User reviews

Opening with the wonderful song "Tradition" which is the overriding theme of the entire musical, with its comedy and its pain, this film is a charming, sentimental telling of the lives and tribulations of a family. The beauty of it is that despite occasional violence against a people, they maintain their spirit through the ages. It's about what every father believes, "There is no one adequate to marry my daughter." Things happen and people get knocked down, and eventually everyone gets to his feet once more. There is the combative relationship between Tevye and his wife, and their love ("but do you love me") that goes pretty much unstated. In the end they continue to stand tall together because what they have put into the world is true love, not the overly dramatic, silly love that permeates our world today. See the movie. See the stage play. You will always leave with an optimistic spring in your step, and wonderful songs in your heart.

"Fiddler On the Roof" is the stage-to-screen adaptation of the famous musical. It tells the story of Tevye, a poor Jewish milkman in the tiny Russian village of Anatevka. This role is played by Topol, who played the character onstage in the London production of "Fiddler." We see him as a man mired in traditions, but struggling between his devout faith and the changing times when three of his daughters feel the urge to marry. The movie is beautifully shot, and tempers the story, which deals with the harsh realities of Jewish life in pre-Revolutionary Russia, with classic musical numbers sure to put a smile on your face. Between its incarnations on the stage and on screen, "Fiddler" will be immortal.

In pre-revolutionary Russia, a poor Jewish peasant (Topol) must contend with marrying off his three daughters while antisemitic sentiment threatens his home.

Let me say this right of the bat: while this film may focus on a Jewish family and their struggle to enter the modern world (which may be good or bad), you certainly do not need to be Jewish to enjoy it. I always felt like this film (and "Yentl") were marketed towards the Jewish community, but it need not be. It is just a great story with excellent songs.

I loved the singing, the dancing, the story, the humor, the characters... there was really nothing I disliked about it. I was a bit surprised the eldest daughter was not Barbra Streisand, because they look identical. But, oh well. And I am also a bit surprised that the director was not Jewish, especially with a name like Jewison... but hey, he did a marvelous job!

I know people have complained about the length of this movie. Yeah, it is long, three hours approximately, but there are so many things that compensate. Norman Jewison's direction is very good, and the film is stylishly filmed, with some nice cinematography and there are nice scenery and costumes. The choreography is great, energetic in parts and graceful in others. Next, the music is outstanding. The incidental music largely reminiscent of Russian folk music is a real treat, but the songs are outstanding. The beautiful "Sunrise, Sunset", the fun "Tradition", the idealistic "Match Maker" and the energetic "If I Were A Rich Man", all amazing. Also, Topol, what an absolutely brilliant performance. He put body and soul into Tevye, successfully mixing humour, wisdom and poignancy and the result is one of the most memorable performances in any musical to grace our screens. All the other performances are wonderful, I liked it all five daughters had distinct personalities, and Norma Crane is fantastic as the mother. The story is both tight and poignant, about a milkman of Jewish values, who wishes his five daughters to marry. In conclusion, wonderful and definitely memorable. 10/10 Bethany Cox

Epic in plot, setting and length, Fiddler on the Roof tells a surprisingly tight and focused story that has "universal" poignancy--in a nutshell, it's about trying to maintain strong cultural traditions and identity in the face of a continually changing world, partially fueled by the youth, that doesn't necessarily share the culture's values or self-assessment of worth.

The plot is based on short stories written around the turn of the 20th Century by Sholom Aleichem, who was often called the "Russian Mark Twain". Aleichem wrote a number of works based on his character Tevye the Milkman, who has seven daughters (in the film, this was pared down to five). They live in the fictional Jewish shtetl ("village", or "little town or city") of Anatevka in Tsarist Russia in the early 1900s. The stories are "slice of life" stuff. A lot of attention is paid to Tevye's daughters and their potential suitors. One of the prominent conflicts with tradition is a struggle with arranged marriages versus marriages for love, but of course, being set in pre-revolutionary Russia, there are also political changes brewing, some of which have a profound affect on Tevye's family and village.

