By Scott Ross
As Ralph Waldo Emerson noted, “For everything you have missed, you have gained something else, and for everything you gain, you lose something else.” The 1971 film transmigration of the 1964 Broadway phenomenon Fiddler on the Roof is arguably the most beautifully made of all adaptations from the musical stage, and certainly one of the most faithful. By filming it in as realistic a manner as possible, and as close to the birthplace of its progenitor, Sholem-Aleichem, as the director, Norman Jewison, could get (Yugoslavia), the filmmakers honored the material as well, I think, as the source. What fell away, inevitably, was much of the very thing that made Jerome Robbins’ original so striking and even, in the terms of the musical theatre of its time, revolutionary. Any truly theatrical experience, play or musical, that exists in a heightened, stylized state can only be diminished by literalism. This is why any sane admirer of Follies, say, can only hope no movie ever gets made of it. Unless (as here) the material can support the transliteration, and the filmmakers are able to balance the inevitable losses with considerable gains of their own.*
Realism cannot take in, for example, the potent abstraction of Boris Aronson’s original Fiddler set. Inspired by (but in no way slavishly reproducing) the shetl-based paintings of Marc Chagall, Aronson constructed a series of stage images that fully expressed the key concerns of Robbins and his collaborators. Not merely the sense of tradition (arrived at through Robbins’ insistent, necessary, question, “What is this show about?”) but the crucial aspect of the circle which binds the community, the people of the play, even the faith itself.
Nor can a realistic style encompass the inherent theatricality of the piece as a whole, especially as Robbins directed and choreographed it. As when, for example, in the opening, Tevye is suddenly joined by the figures of the villagers, hands linked, emerging from either side of the stage to create the circle that stands for Anatevka itself. A couple of songs in the Jerry Bock/Sheldon Harnick were also shed during filming, but their omissions are more than adequately compensated for by the filmmakers’ otherwise rare fealty to the score, superbly enhanced by John Williams’ rich, sensitive and often thrilling arrangements.
Thus, what was lost. (For some die-hards, the replacement of Zero Mostel with the earthier and less ostentatious Topol was likely also a grievous loss.) So what was gained? On a simplistic, yet pleasurable, level, the land itself — vast, verdant, arable, even majestic — and the physicality of Anatevka, especially its magnificently realized wooden shul with its stunning, intricate murals, glimpsed in the opening number and, at the climax, gazed at in anguished silence by Zvee Scooler’s Rabbi as he prepares to depart its walls forever. (In her absolutely splendid book Wonder of Wonders: A Cultural History of Fiddler on the Roof, Alisa S0lomon reports that Jewison wanted the building preserved but, by the time he’d reached an agreement in Israel for its transportation it had, heartbreakingly, already been torn down.) And too, the pogrom that destroys the wedding of Tevye’s daughter Tzeitl at the end of the first act is, because of film’s innate ability to realistically depict such events (Cossaks on horseback, flaming torches, shattered glass, the shredding of the young couple’s gifts) far more gripping, and powerful, on the screen than it can ever be on the stage.
The strength of photographic imagery in the movie of Fiddler begins almost immediately, and to the point; as Topol warms up “Tradition,” Jewison and his editors (Robert Lawrence and Anthony Gibbs) cut, in rhythm, to the various articles of faith as well as to the villagers themselves, engaged in their respective tasks. Not quite the image of the circle as enacted by the company on the stage, but each rapidly glimpsed clip sets, and reinforces, the theme of communal traditions as the glue that allows those in the Russian Pale of Settlement “to scratch out a pleasant, simple tune without breaking [their] necks.” Nowhere in the show, or the movie, of course, do the authors (Joseph Stein in his book and screenplay, Bock and Harnick in their score and, although un-involved with the movie, Jerry Robbins) suggest that the bending of ritual leads to the eventual expulsion of Anatekva’s Jews. It’s all of a piece: The advent of 20th century modernity and czarist anti-Semitism, conspiring by accident to alter the face, and form, of institutional observance. Tevye, seemingly the least hidebound of the older Anatevkans, bends, as he says, only so far. And although he is unwilling to break entirely, even he softens enough by the end to at least express his parting concern for his wayward daughter Chava, if only through the intermediary of his oldest, Tzeitl.
