Originally divided by an interval, the second act brings only tragedy for Tevye, who faces the loss of his home to tsarist persecution and his two daughters to a new world. Indeed, it is Hodel’s farewell to “Far from the Home I Love” that moved Topol most. “She doesn’t speak, she just sings the song, and he understands every single feeling that she has. And he knows he won’t see her anymore.”
As the film’s emotional fulcrum, Topol’s portrayal of the pious milkman
has led people to ask about his real persona. “He doesn’t act, but lives the part and you can actually see his heart breaking,” says his youngest daughter, Adi, who played Chava with him at the Palladium in 1994.
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.