lovingly taking care of her children, as well as the moments where she is in an abortion clinic pondering her thoughts, are heartfelt indeed. A wonderfully different and heartfelt, funny movie. I highly recommend it.

Barbra Streisand has always been more of a movie star than an actress, which is fine for fans like me but can make her movies difficult for non-fans to enjoy. There are exceptions, of course: "The Main Event," which was just plain insufferable for fans and non-fans alike, and "Up the Sandbox," a forgotten gem in the Streisand filmography that even the non-fans can appreciate.

Ironically, Streisand gives her most naturalistic performance in a movie about a housewife who frequently escapes into fantasies, like debating Fidel Castro and joining a band of revolutionaries who blow up the Statue of Liberty. It's also ironic that "Sandbox," the first movie made by Streisand's Barwood Productions, is one of the few times she seems to have checked her ego at the door, more concerned with embodying a character than how she's lit. This was the movie for which she deserved a second Best Actress nomination, even more so than "The Way We Were."

Not only is Streisand's performance more natural, the fantasy elements seem organic in the way director Irvin Kershner introduces them. There are no swirling blurs or harp music, heretofore the usual way filmmakers signified a character was fantasizing. Instead, Margaret does something mundane, like going to her husband's (David Selby) office, but upon seeing he's been chatting with an attractive female colleague decides to voice here suspicions about an affair. The confrontation takes a strange turn and then we learn the scene was all in Margaret's mind. This approach to handling fantasy is so commonplace now that it's even been employed in pornography, but apparently it was enough to confuse audiences when this movie was released with a resounding thud in 1972. (The movie's poorly conceived trailer didn't help.)

Of course, a movie's commercial success has little bearing on its quality and "Up the Sandbox"'s quality is far greater than its box office take. It's not a masterpiece by any stretch - the tone is often spotty and some of the fantasy sequences are a bit silly - but "Up the Sandbox" deserves higher acclaim than it receives. Also appearing in the movie are future sitcom stars Isabel ("The Jeffersons") Sanford as the maid of Margaret's overbearing mother (Jane Hoffman) and Conrad ("Diff'rent Strokes") Bain, as Margaret's bored, chauvinistic gynecologist.

Margaret Reynolds (Barbra Streisand) is married to Paul with two small children. She's a housewife in New York City and she's pregnant again. She doesn't tell Paul and questions her marriage. She starts having fantasies about a Fidel Castro type figure and other scenarios.

The marriage landscape and women's place in society is changing at the time. It's an unusual surreal film from Streisand. It probably confused the public when it was released. It has a strident modernism. I would prefer a more consistent fantasy world and stay with Fidel. Also, it needs to be more fantastical like blowing up the Statue of Liberty. Why not have Fidel blow it up? The mix of reality and surrealism do end up feeling random. I still like the attempt, but the experience feels disjointed.

Having seen other early Streisand movies ("Funny Girl", "For Pete's Sake", "The Way We Were", etc.), I decided to try this one. The story was somewhat outdated - women have more options these days, and even ones who stay at home probably know of these options. And seeing the Streisand character in one of her fantasies join what must have been a "Black Power" group in blowing up the Statue of Liberty with the World Trade Center twin towers appearing clearly in the background has got to be upsetting to everyone who has seen this movie in recent years. But I did find myself applauding when, in another fantasy, her character pushes her mother's face into a cake.

Thanks to Irvin Kershner's assured surreal direction, Streisand gives a fine performance in a very unusual 1972 film. Filled with verite style dialogues and intense emotional confrontations amid bizarre fantasy sequences, UP THE SANDBOX is a treat for unaware viewers. Though the film actually espouses a rather conservative agenda, the characters don't go to extremes; they're rather real.

It's easy to see how confused audiences must have been back in the day as the film subtly segues into Sttreisand's dream life. The fertility scene in Kenya actually is one of the worst while the guerilla attack on the Statue of Liberty with the WTC in the background will give you chills.

Overall, a fascinating film with gorgeous cinematography by Gordon Willis. Non-Streisand fans can enjoy this just for the 70's style direction.

I saw this movie when it first came out and up to that point in my life I made it a point of staying to the very end - no matter how awful the movie was. I almost made it, although I had watched too much to get a refund. I think the reason I hated this movie was it couldn't make up its mind as to what kind of movie it was, trying to be both a comedy and a drama, it was neither funny nor dramatic. For the longest time this movie was my choice for the worst movie ever made, it wasn't until eleven years later when Streisand reached her career nadir with Yentl that Up the Sandbox was replaced. Other reviewers have called this movie one of her best. Do not be fooled, the ways the dream sequences are revealed is annoying and distracting, the simplistic (but not quaint) liberal ideas are painful to watch and listen to. To blame the release of What's Up Doc for the failure of this movie's box office success is ludicrous. The movie failed because it is no good.