The one, indispensable, element of the movie’s strength must be accounted the performance of (Chaim) Topol as Tevye. As a sabra the actor was, in common with many of his fellow Israelis of the time, not especially attuned to Yiddishkayt. (Indeed, many were entirely antipathetic.) But Topol’s size, his vigor, his warmth and his courage — as much as, when compared to that of Mostel, his smaller but no less compelling theatrcial presence — bring him closer to us, and perhaps even to Sholem-Aleichem. Pauline Kael, in her review of the movie, which she called “the most powerful movie musical ever made,” referred to Topol “a huge dancing bear of a man.” That’s just about perfect, I think. Although the then-35 year old actor was only slightly younger than Zero Mostel when he first assayed the role, he carries with him an authority, and an expansiveness, that goes far beyond the touches of gray in his hair and beard. And although he is a far more handsome man than Mostel, sings better and more easily attains the higher notes without noticeable strain, what’s essential, even elemental, about Topol is the sense he projects of a man who, while firmly affixed to the appurtenances of his faith, is capable of elasticity — the flexibility a plant, however well rooted, needs to survive.**
Essential, too, are the songs by Bock and Harnick. It is not merely fashionable to dismiss them; most of the show’s original reviews expressed reservations (is that the polite term?) about this immensely treasurable score. But as much as Sholem-Aleichem himself, the Fiddler songs are inextricably linked to its sense of identity, its abundant charm and humor, and its remarkable power. Bock, one of his era’s most accomplished musical dramatists, as at home in New York’s Tenderloin as in Hungarian milieu of 1930s She Loves Me, steeped himself in Yiddish folk melody and klezmer, and refracted it through the prism of his own exceptional composition acumen. While the ultimate tone of, and concept for, Fiddler (then called Tevye) was not set during much of the writing process there is in Bock’s supple, often yearning, melodies the concert of the shtetl, at once vigorous and elegiac. And they are perfectly complemented by Harnick’s alternately playful, moving, direct and ruefully funny lyrics all of which seem, as he said of his experience wedding his words to Bock’s music for “Sunrise, Sunset,” to “crystallize,” as though there could be no other possible lyrics to any of those tunes. (Although there were, reportedly, dozens of attempts for every song that finally placed.) I’ve noted this before, but I think it bears repeating: If you think evoking Sholem-Aleichem’s people, and place, and doing so while keeping in your mind the correct rhythms and cadences, and the needs of the performers, and making the humor or the pathos land properly and effectively on 1,500 minds and hearts and pairs of ears hearing them for the first time, is easy, then go ahead: You write something as effective as “Tradition” or “Do You Love Me?” I’ll wait.
Kael, who loved the movie in spite of what she saw as the “squareness” of Jewison’s direction and the (to her) Broadway jokes and disposable songs, nevertheless carped about the performance of Molly Picon as Yente the Matchmaker. Kael, for all her gifts, sometimes seemed to go to great lengths to separate herself from her own ethnic Jewishness. I don’t mean her less than laudatory remarks about Claude Lanzmann’s Shoah (with many of which I agreed — not least her complaints about its sheer, numbing length — but which got her in a lot of hot water with some readers and colleagues.) I refer instead to her rejection of some of the richer veins of humor which American show business has accepted as a delicious gift from its creative Jews but which, for Kael, smacked either of special pleading or of unconscious self-abasement. She was hardly alone in this. Indeed, as Solomon points out in Wonder of Wonders, resistance to, and rejection of, Yiddish theatrical traditions lies at the heart of controversies that attended every mid-century attempt to place Sholem-Aleichem’s stories on the stage; second and third generations of Jewish-Americans didn’t want all that schmaltz and inflection their parents and grandparents loved cluttering up their brave new assimilationist world. So, nu? But Yente — her very name a Yiddish convention — is, while admittedly an invention of the show’s book writer Joseph Stein, very much a part of the soil of the stetl, at least as delineated by the creative team who put the show together. Even granted Robbins’ understandable aversion, as Solomon also tells us, to making his Sholem-Aleichem musical The Return of the Goldbergs, who better to embody Yente’s very yenteism than Picon? As the one-time, undisputed queen of the Yiddish theatre, she knew this woman in her very bones; the kvetching and kvelling, the self-martyring geshrais, the constant smug (and self-justifying) nudzhnikness of a woman who is despaired of but never entirely dismissed (all those children to be wed!) Picon’s performance, always pleasurable, is especially… well… piquant… now that she’s no longer with us.
