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Fiddler on the Roof (1971)

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In prerevolutionary Russia, a Jewish peasant contends with marrying off three of his daughters while growing anti-Semitic sentiment threatens his village.

Director:

Norman Jewison

Writers:

Sholom Aleichem (adapted from stories) (as Sholem Aleichem), Arnold Perl (adapted from Sholem Aleichem stories by special arrangement with) | 2 more credits »
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Popularity
2,134 ( 1,585)
Won 3 Oscars. Another 6 wins & 13 nominations. See more awards »

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Cast

Cast overview, first billed only:
Topol ... Tevye
Norma Crane ... Golde
Leonard Frey ... Motel
Molly Picon ... Yente
Paul Mann Paul Mann ... Lazar Wolf
Rosalind Harris ... Tzeitel
Michele Marsh ... Hodel
Neva Small Neva Small ... Chava
Paul Michael Glaser ... Perchik (as Michael Glaser)
Ray Lovelock ... Fyedka (as Raymond Lovelock)
Elaine Edwards Elaine Edwards ... Shprintze
Candy Bonstein Candy Bonstein ... Bielke
Shimen Ruskin ... Mordcha
Zvee Scooler Zvee Scooler ... Rabbi
Louis Zorich ... Constable
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Storyline

At the beginning of the twentieth century, Jews and Orthodox Christians live in the little village of Anatevka in the pre-revolutionary Russia of the Czars. Among the traditions of the Jewish community, the matchmaker arranges the match and the father approves it. The milkman Reb Tevye is a poor man that has been married for twenty-five years with Golde and they have five daughters. When the local matchmaker Yente arranges the match between his older daughter Tzeitel and the old widow butcher Lazar Wolf, Tevye agrees with the wedding. However Tzeitel is in love with the poor tailor Motel Kamzoil and they ask permission to Tevye to get married that he accepts to please his daughter. Then his second daughter Hodel (Michele Marsh) and the revolutionary student Perchik decide to marry each other and Tevye is forced to accept. When Perchik is arrested by the Czar troops and sent to Siberia, Hodel decides to leave her family and homeland and travel to Siberia to be with her beloved Perchik.... Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Taglines:

...A tradition. See more »


Certificate:

G | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

MGM

Country:

USA

Language:

English | Hebrew | Russian

Release Date:

3 November 1971 (USA) See more »

Also Known As:

Anatevka See more »

Filming Locations:

Gorica, Croatia See more »

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Box Office

Budget:

$9,000,000 (estimated)

Gross USA:

$80,500,000
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

70 mm 6-Track (Westrex Recording System) (70 mm prints)| Mono (35 mm prints)| Stereo (35 mm mag-optical prints)

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

By the early 1970s Hollywood roadshow presentations (especially musicals) were now no longer popular with critics and audiences. Recent musicals, including Camelot (1967), Doctor Dolittle (1967) were not as captivating, realistic,, as the film adaptations of Broadway musicals, had been. Those successful film adaptations, include; West Side Story (1961), The Music Man (1962), Mary Poppins (1964), were in the 1960s, so Norman Jewison, Walter Mirisch and United Artists were worried how the film would do once it got released. When it was released in 1971 it defied naysayers and received critical acclaim and became the highest-grossing film of the year, besting films like Shaft (1971), Stanley Kubrick's A Clockwork Orange (1971), and the Academy Award-winning The French Connection (1971). See more »

Goofs

When Perchik and Hodel are dancing for the first time, Perchik has his hat on, but as they finish and he says, "There. We've just changed an old custom," his hat is missing, and in the next scene in the barn, he has his hat back on. See more »

Quotes

[first lines]
Tevye: A fiddler on the roof. Sounds crazy, no? But here, in our little village of Anatevka, you might say every one of us is a fiddler on the roof trying to scratch out a pleasant, simple tune without breaking his neck. It isn't easy. You may ask 'Why do we stay up there if it's so dangerous?' Well, we stay because Anatevka is our home. And how do we keep our balance? That I can tell you in one word: tradition!
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Crazy Credits

Topol and the cast sing "Tradition" without any opening credits rolling. At the end of the number, the fiddler, standing on the left of the screen, launches into an extensive solo while the opening credits roll on the right of the screen. See more »

Alternate Versions

Originally released at 181 minutes (with an intermission), later trimmed for 1979 reissue to 149 minutes. See more »

Connections

Referenced in Galavant: Aw, Hell, the King (2016) See more »

Soundtracks

Anatevka
(1964) (uncredited)
Music by Jerry Bock
Lyrics by Sheldon Harnick
Performed by Topol, Norma Crane, Molly Picon, Shimen Ruskin, Paul Mann, and Barry Dennen
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Frequently Asked Questions

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User Reviews

 
One of the best of all musicals
23 January 2000 | by SpleenSee all my reviews

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.


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