Aleichem's Tevye stories were first turned into a Broadway musical, which began its initial run in 1964 with Zero Mostel as Tevye. Producer and director Norman Jewison, who had had success with films like In the Heat of the Night (1967) and The Thomas Crown Affair (1968), and who was experienced as a producer and director for musical-oriented televisions shows, including "Your Hit Parade" (1950) and "The Judy Garland Show" (1960), was asked around early 1970 by United Artists to helm the Fiddler on the Roof film. To their surprise, Jewison wasn't Jewish. He got the gig anyway, and in August 1970, began an arduous shoot--much of it done in a small village in Yugoslavia that refused to cooperate when it came to weather (Jewison couldn't get the snow he wanted). He ended up getting a lot of pressure because the shoot went over time and over budget--this was one of the most expensive films of its time, which was an era of economic woes for Hollywood--but of course we know it paid off in the end.

Zero Mostel was out as Tevye, and Israeli actor Chaim Topol, or just "Topol", was in, based largely on Jewison seeing him in the role of Tevye in the London stage production of Fiddler. Jewison had said that he was shooting for more realism in the film, as opposed to what he saw as a kind of campy humor in the Broadway production.

In my eyes, Jewison ended up with a bit of both approaches in his finished film, but that's all for the better. Sequences like the opening "Tradition" montage are hilarious in their juxtaposition of a grand operatic attitude and the rhythmic coordination of cleaning fish, hanging slabs of meat, and so on. Yes, a lot of Fiddler is very realistic, but it's equally humorous and surrealistic most of the time.

The realism is largely thanks to the authentic settings, the fabulous production and costume design, and of course, the superb performances. The humor is a factor of the above with that Mark Twain-ish aspect of Aleichem's stories and the fine script by Joseph Stine.

The surrealism comes largely by way of the cinematography. Some of the visual sense is reminiscent of Marc Chagall's early work and his later, nostalgic depictions of his native Russia, and in fact, the image of the fiddler on the roof comes directly from a Chagall painting. Jewison saw the fiddler as a cross between a metaphor for the Jewish spirit (and this is explained in more detail via a few lines of dialogue in the film) and an actual physical manifestation of a spirit. However we interpret the fiddler, the shots of him and his presence in the film are certainly poetic. Jewison also gives us some fabulous, surreal, wide landscape shots, such as those of agricultural fields and the beautiful "wasteland" in which the train tracks are set. There are a few scenes set on the banks of a river, overlooked by a bridge, that are reminiscent of particular Van Gogh paintings. And as a more subtle bit of surrealism, Jewison had cinematographer Oswald Morris shoot much of the film though a woman's stocking--the mesh is very clearly visible in some exterior shots. Of course, there are also a couple more surrealistic touches in the plot, my favorite being the Tevye's Dream sequence, which features traditionalist Jewish zombies in an operatic attitude.

A musical couldn't be a 10 without great music, and Fiddler on the Roof has it. The songs are a marvelous melding of traditional Russian folk melodies, with appropriate twinges of Orientalism and the expected Broadway sound, but maybe leaning a bit closer to a modern opera. From that description, you might think that the music would be a mess, but all of the songs are inventive and catchy. They are seamlessly melded with the drama, furthering the narrative as they should. The choreography is excellent and it is well shot by Jewison. And Isaac Stern's violin solos are outstanding, of course.

Fiddler on the Roof takes an investment of time--it's three hours long, but it's well worth it. It offers great drama, great music, great humor and great tragedy in a beautiful package--you'll laugh, you'll cry, you'll sing, and you just might break a leg trying to dance.

