Barbra Streisand is now 82 years old, a multimillionaire, happily married for two and a half decades and a living legend for much longer. She is one of the few people to have won an Oscar, a Grammy, a Tony and a Golden Globe, lives in a magnificent estate with its own shopping center in the basement, and Glenn Gould said of her that she is “probably the greatest singing actress since Maria Callas”, and Marlon Brando to her: “I’d like to fuck with you”.
But none of this means she’s reconciled. Spitting on this is not his thing. Too many people felt the need to tell her she would never make it. “I have more talent in my farts than you have in your whole body,” Walter Matthau once told her, Sydney Chaplin whispered insults in her ear on stage (the audience thought it was love talk) after her their relationship had ended. with him to save her marriage to Elliott Gould. Why would one say good things about the dead when they were disgusting?
Streisand has always been famous and known for not knowing how to overlook even the smallest detail. That’s how he thinks about it now in his published in German Autobiography “My name is Barbra”. It not only contains all the costumes she has worn, all her favorite desserts, all the improvements to the script, all the critical anthems and all the alpha males’ attempts to get close to her, but also every slight, every rudeness, every failure, the his size, and every stupid suggestion that he get a nose job.
Is it excessive? Certainly. Even a long-term psychoanalyst probably doesn’t have the time or energy to learn that much about a person. On the other hand: Streisand is the greatest living star of the waning era of larger-than-life stars, with 62 albums (not including compilations), 19 films, a highly successful career as a musical and film actress, singer, film producer – a woman who wonders why she doesn’t really belong to the canon of feminist superheroes.
She always has been: a woman with no will to bend, totally stubborn in wanting to have her own way and not accepting secondary roles when the main roles were destined for her. Someone like that has every right to set the record straight, even if it takes 1200 pages. She doesn’t seem obstinate, but she tells the story in a wonderful speaking tone.
The fact that he dreamed of pursuing a career where one could exchange such a childhood for a more glorious existence: very understandable. But even after reading her account of her life, it remains inexplicable why she has so much faith in herself from the start that she can do it, like a poor girl from Brooklyn who has only humility in the face of masters like Lee Strasberg , but never in the way that belittles women themselves to please men.
Broadway sensation
Even her first appearances as a nightclub singer, with whom she actually just wants to fill the time until theater commitments, indicate a confident challenge. She turns the standards she sings into little stories, gives them new meaning (“Happy Days Are Here Again,” for example, becomes a lament), sees herself as “an actress who sings,” and lets that happen to her, too . Don’t make excuses to anyone.
She became a Broadway star with the title role in “Funny Girl,” the musical biography of entertainer Fanny Brice. What she plays is the story of Barbra Streisand: a strange-looking Jewish girl who demonstrates with her talent that she can become beautiful in the eyes of the public. It was his first leading role on Broadway, his first film role, the role for which he won his first Oscar.
His rise to global stardom lasted only a few years. Almost everything he does after that is a success, even an album in which he sings Handel arias and Fauré songs. She doesn’t let pop and rock sideline her, having grown up with a completely different repertoire: she plays a rock singer in ”A Star is Born” and makes disco hits with Barry Gibb of the Bee Gees. She dates A-list celebrities like Canadian Prime Minister Pierre Trudeau (Justin’s father), and Prince Charles flirts with her. Did you ever sleep with Warren Beatty? “I really can’t remember. I think so. Probably once.”
And she earns a reputation as a plodding, sofa person – which is exactly what men say about a woman when she not only has a mind of her own, but also wants to assert it. Their indomitableness is the secret of their greatness. This is best seen in “Yentl,” a short story by Isaac Bashevis Singer, about a Jewish girl in Poland in the early 20th century who, after her father’s death, disguises herself as a boy to study Torah. school. Streisand really wants to turn it into a movie, both as director, even though she’s never made a movie, and as lead actress.
It takes more than a decade for her to finally reach him. In her autobiography she tells in more than one hundred pages of the obstacles she had to overcome: film studios who told her that it was too Jewish a story and that she had no experience as a director, a leading actor who complained because he had imagined that he would be able to land with her, despite the time. When “Yentl” hit theaters in 1983, it was a triumph and she received a Golden Globe for best director.
It was something like the artistic highlight of his career. After that she stops considering herself an outsider. The films he is making now: quite ok, impeccably acted, but too many pastel colours, too pompous costumes, too formulaic, too often the “ugly duckling” motif. His albums: Smoothly produced, calculated adult pop, including duets with Michael Bublé and Andrea Bocelli. It’s as if he decided to enjoy life instead of continuing to fight.