No such complaints greeted Norma Crane’s Golde, although Kael did carp that the role was under-written. Perhaps. But so is everyone’s, aside from Tevye; the show is not called Hello, Golde! you know. What Crane achieves in her more limited screen-time is a highly believable portrait of a careworn, un-lettered woman of the earth with a great deal of love but no time for sentiment. Crane (who died, shockingly young, of breast cancer three years after the movie opened) had an almost Classical beauty, but hers is no glamour-puss Golde. No-nonsense, she bears her husband’s mischievous wiles as she does her daughters’ unruliness: with a shrug, an exasperated bark, or a sighing aside (“You can die from such a man…”) Yet Crane’s strength of character is not merely admirable, it’s necessary. How else could a woman like her bear the vicissitudes of that life? And when she breaks, as when Tevye orders her on the road to forget her middle child Chava, the effect of her normally ram-rod straight body (black-clad as though in mourning and whipped by the winter wind) bent double in hopeless despair, is harrowing.
As Tzeitl, the eldest of the three marriageable daughters (the youngest pair are marginal) the beautiful Rosalind Harris makes an impression that can remain with you a lifetime. At a precocious 20 when the film was made, Harris carries herself with both a wry dignity and an open honesty of expression that she stays with you long after Tzeitl’s major part in the family drama is over. And as her nebbishy swain Motel, the adorably tongue-tied Leonard Frey is utterly endearing. Frey, who played the Rabbi’s son Mendl in the 1964 production (and who would eventually graduate to Motel on stage) had just come off reprising his definitive Harold in the movie of Mart Crowley’s The Boys in the Band. Here he is scarcely recognizable as the actor who portrayed that acid-tonged, “32 year, ugly, pock-marked Jew fairy.” He nabbed an Academy Award nomination for Motel (as Topol did for his Tevye) and one would have thought that, if he could successfully negotiate those two, wildly disparate, roles, the world should have been open to him. (Alas, it wasn’t, and he succumbed to AIDS at 50, in 1988, leaving behind the sense that a major career had, somehow, been thwarted aborning. By homophobia? Perhaps. Or maybe just the usual purblind Hollywood myopia.) When he finds his voice at last, his serenading of Harris, and their delighted dance to “Wonder of Wonders” is one of the most rapturous numbers of its kind ever filmed.