Rarely a film so authentic. I saw several movies by Norman Jewison, Moonstruck(1987), ... and justice for all.(1979), F.I.S.T.(1978), Rollerball(1975), The Cincinnati Kid(1965), Bogus(1996), Other People's Money(1991), Only You(1994). I saw also two masterpieces by the same Norman Jewison: Jesus Christ Superstar(1973) and In the Heat of the Night(1967). Fiddler on the Roof(1971) it's his most successful and fulfilled film, in my opinion. The actors are downright amazing: Topol, Norma Crane, Leonard Frey, Molly Picon, Paul Mann, Rosalind Harris (exceptional), Michele Marsh, Neva Small. The music is very beautiful. There are many movies which lasts only 90 minutes, but you want to finish faster, they are so bad; Fiddler on the Roof it lasts 180 minutes, but you do not want to end.

The range and audacity of `Fiddler on the Roof' is stunning. By comparison today's musicals are timid, quaking things, terrified of frightening their audiences away however much `social relevance' bravado they may assume. This old musical is older than it looks. The film dates from 1971; the musical itself from 1963; but even then it was clear that it was the last of its kind, a delayed swan-song from the 1950s. There's sentiment, but no promise of a happy ending; humour, but not a trace of postmodern knowingness; realism, but and a willingness to indulge in fantasy, too. Musicals can't really survive without fantasy, and `Fiddler', along with `West Side Story', may very well mark the limit of just how serious it is possible to get without losing it. The songs are uniformly good. I don't know if Bock's music was usually so fitting, or if he happened to strike gold just once - not that it matters.

As for the film ... I only wish I'll get a chance to see it in a cinema, for the photography is beautiful - and it IS the photography that's doing it, since we're made to realise that neither the village nor its setting is picturesque in itself. Norman Jewison has assembled a cast not one member of which jars and makes the most of it. This film is quite long, and feels longer, but neither length nor apparent length is a liability.

Russian Jews in a small Ukrainian farming village in the early 1900s are unaware of the political tensions brewing in the city...and how the new Czarist regime will eventually sweep all of them up into an exodus of change. Popular musical entertainment via Broadway, with heartfelt characters and a universal theme--Old World tradition versus the new ideals--resulting in a production which is alternately robust and bittersweet. The confines of the material (as conceptualized on the stage, where this show ran for nearly eight years) occasionally burdens the narrative, though director Norman Jewison keeps a pretty lively pace. The editing is weak and does the filmmaker no favors, and the camera never seems to be in the right place, however most of the performers are intensely in-tune with this story and bring out the jubilant soul of the piece. Topol stars as simple milkman Tevye, watching as three of his five daughters drift away into the arms of romantic suitors; he consults with God on matters of money and the heart, weighing each circumstance with even reasoning, and compares the attempt at living a common yet balanced life to that of a fiddler on a rooftop. The film would hardly be much more than an old-fashioned, sentimental exercise were it not for Topol, who sings and dances and jiggles across the screen like a circus bear. In Topol, Jewison has found an appropriate way to capture this theatrical happening on film--and actually make it mean something. Several sequences feel lumpen, and too often there's no exaltation at the climax of the musical numbers, but it still works a fiery-eyed kind of magic. *** from ****

I love "Fiddler on the Roof" so much it's difficult for me to comment on it in a detached way. I just think about it and I'm filled with emotion. (And I'm not the sentimental type!) It honestly depicts what it means to be human. It contains love, faith, family, friendship, humour, violence, hate, prejudice, change, vulnerability, joy, community, anger...everything. This film is a tribute to the Jewish people, but you don't have to be Jewish to enjoy it. It's so rich that everyone can identify with it, and learn from it.

As for the music, all the songs fit in naturally and stand on their own as classics. "Matchmaker, Matchmaker," "Sunrise, Sunset," "If I Were A Rich Man" - need I say more? When Hodel sings "Far From the Home I Love" it's tissue time. They're all so beautiful! If you usually find it hard to take when characters in musicals suddenly burst into song, don't worry, in this film it's so seamless you can't imagine them communicating any other way. The music makes it easier for them to say things they normally wouldn't in conversation.

