FIDDLER: A MIRACLE OF MIRACLES
US, 2019, 92 minutes, Colour.
Directed by Max Lewkowicz.
The fiddler is, of course, the Fiddler on the Roof. This is a film, most definitely, for all those who have treasured the stories written by Ukrainian author, Sholem Aleichem, writing at the beginning of the 20th century and who statue stands in Kyiv today. It is also for those who treasure the musical theatre version of tevye and his family, for those who treasure the film version of 1971 with Topple. It is a film for anyone who has any affection, large or small, for Fiddler on the Roof. It is most enjoyable.
In fact, this film could be seen as a Master Class about the origins and development of musical theatre. But only every aspect of the musical and the film version, it places the origins in the first half of the 1960s and the United States, reminding us of the extraordinary changes between the first Broadway performances in 1964 and the release of the film in 1971 – American civil rights, the experience of the Vietnam war, campus protests, wars and refugees, the moon landing…
This documentary opens with wonderful vistas of New York City, the violin melodies of the musical, finally our discovering a Fiddler sitting on his balcony overlooking the Hudson. The melodies at once invite us into further explorations and enjoyment.
Within 92 minutes, this film enables us to appreciate the narrative of Tevye and his family and the impact of the problems in 19th and early 20th century Russia. Throughout, we see stage excerpts of the musical, significant clips from the film, and a variety of versions of all the songs. It is a very satisfying memoir of experiences, stage and screen.
An interesting feature is that actor Joel Grey is putting on a performance of Fiddler but in Yiddish – and with stage experts and some songs in Yiddish.
Great tribute is paid to the writer of the original stories, Sholem Aleichem, – and we even see some excerpts from silent film versions of the stories.
There is a wonderful array of talking heads for this documentary, including footage of the contributors when they were young as well as 50 years later: the composer, Jerry Bock, the lyricist, Sheldon Harnick, writer, Joseph Stein. It is intriguing to hear how the songs came to be, melodies by Bock sent to Harnick and his linking his ideas to the music. The producer on Broadway was the redoubtable Hal Prince who chose the sometimes irascible choreographer, Jerome Robbins (West Side Story). Is quite exhilarating to see how Robbins created his choreography, rehearsals and performance, based on Jewish weddings and dances, religious experiences. Focuses also on the production design.
The tryouts and rehearsals were in Detroit and received harsh reviews, Robin’s continuing to prune and change. But, instantly, Fiddler on the Roof was a huge success and starred Zero Mostel as Tevye. Throughout the documentary a number of the actors who portray Tevye have an opportunity to explain their interpretation as well as sing.
When it comes to the film, there is some surprise to find that Norman Jewison was not Jewish (with the suggestion that he convert and his name become Norman Kristiansen!). He went to Russia to film, using the locations for persuasive authenticity. Chaim Topol was playing Tevye in London and was chosen for the film – a comment being made that many who played Tevye did it from a resigned Eastern Europe perspective but Topol was from Israel and played with demanding vigour, demanding even of God. And, there are interviews with Topol, silver haired, almost 50 years later.
In the latter part of the documentary, there is a lot of discussion about the themes, about arranged marriages, as regards family pressures, family choices, hard work and poverty, religious and social oppression, the confiscation of property, people going into exile – also with a comment that these refugees in the United States had no feel for the old country and its persecutions compared with the Irish migrants who still had a deeper love for Ireland, refugees for economic reasons.
The film then makes strong reference to contemporary refugees, visual footage of many leaving homes, on boats, landing in strange countries, a plea for compassion, for empathy.
Which makes Fiddler on the Roof still valid for the present and present social issues. And, the point is made that it is universal with scenes from Japanese performances, school groups back in the 60s, with African- American and Hispanic students, a contemporary group of Thai singers and dancers, all performing with exuberance.
As was said, this documentary is most enjoyable – a fine Masterclass.
