Rose and Gregory, both Columbia University professors meet when Rose's sister answers Gregory's "personals" ad. Several times burned, the handsome-but-boring Gregory believes that sex has ... See full summary »
Director:
Barbra Streisand
Stars:
Barbra Streisand,
Jeff Bridges,
Lauren Bacall
A young wife and mother, bored with day-to-day life in New York City and neglected by her husband, slips into increasingly outrageous fantasies: her mother breaking into the apartment, an ... See full summary »
Director:
Irvin Kershner
Stars:
Barbra Streisand,
David Selby,
Ariane Heller
Daisy Gamble, an unusual woman who hears phones before they ring, and does wonders with her flowers, wants to quit smoking to please her fiancé, Warren. She goes to a doctor of hypnosis to ... See full summary »
Director:
Vincente Minnelli
Stars:
Barbra Streisand,
Yves Montand,
Bob Newhart
A matchmaker named Dolly Levi takes a trip to Yonkers, New York to see the "well-known unmarried half-a-millionaire," Horace Vandergelder. While there, she convinces him, his two stock ... See full summary »
Director:
Gene Kelly
Stars:
Barbra Streisand,
Walter Matthau,
Michael Crawford
Henrietta Robins works out of her home and her husband Pete drives a cab to try to support her. When Pete gets a tip from one of his fellow drivers that a deal will be made by the Americans... See full summary »
Director:
Peter Yates
Stars:
Barbra Streisand,
Michael Sarrazin,
Estelle Parsons
Tom Wingo is unhappy with his life. His wife doesn't understand him and he also doesn't get along with his dominant mother. When his sister attempts suicide, her psychologist Susan Lowenstein consults him. Patiently and cautiously she uncovers the terrible secret hidden in Tom and Savannah's childhood. On the other side she's unhappy too and so both help each other to find their way back to life. Written by
Anonymous
Barbra Streisand initially hired composer John Barry to score the film. Barry left the project because Streisand insisted that he move from New York to Los Angeles to work on the score, and Barry did not want to work with "someone constantly looking over my shoulder." Streisand hired James Newton Howard as the film's composer. Barry later retitled his "Prince of Tides theme as "Moviola," and released it on his 1992 album of the same name. See more »
Goofs
When Tom is smoking and waiting for Dr. Lowenstein (after talking to his wife) a blond guy walks behind him, and after a change of camera the guy appears again. See more »
Quotes
Tom Wingo:
[narrating]
I don't know when my parents began their war against each other - but I do know the only prisoners they took were their children.
See more »
I'm afraid Streisand's overblown ego defeats this film. Taking what is essentially over-ripe Tennessee William's material, this may have had possibilities. But Streisand's character (and especially the director's fawning to her character (no surprise, since she directed it) makes this an ego journey of immense proportions. I don't know how Nolte survived this and how he crafted such a magnificent performance. I don't know how he managed to mutter the film's last lines ("Lowenstein, Lowenstein.") without breaking into laughter. (My guess...liquor and multiple takes.) Streisand as a performer needed someone to fetter her (she can give good performances when restrained.) Streisand the director needed to keep from falling in love with Lowenstein. (She did very well with the opening...except the titles and cast lists interfered with the story.) At the end, the only impression left is an unsubtle argument for Streisand's greatness. An argument that fails to persuade.
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I'm afraid Streisand's overblown ego defeats this film. Taking what is essentially over-ripe Tennessee William's material, this may have had possibilities. But Streisand's character (and especially the director's fawning to her character (no surprise, since she directed it) makes this an ego journey of immense proportions. I don't know how Nolte survived this and how he crafted such a magnificent performance. I don't know how he managed to mutter the film's last lines ("Lowenstein, Lowenstein.") without breaking into laughter. (My guess...liquor and multiple takes.) Streisand as a performer needed someone to fetter her (she can give good performances when restrained.) Streisand the director needed to keep from falling in love with Lowenstein. (She did very well with the opening...except the titles and cast lists interfered with the story.) At the end, the only impression left is an unsubtle argument for Streisand's greatness. An argument that fails to persuade.