The characters are so real and down-to-earth. They're strong, hard-working people, who have their priorities straight. I can't write about FOTR without mentioning Tevye - the centre of this whirling story, and a man who, like all of us, struggles with the pace with which his world is changing. He clings to the past, yet accepts what the future may bring. I don't think there is another film out there that addresses how insecure we feel with change. But hey, that's life. "To life, to life, la chayim!!"

Musical about the life of Jews in pre-Revolutionary Russia. Well-done with good acting (especially Topol) and some good songs and incredible dances...but at 3 hours it's way too long. Some of the songs are real duds and should have been cut and some of the dances go on forever. From what I've heard, this was never a big hit--in fact it was reissued in 1981 cut by 30 minutes! I'm usually against editing films but in this case it needs it. So it's good but overlong.

I saw this film during it's initial theatrical release and have seen it many times since. I am not especially a fan of musicals and there are very few that I like but this is one of those few. Fiddler on the Roof ran on Broadway from 1964 to 1972 and received a special Tony Award in 1972 for being the longest running musical in Braodway history. In addition it was nominated for nine Tony Awards for 1965 winning eight of them. The popularity of the plays Broadway run spawned Off Broadway performances worldwide from professional theater companies to high school productions. Joseph Stein wrote the screenplay for the filmed version adapted from his book which was based on stories by Sholom Aleichem. The wonderful music of Fiddler on the Roof is from the songwriting team of composer Jerry Bock and lyricist Sheldon Harnick. Director Norman Jewison had never done a musical before and was best known for the drama In the Heat of the Night and the comedies The Russians Are Coming, The Russians Are Coming and The Art of Love. He would direct another musical after Fiddler in Jesus Christ Superstar but would find more success in Moonstruck, A Soldier's Story and ..And Justice For All. Veterna Cinematographer Oswald Morris who was familiar with musicals having photographed Scrooge and Oliver was known for his cinematography in such films as Lolita, Mobey Dick, Goodbye Mr. Chips and The Guns of Navarone. the film Fiddler on the Roof was immediately embraced b the public and received critical acclaim and received eight Academy Award nominations including Best Picture and Best Director and won three Oscars for Best Cinematography, Musical Score and Sound. the film's setting takes place in the Jewish village of Anatevka, Russia in the year 1905. I interviewed a 101 year old Jewish woman three years ago who was born in a small village outside of Minsk, Russia in 1902 and lived there until 1920. In asking her to describe her village she referred to this film and said it was exactly like what was depicted in the movie. I can't think of a better testament to the production of this film than having someone who lived in a similar village during the time it was set in to see her past in this film. At three hours this runs a little long and it's hard to capture a successful musical stage play on film but this comes as close as you can get. As a musical I would give this a 10 out of 10.

Director Norman Jewison does all he can to pound the life right out of this screen adaptation of the phenomenally successful Broadway musical, but thanks to the strength of the original material, he doesn't succeed.

There are many better screen musicals, but there are also many that are far worse. Suffice it to say that Hollywood, which had churned out one disastrous musical after another for the last decade, finally got back to producing a musical it could be proud of. This beautiful story about a simple milkman in turn-of-the-century Russia who must come to terms with the loss of the safe and only world he has ever known, succeeds on screen largely due to the performance of Topol, who breathes body and soul into Tevye the milkman and creates one of those characters that for ever after you instantly associate with the actor who played him. You can feel him working overtime to keep Jewison's lumbering physical production on its feet, and his efforts prove themselves to be nearly Herculean, since Jewison can't direct a musical number to save his life. "Fiddler on the Roof" is not a dance musical, but it does have some rousing dance numbers courtesy of Jerome Robbins; however, you wouldn't know it from this movie, since Jewison almost unfailingly chooses the worst camera angle from which to shoot every single frame of the musical portions.

