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Funny Lady
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Directed by Herbert Ross
Funny Lady, the follow-up to the 1968 Funny Girl which made a movie star of Barbra Streisand, picks up the character of Fanny Brice in the 1930s. Although she is a tremendously famous Broadway star, she has suffered from the stock market crash and needs to boost her finances. Even Ziegfeld, who soon will pass away, is having a hard time raising money for a show. Into this scene bursts brash young Billy Rose (James Caan), an egotistical lyricist with unrestrained ambition. He cajoles and charms Fanny into linking up with him, convincing him that he can produce a revue that will showcase her to their mutual advantage. Out of town, the show is an unmitigated disaster, and Fanny uses her professional know-how to whip the show into shape. It arrives in New York a hit -- and Fanny and Billy arrive an item. Both of their careers blossom, but even though they marry, their relationship suffers. Fanny still carries a torch for first husband Nick (Omar Sharif), and Billy, partially because of insecurities caused by Fanny's feelings for Nick, has a roving eye. In California working on a lucrative radio show, Fanny and Nick connect again -- and Fanny realizes that she is finally over him. Thrilled, she flies to Cleveland, where Billy is working on a new show, ready to commit herself totally to him -- only to find him in bed with another woman. The two part, but years later they meet again to discuss a new show, and it's clear that the chemistry between them is still there. ~ Craig Butler, All Movie Guide
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Review by All Movie Guide
All Movie Guide
is neutral about it.
Funny Lady, the popular sequel to Funny Girl, is quite entertaining, despite an overly familiar story. Funny Girl's story was no more original, but the determined energy of film novice Barbra Streisand, combined with the superb work of director William Wyler, made the clichés less obvious. Here, Herbert Ross' direction is more professional and capable than inspired, and Streisand's performance is assured and polished rather than dazzling, with the result that the screenplay's flaws are more apparent. Streisand has her part down pat by now and she knows what buttons to push and when to push them. The physical characteristics are all there -- the practiced tilting of the head, the stiffening of the jaw as she rolls a lyric around before spitting it out, the thrusting of the arms -- but they're put to good use and come across as less mannered than they do at other times. Vocally, she's great; "How Lucky Can You Get?" seethes, "Let's Hear It for Me" is wonderfully joyous, and "Isn't This Better" is a lovely, melancholy portrait of a woman who can't admit she's fooling herself. James Caan is stuck with a fairly thankless role, but makes the most of it -- and is one of Streisand's better sparring partners. Many of the musical numbers are unfortunately truncated, but the big production number, "Great Day," is presented whole, to good effect. On the whole, Funny Lady's virtues make up for its shortcomings. ~ Craig Butler, All Movie Guide
 

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