Funny Girl
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Synopsis
Witness the birth of a movie star as Barbra Streisand makes a screen debut for the ages in this musical spectacular. From humor to pathos, she hits every note as popular 1920s singer-comedian Fanny Brice, a young Jewish New Yorker whose spirit and supernova talent propel her to fame in the Ziegfeld Follies, but whose devotion to an unreliable gambler (a charismatic Omar Sharif) brings drama and heartbreak into her life. Adapted from a hit Broadway show and directed by Hollywood master William Wyler, Funny Girl hits emotional highs in unforgettable performances of songs like “People” and “Don’t Rain on My Parade”—moments that won Streisand one of the most richly deserved Best Actress awards in Oscar history.
Picture 9/10
William Wyler’s Funny Girl receives a stunning new 4K UHD special edition from The Criterion Collection, presented in its original aspect ratio of 2.35:1 on a triple-layer disc. Sourced from a new 4K restoration performed by Sony Pictures Entertainment, the film is presented here in Dolby Vision with a 2160p/24hz ultra high-definition encode. Criterion also includes a standard dual-layer Blu-ray with a 1080p presentation of the film.
The presentation is remarkable, with the restoration work eliminating nearly all signs of wear and tear from the print materials. Outside of a handful of slightly dupey shots, the image is pristine, free of any noticeable print damage. The encode is equally impressive, with the film’s grain rendered naturally and cleanly, showing no signs of noise, macroblocking, or other digital artifacts.
Detail levels are consistently high and razor-sharp, except for moments where soft focus is deliberately applied. The film’s vibrant color palette is a standout feature here, especially when it comes to the reds and violets that appear. The violets, in particular, really pop in sequences like the early roller-skating number. Black levels are rich and inky, while shadow depth is extraordinary, with gradients and transitions appearing smooth and natural. The contrast in shadowy areas is enhanced by the Dolby Vision/HDR grading, which also elevates highlights to stunning effect. Light reflecting off sequins or jewelry sparkles brilliantly, and even the film’s hottest light sources maintain their stability, avoiding clipping or loss of detail. The dynamic range between the brighter highlights and the deep shadows helps add further depth to the image.
All in all, it’s a gorgeous rendering of the film.
Audio 8/10
Restored from the original six-track stereo soundtrack master, Criterion presents the film’s audio in 5.1 DTS-HD MA. Most of the activity is focused on the front three speakers, with dialogue primarily anchored in the center channel. However, the musical numbers take full advantage of the surround setup, expanding the sound field to include all channels, creating a more immersive experience.
Overall audio quality is excellent, with a crisp, clean presentation that showcases impressive range and fidelity, particularly during the musical sequences. Dialogue remains clear and natural, with good dynamic range, and there are no signs of distortion or significant damage. It's a faithful and well-executed audio restoration that does justice to the film's soundtrack.
Extras 8/10
The Criterion Collection’s edition of Funny Girl marks the first time the film has been given the full special edition treatment, as previous DVD and Blu-ray releases included only a handful of archival promotional featurettes. Those original featurettes—The Look of “Funny Girl”, Barbra in Movieland, and This is Streisand—have been ported over here on the standard Blu-ray disc (the 4K disc is featureless) alongside a couple of newly produced supplements by Criterion.
Among the new additions, the standout is a 40-minute audio interview with Barbra Streisand, recorded specifically for this release. Streisand recounts the origins of the original stage musical and her casting in it, which led to her being cast in the film adaptation. She reflects on her admiration for Fanny Brice (at least once she could relate to her), her research into the role, and her experiences with her co-stars from both the stage and film versions, some of whom carried over. Interestingly, Streisand mentions how this production sparked her growing interest in filmmaking, sharing behind-the-scenes stories and observations she made while on set. What starts as a simple interview evolves into an extensive oral history of Funny Girl, enhanced by archival photos and behind-the-scenes footage. It’s an engaging addition that anyone interested in the production will undoubtedly appreciate.
Also new is a 26-minute conversation between author Alicia Malone and David Wyler, the son of director William Wyler. Together, they discuss Wyler’s remarkable career and his ability to excel across a variety of genres, from intimate dramas to sweeping epics and musicals. They note that his versatility may have made him harder to define stylistically, but his attention to detail remained a constant. The discussion offers insights into Wyler’s approach to filmmaking, touching on many of his iconic works, though there is a spoiler when they discuss The Collector.
This ties seamlessly into the archival Directed by William Wyler, a 1989 TCM documentary included here. Clocking in at an hour, it features interviews with those who worked with Wyler, as well as Wyler himself. The documentary provides a comprehensive overview of his career, with anecdotes that reveal his meticulous, sometimes stubborn nature. One highlight includes his insistence on making the German character in Mrs. Miniver a “typical Nazi son of a bitch,” a decision that initially worried the studio until Pearl Harbor changed the political climate. While its short runtime prevents any deep dives into individual films, it offers a well-rounded portrait of a filmmaker who prized craft and variety over a singular style. Impressively, the program appears to have been restored, with film clips also coming from new restorations.
An archival 2003 interview with Omar Sharif adds another layer of charm. Recorded after a screening of Funny Girl, Sharif shares warm memories of working with Streisand, whom he praises highly, while also reflecting humorously on his career trajectory. Despite touching on some less glamorous periods of his career, Sharif’s wit and good humor make this a highly entertaining inclusion. (A minor caveat: the audio is not the best quality, though still understandable.)
The three original promotional featurettes—The Look of “Funny Girl” (8 minutes), Barbra in Movieland (10 minutes), and This is Streisand (6 minutes)—round out the archival material. While The Look of “Funny Girl” focuses on costumes and design, This is Streisand serves as an introduction to the world of Streisand herself. Surprisingly, Barbra in Movieland proves to be the most interesting of the three. Despite its scripted nature, it offers a charming account from the “caretaker” (simply known as Charlie) of the Hoboken train station, detailing the filming of the “Don’t Rain on My Parade” sequence, complemented by behind-the-scenes footage. It may be hokey, but it offers valuable insights into the sequence’s planning and execution.
The disc concludes with a 3.5-minute deleted scene featuring an extended conversation between Streisand’s and Sharif’s characters about his gambling ventures. While both actors shine in the moment, the scene ultimately feels redundant, reiterating points made elsewhere in the film, which likely explains its omission.
Finally, Michael Koresky contributes an academic perspective through his essay on the film, included in the accompanying fold-out insert.
Overall, the supplements provide a satisfying exploration of Funny Girl and its legacy. The inclusion of Streisand’s in-depth contribution elevates the material quite a bit, and I'm sure fans of the film and her will be delighted by it.
Closing
Criterion delivers a stellar A/V presentation paired with a strong selection of supplements, making this a must-have edition for fans of the film and Streisand.
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