What the movie does boast, however, is a glorious version of the musical's beautiful score, left nearly intact and memorably orchestrated by John Williams. It soars and leaps even when the production it's anchored to just sits like a lump.

Grade: A-

This disappointed me mainly because it looked so promising in the beginning. At first this appeared to be an enormously-entertaining story and solid religious one with the main character talking to God all the time.

However, after 90 minutes of viewing this, I wondered if only God could sustain enough interest to keep going. Man, it was b-o-r-i-n-g!

Since I like Israeli songs with all the violin music - and the title infers that, too - I hoped to at least hear a lot of that. Wrong again. Most of songs didn't feature that and they weren't anything to write home about. When they did have some dance tunes that were lively, they - like the movie - went on forever. To be fair some of the songs were good and a few of them became famous, thanks to this stage play-turned-movie, but not enough of them to suit me.

Another thing that turned me off was the typical '60s-70s youth culture propaganda in which the message here was that the old traditions and the people who believed in them are shown to be of little value while the younger man with his new views is shown to be "enlightened." This is such typical Liberal baloney. However, it was nice to see a made-for- adults early '70s movie that was not sleazy. Hallelujah!

If they had cut this from three to two hours, it might have been a lot more watchable. This is way too long and way too overrated.

Let me say up front, I am not predisposed to enjoy a movie like this. On the contrary, as a straight WASP, the last thing I want to watch is a broadway musical or a bunch of Jews 'kavetching' about how bad they have it. That is definitely NOT what this film is about. Though the subject matter is Jewish, to say it is a Jewish film would grossly limit it's significance. It is about the human experience. Any one who has felt pain and persecution will relate to it. Therefore I say every human should love this film. It has an indomitable optimism and remarkable pathos that causes the viewer to empathize with the characters, namely Reb Tevye, played by Topol in arguably one of the finest dramatic performances ever. Considering the lack of success Topol has had with the rest of his career it would literally seem he was born to play this part. This film will most likely not be enjoyable for those looking for spoon fed, mindless entertainment or titillation, but for anyone who appreciates the beautiful things in life, it is high art. I recommend you set aside an undisturbed block of time, (use the can first, it's three hours long) when you are feeling relaxed, eat some good homemade soup and watch this masterpiece. Perfect casting, cinematography, pacing, art direction, wardrobe and best of all, an exquisite soundtrack by the great, and very young, John Williams. Listen to this movie on a powerful sound system and it will sweep you into each musical number. Especially (my favorite) the bar room dance scene. Fiddler on the Roof should be on every top 100 list that exists. Like no other movie I can think of, 'Fiddler' reaches deep into the heart and begs one to look at what things in life are worth living for and dying for.

Much was made of director Norman Jewison's decision to cast Topol (instead of Broadway's Zero Mostel)as Tevye, but his performance is the single most important factor that makes this a great film. Topol's portrayal has an earthiness to it that makes the farmer/milkman feel authentic. When he pushes his awkward cart through the landscape, you can feel his exhaustion.

Jewison also does a great job integrating the music into the action. Songs like "Do You Love Me?" and "Sunrise, Sunset" spring organically from the action.

The film's themes are universal in nature. Even in his small village, Tevye cannot avoid a changing world. It challenges his beliefs and threatens his beloved traditions. Eventually, it changes every aspect of his life. Finally, he realizes that what his daughter says to him is true--home is where your love is.

Virtually every aspect of this film is excellent, from the dancing to the cinematography. And the cast is wonderful.

Sholem Aleichem was a Yiddish author living in pre-revolutionary Russia in the 19th century. At the end of his life, he published a collection of short stories titled "Tevye and His Daughters". Because of their universal themes regarding parents, children and the struggle to adjust to changing times Aleichem's yarns soon became widespread. In 1964, a musical adaptation of the material was made as "Fiddler on the Roof" in New York City. A show that, in its time, became the longest-running musical on Broadway.

