Yentl

"Yentl" as a very impressive film. Watching it it is hard to believe that it was made by a first time feature film director.

People hate this film because Barbra is in it. She is wonderful. I get tired of hearing people say that "Barbra was too old" for the role. Well she doesn't play "Yentl" that was from the short story. She plays Yentl in her 30's. HEr father from the book is even aged by 20 years.

The story of this film is that the main character has a thirst for learning. After her father's death she disguises herself as a man so she continue her studies in a time where women's higher education was forbidden.

Yentl then falls in love with a man who unknown to him that his new best friend happens to be a woman.

My only problem with this film is that it is a little long but it is never boring. In my opinion if this film was directed by a man we would still be singing the films praises today.

You may love her or hate but the truth should be admitted - Streisand is an extremely talented artist. "Yentl' is her baby of directing, producing, co-writing and starring as a girl who wants to study and become a rabbi and who has to disguise herself as a boy to be accepted in a college. Streisand had fought the studio for 15 years to get it made, and she put her heart into this. Barbra is a gifted director, and the film is beautifully shot. I liked her acting - I thought she was convincing and touching when her character started to fall in love with a fellow student (very appealing Mandy Patinkin, "Hello, my name is Inigo Montoya. You killed my father: prepare to die" of "The Princess Bride") and had to hide her feelings. I also like her singing and I think that the songs belong to the film and can not be taken out of the context.

7.5/10

Barbra Streisand has referred to herself as 'an actress who happens to be a singer'. I doubt I am alone in viewing her professional legacy in the reverse: as a great singer who happens to be an actress . . . director, producer, screenplay writer, musical score composer, humanitarian, and lately, concerned with using her production and direction talents to bring out important social issues (like ageism--"The Living Century" is about centurions--people a hundred years old or more).

"Yentl" marks the beginning of a woman blazing a new trail as a director, singer, composer, her hands in the screenplay, and production. She's spoken in a segment on "The Directors," about how various cultures have treated her as a result of her deliberate transcendence of Hollywood's gender-biased boundaries. One of her most interesting points reveals how well she was treated in England by the British filming crew. Since gender-bias against women is not even comparable to gender bias in the US, because England is so far advanced beyond gender discrimination because one is a woman, Streisand remarks how much easier it was for her to accomplish her goals on the set because the British film crew treated her without gender-bias, and with the respect she is certainly due.

"Yentl" royally upset the AFI in the US because Streisand entered into no woman's land when she had a hand in nearly every aspect of the motion picture. "Yentl" has some of the most memorable, touching, humanely familiar music and lyrics, yet it received no Academy Award. The direction was brilliant--no Academy Award. The screenplay was one that was serious, hilarious, religious, spiritual, and even addressed the issues of gender-bias head on--no Academy Award. Streisand's and Amy Irving's acting was stupendous--no Academy Award.

Streisand paved the way and took the non-recognition by the Film Academy without stopping. This musical motional picture pales many that are classics. The story is an extra interesting one, the likes of which have not been reproduced with anything close to as much skill and class.

I'll give this classic about six Academy Awards, including several that go to Streisand alone.

I discovered this film recently when it came out on DVD in France at a knock-down price. Picture quality is no more than average and seems to have a little over-dominance of sepia. I assume the film was originally destined for a Jewish audience as many of the references contained therein concern the Jewish religion of which I know nothing ! All that said, I was very very satisfied with this film, Barbra Steisand gave a magnificent performance, you could see that she put her heart into this, apart from being really cute, her voice and songs were magnificent. There's also quite a lot of humour and potentially embarrassing situations which is normal, given the fairly original plot line. I think that the end is a satisfying one indeed the only satisfying one possible. I know little about Jewish culture but do, as an "outsider" find it attractive. Indeed this may indeed be a prerequisite to fully appreciate this film.

for basic idea of equal rights out of any feminism. for the flavor of "80 years and for slices of shtetl life, for Jew space in Russian Empire as place of interior freedom, for music and for the delicate story. for last image of a way to happiness. for fabulous role of young Yentl/Anschel and for fragile performance of Amy Irving. it is difficult to define it.because it is a profound humanist pledge for normality. not accusation against a community. not stone against rules.but a open window.that is all. central piece - courage. central message - nothing is impossible. axis - force to be yourself. after 20 years, it is more important today.because in time of globalization, time of positive discrimination, Yentl is a wise advise. and good model to build personal trip in life.