Michele Marsh, as Hodel, is a touch too conventionally cute, but she does convey the spirited independence of the role and sings a notably beautiful, poignant “Far from the Home I Love.” Hodel’s vis-a-vis, Perchik, is a bit of a pill in his ardent Socialist mania, which could make him a self-righteous boor in the wrong hands. Blessedly, Michael Glaser (later, as Paul Michael Glaser, the Starsky of television’s Starsky and Hutch) brings a kind of thoughtless, arrogant charm to the part, making Hodel’s eventual willingness to follow him as far as Siberia at least explicable.†
The third daughter, Chava is, in her way, crucial to the success of the narrative. Her determination to not merely throw over tradition for love but to engage in apostasy, risking the eternal enmity and alienation of her beloved family, must be absolutely grounded or the increasingly troubling arc of the play’s darker second act can topple off its delicately balanced wheels. In Neva Small, Jewison found his ideal. In each of the show’s succeeding marriage stories, one gets the sense that these girls have been paying sharper attention to Tevye’s warm interior than his gruff exterior, and play off it in ways that place their father in ironic binds. But in the Chava story, that reading has not been nearly close enough; she pushes back harder, and more devastatingly, than she knows. Small somehow manages to embody both her father’s idealized vision of her (his “little bird,” his cherished Chavelah) and the less perfect self of reality. Inquisitive, keen, at once guarded and open-hearted, Small’s face radiates intelligence and love in equal measure, making Chava’s eventual estrangement (and Tevye’s anguish) deeply, personally, traumatic.
The smaller roles were cast with similar care. Zvee Scooler, who played the innkeeper for the entire seven-year run of the play, makes a superb Rabbi. His gaunt, moving face and his gentle gravitas do much, I think, to take the curse off a role some Jewish commentators felt was too condescendingly comic on Broadway. Paul Mann’s Lazar Wolf, with his charmingly Santa Claus-like mien, is nicely judged as well, neither as boorish as Tevye at first believes nor as completely docile in the face of marital defeat as the peripatetic dairyman might hope. Louis Zorich likewise does wonders with the off-handedly anti-Semitic Constable who — in a scene added by Stein to the screenplay — makes agonizigly clear what Edmund Burke meant when he wrote that “All that is necessary for the triumph of evil is that good men do nothing.” (Well, maybe not “good” so much as halfway decent.) And the Welsh singer Ruth Madoc is an unforgettable Fruma-Sarah in the inspired dream sequence, wildly funny in her uncannily witchy ululations.†*
Which brings us rather nicely around to the strengths of Jewison’s imagery. Onstage, “The Dream” leaps from one form of heightened theatricality (Aronsons’ set) to another (folk-inspired ghost story.) In the movie the effect of the humor, and the quality of its tongue-in-cheek ghoulishness, in the midst of the filmmaker’s “square,” quoditian visual palette, is even stronger, and funnier. (There’s a shot of Topol reacting to Fruma-Sarah with knock-kneed terror that is especially uproarious.) That push-pull of the pragmatic and the fantastic is also true of the sudden distancing effect Jewison goes in for when Tevye confronts his daughters’ romantic yearnings: Topol is seen at a vast remove, suspended in agrarian space between his core beliefs and his overmastering love for his children. But when he speaks (sings) “Look at my daughter’s eyes…” the director immediately closes on those expressive orbs, bringing Tevye, and us, instantly back to the crux of the material’s emotional center. Likewise, the gorgeously realized “Chava Ballet” is rendered as an hallucination-like reverie, Tevye’s sense of his immediate world crumbling in the face not only of modernity but of the inevitable loss a parent experiences when his children move, as they must, away from his sphere of influence, and love.
In his quest to hone Fiddler to its essentials, director Jerry Robbins left choreographer Jerome Robbins somewhat high and dry. (That “Chava Ballet” arrived at its effective abbreviation only after a much longer, more frenzied and frightening, number outstayed its welcome.) But Robbins at least had a first act topper in the famed “Bottle Dance” during Tzeitl’s nuptials. Inspired by a trick he witnessed a red-bearded wedding guest perform at two different Jewish weddings, the dance has since become so much a part of the Fiddler ethos that many assume it’s an actual freylekh. Having been fired from the movie of West Side Story for the very deliberateness that led his theatrical collaborators to despair but which enhanced his unique staging, Robbins was never truly considered to helm the film, so it was up to his assistant, Tom Abbott, to re-create the original choreography, and it’s nowhere more ebullient or felicitous as during the wedding. Not only the sinuous “Bottle Dance” itself, but the entire sequence, is informed by Robbins’ meticulousness in recreating the exuberant, uninhibited, even frenzied, merry-making he witnessed at various Jewish weddings preparatory to mounting the show. And it’s here that Jewison makes one of his few missteps. The dance is shot, and edited, too casually, denying us the pleasure of watching those limber bodies going through their joyous paces. This is even more obvious when watching the Canadian Broadcasting documentary about Jewison on the Fiddler DVD, when the CBC’s camera placement during the “Bottle Dance” trumps Jewison’s own. Dance on film is always a sticky problem. Fred Astaire felt, and with no small justification, that the camera should be placed at a distance (and not further cluttered up by fancy editing) so the audience can appreciate the footwork. Gene Kelly and Stanley Donen concurred, and they never interfere with our enjoyment of, and exultation in, even the most complex numbers in Singin’ in the Rain. Documentary realism has its limits, especially in musicals.