Of course, many prominent Hollywood studios noted the play's big success. And executives at United Artists acted first. They bought the movie rights and hired Norman Jewison to direct. To prepare for the task, the Toronto-born filmmaker spent several months in Israel, immersing himself in the Jewish Orthodox community. Jewison then chose his cast based on the actors' lineage and look, as well as their association with the traditional, Yiddish theater.

Although the comedian Zero Mostel had been extremely popular as Tevye on Broadway, Norman Jewison wanted someone who looked more Eastern European in the role. And when he saw Chaim Topol in the West End version of "Fiddler" the director knew he had found his man. Unfortunately, as Topol was only thirty-five at the time, the actor first had to spend hours in the makeup department to be aged for the part. Then, after having thoroughly prepared his star, Jewison shot the whole film to the pre-recorded music.

Luckily, "Fiddler on the Roof" was a tremendously successful adaptation of its stage counterpart. And Chaim Topol's transition from the London production worked perfectly. "Fiddler on the Roof" had the highest domestic box office of the year, with more than $100 in its initial release. The film was then nominated for a total of eight Oscars at the Academy Awards (it won three).

..."Fiddler on the Roof" stars Topol as Tevye, a Jewish milk man (and father of five) living in a small town in the time before WWII. The movie follows him over a long period of his life, mostly focusing on his three oldest daughters getting married, and Tevy's opposition towards their new husbands. Of course, it sounds a little depressing, but believe me, when you here the song "If I Were A Rich Man", you'll change your mind.

Musicals tend to become boring about halfway through (or at the beginning if they're really bad) because of overly dramatic songs or over acting. "Fiddler on the Roof" doesn't fall into this category. The songs please and warm your heart whenever they are sung, and the characters don't either overact or become boring.

Topol is hilarious and dramatic as Tevye, the dancing and singing father who speaks to God (and the audience) out loud. Topol narrates, sings, dances, and mingles joyfully with the other characters, never even coming close to slipping out of character. Tevye will go down in my book as one of the most memorable protagonists...ever.

The only thing going against "Fiddler on the Roof" is its monstrous running time. Not because it gets boring, but because whenever you'd like to watch it, you have to make sure you have about four hours of spare time, 9/10.

Topol ("Tevye") is superb in this telling of a tale of an agrarian Jewish father in late 19th century Russia who has three daughters. The basic premiss is that he has to arrange suitable "matches" for them. With the aid of some classic numbers like "Matchmaker" & "If I was I Rich Man" we share his experiences and adventures as he attempts, with varying degrees of success, to find suitable husbands for his girls. Set against a backdrop of religious intolerance, and ultimately a pogrom, this is a clever, engaging depiction of the harsh conditions endured by rural Russians in general and the Jewish community specifically. Norman Jewison contrives to reconcile sometimes quite brutal stories of religious prejudice with a defiantly gentle, joyful communal spirit in a thought-provoking and personable fashion. Jerry Bock's instantly recognisable score - based around a delicate, witty and entertaining lyric from Sheldon Harnick makes this as good as any of the genre and although it does drag a bit at the start of the second act, it passes the three hour mark with considerable style.

A beautiful film, every scene perfect, and Topol is unbelievably amazing. How can something so perfect be created...I try, in my own craft, but to see something so faultless, so perfectly manifested...I am in awe of such talent and ability. The art direction, stunning, But really, Topol carries it. A man of faith with intelligence enough to accept change, compassion enough to love through difficult revelations/revolutions.