This is a top 70's flick and highly underrated. I can imagine that it caused a stir in its release and still puts some viewers off. If David E. Kelley didn't get ideas for Ally McBeal from this, I'll go hee! Wonderful performance by Babs and hits the mark nicely.

I though I had seen the worst movie ever till my wife made me watch this... Yentl was more fun than this and Yentl was absolutely horrible too.

Please do not be fooled by the glowing reviews for this film. It is interesting in the same way that a vivisection of an odd looking beast is. The general premise, that a housewife, feeling neglected, has fantasies in an attempt to explore the meaning of her life, is not that grand. Neither the idea, nor the execution is that interesting. Think of it as "North" for adults. (If you don't remember North, don't worry; its not very good either.) Trying to justify seeing this film because the acting was good is merely pointing out that it is a sincere flop; it is a flop nonetheless. There are not enough hours in your life to view all the good films out there. Don't waste an opportunity by seeing this one.

This is true: I personally reissued this film into cinemas in Australia in 1997. Why? because it is a maligned and neglected minor film from someone you would not expect to produce it. Certainly SANDBOX was "the Barbra Streisand film you never saw" and it attracted more than a few curious ticketbuyers. Not a success at all in 1972 and subsequently forgotten, I felt it to almost be the Manhattan style Woody Allen film Barbra made instead. The fantasy scenes in particular are hilarious and most of the motherhood sadness effective and touching. It is a pity a lot of the Masai tribe fantasy scenes remained on the cutting room floor as they are too brief and hint at a lot more to enjoy. It clearly is a film for young mothers and sold that way works. Most men hate it. They do not even want to get it. Anyway, I staged a preview with newspaper promotions and ticket winners to a screening. It was packed. The film went over quite well (especially the home movie fantasy at the parents house) but became confusing and ended abruptly for this audience. As I walked from the screening I overheard two staggering 80 year old grannies: "Well what'dyathink?" croaked one to the other. The other stopped and looked at her friend: "Ergg..what dya expect for free". Again, SANDBOX got great press reviews but I think I used up most of my public at the preview. It folded after a month. However, now on DVD it is a prize possession of many female friends who have just had their first kid, as Babs had in the early 70s.

This is one of Barbra Streisand's funniest films, if not the funniest.

This comedy, about a young woman's plight about whether she should tell her husband she is pregnant, has more weight than most of today's dramas and more imagination and humor than Woody Allen's last three features combined. The character she plays is an indominitable spirit who seems to use her imagination to survive in a very dark world, and the very bleak situation she finds herself in. It is very hard to tell exactly when the line between fantasy and reality has been crossed in many of the scenes, which makes a point about the world on its own. This movie was years ahead of its time and remains fresher than any modern comedy to date. It also holds up as well after the tenth viewing as it does after the first, because of the number of surreal vignettes, poignant moments, and Barbra's performance.

A must-see for any comedy fan, and a Streisand fan should run out immediately and rent it; you'll be kicking yourself not to have seen it before. The movie stands on its own as a testament to the human mind and spirit in the face of all circumstances.

It's a shame that this 1972 dramedy is not better remembered because it holds up quite well and probably contains Barbra Streisand's most impressive performance in a contemporary setting. She portrays Margaret Reynolds, an ordinary New York City housewife and mother of two, who finds out she is pregnant again. Beset with a workaholic academic husband and a suffocating mother, she undergoes a major identity crisis and gets lost in periodic fantasies that provide an outlet for her deepest feelings. While the film has an undeniable 1970's "I'm-OK-You're-OK" tone about it, the story is a mature character study of its proto-feminist heroine thanks to Paul Zindel's perceptive screenplay based on the best-selling novel by Anne Richardson Roiphe.

Moreover, director Irvin Kershner brings a great deal of humanity to the film even as the fantasies escalate in scope and incredulousness. These include a revealing tango with Fidel Castro; a bomb planted inside the Statue of Liberty (deeply ironic that the World Trade Center is still under construction in the background); a disastrous confrontation at her parents' 33rd anniversary party; the fatalistic rituals of a female-dominated Samburu tribe in Kenya; and a dream-like sequence at an abortion critic. Sometimes, the transitions between real-life and fantasy are too subtle to be completely effective (for example, using incidental characters as major figures in the fantasy sequences), but Kershner shows an intimate understanding of the heroine's evolution even if the final resolution seems rather pat.