Fiddler on the Roof was, seemingly, a tough sell in the mid-1960s. Not only was the material overtly, even proudly, Jewish (as indeed were the Sholem-Aleichem stories on which it was based) but its action embraced a pogrom and the saddest of all possible climaxes, the enforced expulsion of an entire people. In comfortable, and comforting, hindsight, one can always look back and say, of a hit, “Well, of course…” (I always thought John Simon was being more than slightly disingenuous when he opined during that decade that the most enormous possible sure-fire Broadway hit would be “a big, vulgar musical about black, Jewish homosexuals.” Simon’s target was theatrical parochialism, I know, but let’s not be ridiculous.) No, Fiddler was no sure thing, in 1964 or 1971. What sold it, and continues to sell it, was the collective intelligence, even genius, of its creators as much as — and I would argue, more than — the universality of the underlying material. The unwavering devotion of Robbins, Bock, Harnick, Stein and the original producer Harold Prince to telling this story well, and with scrupulous dedication to its shades of meaning within a specific confluence of humanity, was picked up, and codified, by Jewison & Co. in their sumptuous turn. Those final, ineffably moving, images of a new Diaspora infused both with hope (in the amorphous form of Palestine and America) and hopelessness (in the unutterable grief of the dispossessed that presages the Shoah) contain, in microcosm, everything that made, and makes, Fiddler on the Roof such an imperishable fact of life.
Text copyright 2014 by Scott Ross
*One of my five favorite movies is the 1972 Bob Fosse version of Cabaret, itself, under Harold Prince’s direction, a highly stylized show. But as Fosse and his collaborators re-imagined the material, hewing more closely to the Christopher Isherwood model and throwing out the “book” songs, it’s the exception that proves the rule.
**Topol was the London Tevye in 1967, based in part on the producer Richard Pilbrow’s having seen his 1964 Israeli comedy Sallah (or Shallah Sabbati.) Pilbrow was expecting a to meet much older man. Topol, who had succeeded Bomba Zur in the role during the highly successful 1965 Israeli Fiddler, was not what you would call proficient in English before he starred in London, and it’s interesting to compare his performance on the movie soundtrack with that on the ’67 Columbia cast recording; his inflections in the latter tend to Anglicized pronunciation (“You may ahsk” rather than “You may ask.”)
†Glaser/Perchik lost out an a solo in the movie. Motel’s original number during rehearsals for, and early performances of, the show (“Now I Have Everything”) was eventually ceded to Bert Convy’s Perchik but Jewison didn’t think it right for the movie. Jerry Bock’s replacement melody, “Any Day Now,” is among the finest and most rousingly apposite he ever composed, and Harnick’s lyrics are in admirably quirky character. But the moment is a bit of a dead-end, and it’s probably just as well the number was cut. You can hear it, in Glaser’s somewhat over-taxed rendition, on the Fiddler soundtrack CD and the DVD.
†*Zorich is probably best known for his role on Mad About You as Paul Reiser’s father Burt. From conductor of pogroms to befuddled Jewish pater familas — that’s one hell of a range.