A pure idyll freed from self-doubt. It seems like one of his infamous improvements to the script, a completely different ending from the cliché: finally a diva who ages happily!
Barbra Streisand: “My name is Barbra.” Translated from English by Raimund Varga. Luftschacht Verlag, 1200 pages, 46 euros.
How has Barbra Streisand influenced the representation of women in the entertainment industry?
Interview: The Enduring Legacy of Barbra Streisand
Time.news Editor (TNE): Today, we have the pleasure of speaking with Dr. Linda Fairchild, a cultural historian and author specializing in the lives of extraordinary women in the entertainment industry. We’ll be discussing none other than the living legend, Barbra Streisand. Dr. Fairchild, thank you for joining us!
Dr. Linda Fairchild (DLF): Thank you for having me! It’s a delight to dive deep into the life of such an iconic figure.
TNE: Barbra Streisand recently celebrated her 82nd birthday. In your view, why does she continue to hold such a significant place in the world of entertainment?
DLF: Barbra Streisand epitomizes the concept of the larger-than-life star. She’s not just a talented singer and actress; she’s a symbol of artistic resilience. Her numerous accolades—an Oscar, a Grammy, a Tony, and a Golden Globe—speak volumes about her versatility. But it’s her unwavering determination to carve her own path that captivates audiences.
TNE: You mentioned resilience. Streisand has faced significant criticism and doubt throughout her career, famously highlighted by her anecdotes of harsh remarks from peers. How has that shaped her legacy?
DLF: Those experiences only intensified her drive. When a fellow actor like Walter Matthau tells her she has “more talent in her farts,” it could easily crush a lesser artist. But Barbra used those moments as fuel. Her autobiography, “My Name is Barbra,” reflects how she refuses to overlook any slight or rude comment—highlighting not just a story of success, but one of constant assertion of her identity as an artist. This depth of authenticity has drawn her numerous fans who appreciate her unfiltered honesty.
TNE: In her autobiography, she includes everything from her costumes to critical responses to her roles. Do you think this tendency to detail every experience is excessive, or does it serve a purpose?
DLF: I think it beautifully encapsulates her journey. While some might see it as excessive, it’s a way for Barbra to reclaim her narrative. In a world that often sidelines women’s stories, she meticulously presents hers—every joy, every insult. It provides a deeper connection for readers, allowing them to witness the complexity behind her legend.
TNE: She has often expressed feelings of not belonging to the canon of feminist superheroes, despite her immense contributions. Why do you think she feels this way?
DLF: Barbra’s sense of not fully belonging can stem from her unique journey. Perhaps it’s her stark refusal to conform to traditional molds of femininity and acceptance. She’s a trailblazer—one who challenges stereotypes rather than fitting into them. This self-awareness, even within her own success, reflects a profound understanding of the ongoing struggles women face in the industry.
TNE: Her career took off with “Funny Girl,” where she portrayed a character very similar to her own life story. Do you think this role set the stage for her later endeavors as both an actress and a director?
DLF: Absolutely! “Funny Girl” was pivotal—not just as a breakthrough performance, but as a statement. She presented her authenticity on stage, turning her perceived flaws into strengths. Later, her desire to direct “Yentl” showcases her ambition to not only take center stage but also control the narrative behind the camera. This duality is a hallmark of her career: thriving both in front of and behind the lens.
TNE: Streisand is known for her multifaceted roles in the industry, yet there’s a perception of her being self-righteous at times. How do you think that perception affects her legacy?
DLF: The label of ‘self-righteous’ often emerges when a woman openly claims her space and advocates for her vision. Society has historically punished outspoken women by tagging them with negative descriptors. Barbra’s steadfast refusal to conform, her desire to create on her terms, only adds to her complexity as a figure in Hollywood. This makes her legacy richer, as it embodies not just talent but also the struggle for artistic integrity.
TNE: As we look towards the future, what can the next generation of artists learn from Barbra Streisand?
DLF: I hope they learn the importance of authenticity and resilience. Barbra teaches us to own our narratives, to use our voices boldly, and to challenge the status quo. She’s more than just a star; she’s an enduring symbol that greatness comes with hardships, self-awareness, and an unyielding spirit. Emulate her courage, and don’t be afraid to take the lead—whether on stage or in life.
TNE: Thank you, Dr. Fairchild. Your insights into Barbra Streisand’s legacy are invaluable, and I’m sure they will inspire readers as much as her story has inspired countless artists across generations.
DLF: Thank you for having me! It’s been a pleasure discussing a true icon of our time.