Was a very significant film from my childhood, for some reason, for a nice Irish-catholic boy, but I remember it well, finding again in my fifties, with a better sense of history, aesthetics, morality, sentiment, religion, tradition, it touches me in a deeply emotional way

I love musicals and was quite eager to finally see Fiddler On The Roof after so many years ( I just seemed to have overlooked it before) when I noticed it on Amazon Prime. I'm not Jewish so know little about the traditions of these people and accept that their beliefs are different to mine, that's alright and I was quite happy to just follow wherever the story took us. Unfortunately there isn't much of a story and even worse, it tales so long not to get there. Three hours. In fact I watched it in four sections as when I paused it for a break, I wasn't left thinking that I must see the next bit. In other words, it didn't hold my attention that long, and it"s rather doleful as well. Oklahoma! It ain't. Topol gives a boisterous performance in the lead as Tevye, a poor Jewish peasant with a wife and I've forgotten how many daughters. The main bulk of the three hours concentrates on how his three oldest daughters enter into matrimony. I'd rather it had more good songs to break some of the gloomy storyline, as these romances are all hard going. It's a problem for a musical when the best song, in this case If I Were A Rich Man, is used up near the beginning as all the later songs are weaker. There is an anti-jewish theme running through the movie when the local police keep hounding the villagers which I found unpleasant for musical. There is no real feeling of being uplifted as we should be in a film like this so I only give 6 stars on this occasion. Things I liked were Topol, his eldest daughter who looks a little like Barbra Streisand, the scenery, nicely shot on location and Topol's big song. Pity I didn't enjoy it nearly as much as Streisand's own film Yentl.

If you have never seen this on stage, or heard the justifiably famous original Broadway cast album (with the legendary Zero Mostel as Tevye), then maybe this will pass muster. The cast is generally good, it's realistically filmed on location (or close enough) in Yugoslavia, etc. However, there is something really lackluster in the whole production.

The big disappointment is Israeli actor Topol as Tevye. He's younger and handsomer than Mostel, but doesn't sing or "emote" nearly as well, and he has one of those rather odd Israeli accents that are partly British -- certainly NOT Russian -- and that comes off as awkward. Tevye is the prime role, he has the major songs, like "Tradition" and "If I Were A Rich Man", so having a so-so leading man here is fatal to the film. He's also too old to play Tevye on screen -- on the stage, it's OK to have an older actor, but Tevye's oldest daughter is 18 and he was supposedly married at 18 himself, so realistically he is supposed to be about 37. Instead, Topol appears 50 or more with gray hair. (This is also true for the actress who plays his wife.)

The larger flaw of the film is that like a lot of other musicals (the recent "Rent" comes to mind), the film director felt that it had to made on location and as realistically as possible. This just doesn't work well for most musicals, which are intended for the more stylized presentation of a stage and a theater. Forced to look at Tevye's actual barn and animals is very distracting. Plus, with the action staged out of doors, the singing (which is obviously done in a studio) sounds absurd -- where's the echo chamber? LOL!

Despite everything looking "real" in the physical sense, the art direction has gone way overboard in the sense that all the peasants are depicted as living far too grandly for Jews of that time and place. Tevye's house is a multi-story Ralph Lauren summer home, and sits on many acres of land -- in those days, he would have REALLY been a rich man if he had all that. When Tevye sings about being rich and owning chicken, I believe its meant to imply that he's too poor to actually own any -- not an excuse to cut to photography of his flock!

That being said, if you like the music and general story, it's all here, and reasonably faithful to the theatrical production in terms of plot, resolution, etc. Since there is no bringing back Zero Mostel, this is what we have! and probably a bit better than the typical community theater productions that still are around.

In conclusion, I see a lot of reviewers talk about the sadness of the ending, as the Jews are forced to leave Anatevka. Personally, I have never considered this as sad. The film distorts things a bit by depicting Tevye as a landowner with lots of farm animals, furniture, a house, etc. In reality, peasants this poor had virtually nothing. The reality -- as experienced by my own paternal grandmother, who left Russia in 1920 -- is that these Russian Jews came to America to lead vastly better lives in a free country. Not to mention that their children and grandchildren became successful doctors, lawyers, business owners. This is not a sad ending, folks -- it's the happiest ending of all time!