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hen the film adaptation of
Fiddler on the Roof opened, revered critic Roger Ebert gave it three out of four stars and said director Norman Jewison “has made as good a film as can be made from the material”. Ebert, now deceased, thought the storyline was “quite simply boring”, which decried the work of its original author, Sholem Aleichem, and raised doubts about Ebert’s Pulitzer Prize for Criticism.
With global acclaim from all other reviewers, three Oscars, multiple nominations (including Best Actor for Chaim Topol) and a cumulative $83.3 million at the box office, the enduring appeal of this movie is irrefutable.