Suitors predictably arrive for the three older daughters. These include dorky tailor Motel (Leonard Frey), radical communist Perchik (Paul Michael Glaser), and tall, blonde, and Christian Fyedka (Ray Lovelock). These suitors represent changing times for the Tevye's family, which must find a way to adapt within their faith.
How others will see it. Fiddler on the Roof is not for everyone. It won't resonate with classic film fans, since the cast is largely unfamiliar. Those in search of entertainment, particularly comedy, will prefer something else (Raising Arizona is always a good choice.
On the other hand, there is a decent-sized audience for the Fiddler on the Roof. It is a musical with interesting historical content, and it is competently written and directed. Best of all, it has a look of authenticity, which was the principal aim of its makers.
How I felt about it. In some ways, Fiddler on the Roof is a remarkable film. The producers were more interested in authenticity than in an American box office bonanza. Thus, obscure actor Topol was chosen for the all-important lead, instead of Zero Mostel, who had played the role in the Broadway musical. A Hollywood studio would have picked Mostel in a heartbeat, even though Mostel was a comic actor and the role is dramatic, and even though Topol has the superior singing voice.
You can bet that a Hollywood studio would have picked more attractive women for Tzeitel, Hodel, and Chava. Two of the three actresses are frightfully plain, and although Hodel is attractive by college student standards, she's not a Hollywood-level beauty.
A big studio would also have cast more familiar faces. Paul Michael Glaser eventually became famous for his tough-guy role in the television series "Starsky and Hutch," but that was a few years down the road. Hollywood would also have trimmed the running time from three hours, to reduce production costs and to allow the film to be shown more times per day at theaters.
Hollywood would probably have ruined the movie, unless by some miracle it evolved into a satire. "If I Were A Rich Man" would then become a Mostel fantasy, with him bathed in gold coins and gawking at supplicant women, and "Matchmaker" would have sassy lyrics involving boy toys. This would be an entirely different film, however.
Our present version of the film, well-intentioned as it may be, has its share of minor problems. Would the engagement of ugly duckling Tzeitel to gray-haired butcher Lazar Wolf cause a humongous dancing celebration at the local bar? Wouldn't Glaser run for his life when troops with rifles interrupt his "My Comrades" speech? Wouldn't Fyedka cast his gaze on an attractive girl, instead of big-nosed Chava? Does Motel have to be such a dork, particularly on his big number, "Miracle of Miracles?" Would Tevye's wife, Golde, believe for a moment Tevye's ridiculous dream?