For once, Streisand is naturally radiant and blessedly life-sized with little of her chutzpah-driven mannerisms. She plays it so low-key that you wish she would do more indie films to show her vulnerable side. Smaller roles are ably filled with David Selby nicely underplaying her preoccupied husband Paul. The 2003 DVD is quite a treat with Streisand and Kershner providing insightful commentary on separate tracks. Unlike her brief track for "What's Up, Doc?", Streisand speaks throughout the film and still seems very passionate about it, articulating the various themes and explaining what kind of movie they were trying to make. Along with the original theatrical trailer (which seems quite confused as to what it is marketing), there is also an interesting ten-minute vintage making-of featurette that focuses mainly on Streisand's travels to Kenya to film the tribal fantasy sequence.

This is a film that has been sorely ignored by both Streisand fans and the movie-going public in general. SANDBOX is a comedy/drama that deals with the condition of the neglected housewives of the seventies. Streisand is absolutely wonderful in the lead. If this film had been seen by a wider audience, then you can bet she would have received an Oscar nomination.

Although the frequent fantasy/daydream scenes are somewhat uneven in quality, Streisand's touching and believable performance will keep you glued.

When originally released in 1972, SANDBOX was lost in the shadow of Streisand's blockbuster WHAT'S UP, DOC? (released the same year). >

UP THE SANDBOX deserves to be rediscovered on video. Give it a try.

My score: 8 out of 10.

Most say this film is out dated? Well perhaps it is due to history changing its self. It Depicts a unappreciated house wife whom has to explore the world of accomplishments and her inner thoughts from an active imagination and her fantasy, How many of us daydream of things we would love to do or say. This film is artistic and a very Streisand vehicle for the time. I love this film and watch it often. The underlying humor is classic, priceless and a captured moment of time , for that particular time frame. Some just didn't get it. Those whom did got more than a film but a look into the eyes of a happy but repressed woman that had hoped to achieve more in life than being JUST a wife and Mother. Not that this is bad , it is a gift for those that do it well and awards should be given. But for Margret. her, at times over active personality. needed more to fulfill her inner soul. She needed a break . she took one. Yet she returned to what was important. Family and Life.

In this small, unknown gem from 1972, Barbra Streisand plays Margaret Reynolds. Margaret is a bored housewife who wishes to do more than what her life holds for her. She has two children and a loving husband Paul (played by "Dark Shadows'" David Selby,) but its not enough. She finds out that she is carrying a third child and is scared of what might happen when she tells Paul. He feels the world is overcrowded as it is and that it would be wrong to bring another child into it. So, Margaret escapes into her fantasy life. The fantasies range from confronting the woman whom she believes is sleeping with her husband (good scene,) to interviewing Fidel Castro (which ultimatelky unvails his "secreet,") to slamming her mother's face into an anniversary cake!

All in all, the film is incredible. The only negative aspect would be the loss of so many scenes which leads the viewer to sometimes take a moment to catch back up with the fact that she is in her fantasy world. Not quite as gritty as the novel (not once does she mention wanting to leave her son at the playground or drop him on his head!,) but still a definite must see.

Overall rating: A-

This is a true departure for Barbra Streisand which fans like me will love. Billed as a comedy, Up the Sandbox deals with some very serious issues in a surreal way. This film marked the first time that Streisand actually produced a film. Unusual in the way it meshes reality with fantasy --- in fact, it isn't always easy to tell the difference. Streisand gives a poignant, realistic and understated performance. I feel this is her best work as an actress. She is quite believable as a New York housewife. One could view this film as one of the first mainstream films which deals with the internal issues of abortion and feminist concerns. There is much good to be found in this adult film, but I feel that is ultimately must be viewed as failure, but certainly an interesting one coming from one of the most important entertainers of the 20th Century. The film flounders on its stance toward many of the issues presented. This might have been intentional, but by the film's end I had the feeling the the makers of the film were just confused about how to present the ideas within the context of story. One of the film's most memorable and bizarre scenes features a fantasy featuring Fidel Castro revealing that he is really a she. So absurd and strange to see Streisand in this scene that there is a certain level of comic shock value. This strange sequence is ruined with an odd line which was meant to get a laugh, but instead smacks of homophobia. When Castro reveals he is really a woman Streisand's character responds, "You're not a woman! You're a dyke!" Seems strange that Streisand would have gone with that line given her (and this film's) strong liberal stance --- however, this movie was made close to 30 years ago. I guess that has to be kept in mind. History shows us that the sexual revolution caused much confusion for everyone. Perhaps this unusual little movie offers us a glimpse of that confusion. Well worth viewing -- particularly if you love Streisand. By the way, this film features some brilliant cinematography.

This film is one of those 70's efforts that doesn't get any great credence. Any fan of Ally McBeal would surely tip their hats to the blend of imagination and reality. This has some very prophetic moments and still stands up today. It is testament to a time when risks were taken in film making rather than today's option of remakes and rewrites. Top marks for originality and Streisand. Give it a chance. May all your films be winners - AP