Barbra Streisand

Funny Girl reproduction Approx. Size: 11 x 17 Inches - 28cm x 44cm Style A mini poster print Pop Culture Graphics, Inc is Amazon's largest source for movie and TV show memorabilia, posters and more: Offering tens of thousands of items to choose from. We also offer a full selection of framed posters.. Customer satisfaction is always guaranteed when you buy from Pop Culture Graphics,Inc

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The Way We Were reproduction poster print Pop Culture Graphics, Inc is Amazon's largest source for movie and TV show memorabilia, poster and more: Offering tens of thousands of items to choose from. We also offer a full selection of framed posters.. Customer satisfaction is always guaranteed when you buy from Pop Culture Graphics,Inc

In turn-of-the-century Eastern Europe where women are denied higher education, Yentl disguises herself as a young man in order to gain entrance to an

Barbra Streisand made her directorial debut with this 1983 adaptation of the Isaac Bashevis Singer story about a young Eastern European woman (Streisand) who disguises herself as a male at the turn of the century in order to get an education. Except for an excessive musical score with too many songs and Streisand's tiresome tendency to play characters who suppress their beauty, the film is crisp and engaging, and the gender-bending love story complications are fun, if gimmicky. Streisand gives a smart, vulnerable performance and gets fresh work from costars Mandy Patinkin and Amy Irving. --Tom Keogh

Barbra Streisand live at the Village Vanguard, New York's legendary jazz club. In September 2009, 48 years after her last club performance, a select group of fans and friends had the rare opportunity to experience Barbra in this ultimate up-close-and-personal setting. Accompanied only by piano, bass, guitar and drums, this is the artist at her most intimate. The deluxe version includes both a CD and DVD of the unforgettable live performance.

Even in the face of epochal success, it's tempting to ponder what Barbra Streisand might have accomplished had she not spread herself across so many diverse entertainment media; so much ambition, so little time. This collection of 19 Streisand duets chronicles collaborations with Frank Sinatra and Judy Garland at one end of the scale and Don Johnson at the other. It finds the singer dabbling--if, as her bluesy miscue with Ray Charles on "Crying Time" argues, not necessarily triumphing--in styles she largely eschewed elsewhere in her career. Still, her unlikely collaborations with Barry Gibb ("Guilty," "What Kind of Fool") and Donna Summer ("No More Tears (Enough Is Enough") during the disco era scored her some of the biggest successes of her career, ample proof that with the right chemistry, Streisand could be as powerful a pop music chameleon as she was a diva. New recordings with veteran Barry Manilow (the warm, low-key "I Won't Be the One to Let You Go") and Josh Groban (David Foster's overwrought "All I Know of Love") supplement recordings that stretch from the '60s kitsch-a-go-go of Harold Arlen's "Ding-Dong! The Witch Is Dead" across five decades of Streisand's unparalleled career. --Jerry McCulley

Barbra Streisand made her directorial debut with this 1983 adaptation of the Isaac Bashevis Singer story about a young Eastern European woman (Streisand) who disguises herself as a male at the turn of the century in order to get an education. Except for an excessive musical score with too many songs and Streisand's tiresome tendency to play characters who suppress their beauty, the film is crisp and engaging, and the gender-bending love story complications are fun, if gimmicky. Streisand gives a smart, vulnerable performance and gets fresh work from costars Mandy Patinkin and Amy Irving. --Tom Keogh

When a psychiatrist (Yves Montand) begins talking to a young woman (Barbra Streisand), he realizes that she can recall a past life while under hypnosis. Although this brash New Yorker is thoroughly modern and somewhat abrasive, he becomes fascinated by the 19th-century English woman who speaks through her. This oddball musical flicks back and forth between period flashbacks and modern times, which may be one reason it never builds up much power in either realm. On a Clear Day You Can See Forever failed at the box office in 1970, one of a number of glossy musicals that could not find an audience in the post-Easy Rider movie world. In fact, one of the film's out-of-place costars is Jack Nicholson, a symbol of the new movies that were making old-fashioned musicals a thing of the past. It didn't help that Paramount severely cut On a Clear Day before releasing it. For all that, the picture is enjoyable and--at the end--really quite touching. Director Vincente Minnelli (Meet Me in St. Louis), then near the close of a fabulous career, maintains his usual careful eye for color and design, and keeps Streisand relatively restrained--for Streisand, that is. --Robert Horton

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This film actually began with the idea of remaking A Star Is Born with the then-hot couple James Taylor and Carly Simon. Eventually, it evolved into this vanity production for Barbra Streisand, with Kris Kristofferson as the designated stud muffin. The story remains the same: A superstar on the decline meets a young singer on the way up. They marry as their career trajectories intersect, and his eventual demise is meant as a sacrifice to further boost her career by ridding her of the burden of him. Kristofferson's rock & roll numbers are decidedly lousy--Hollywood's idea of rock music--and Streisand looks good and always sounds fine (she won an Oscar for cowriting the song "Evergreen"). But you can feel her heavy hand guiding every shot; she seems to serve as puppet master for director Frank Pierson, framing every image of herself for maximum glow. The ultimate date flick (if the guy can sit still through it). --Marshall Fine

A free-spirited woman picks up a befuddled musicologist who has a red plaid traveling bag like hers. Two other hotel guests also own identical bags, o

Director Peter Bogdanovich (The Last Picture Show) tipped his hat to the classic screwball comedies of the 1930s, and especially the most glorious of them all, Howard Hawks' Bringing Up Baby. Barbra Streisand plays a charming flake who distracts a self-absorbed musicologist (Ryan O'Neal). He's engaged to be married, but soon Streisand's character has him chasing after stolen jewelry and getting into one madcap fix after another. Bogdanovich, who is also a film critic, understands the engine of the screwball genre, and his loving revival of the form brings a smile, though it is not quite consistently inspired or funny. There are plenty of great moments, however, including a slap at O'Neal's own star-making vehicle, Love Story. --Tom Keogh

They just don't make musicals like this any more. There are some who would be grateful for that--the plot is but a flimsy excuse to string together song and dance numbers. Some of us, however, love big, splashy, overdone musical scenes, of which there are many. Glittering stage numbers showcase a commanding Barbra Streisand as Dolly Levy, a New York matchmaker who can find a mate for anyone. Anyone but herself, that is. Determined to marry wealthy Walter Matthau, she lures him out of Yonkers and sets about wooing him. Don't worry about the lack of a solid story or Gene Kelly's pedestrian direction. Watch instead for the musical numbers and the lavish costumes. Listen to Jerry Herman's score, and dance around the living room when a sequined Streisand arrives in a club as Louis Armstrong strikes up the title tune for her benefit. (Just pull the shades first.) Based on Thornton Wilder's play The Matchmaker, Hello, Dolly! won Academy Awards for best sound, art direction, and musical score. --Rochelle O'Gorman

A matchmaker sets her personal sights on a tight-fisted merchant. Her plans take her through lavish sets and songs, set in the era of the turn of the

Robert Redford and Barbra Streisand star as sociopolitical opposites--he's a WASP novelist, she's an activist--who nevertheless strike up a romance in the 1930s, and have a rocky relationship through the next two decades that reflects much of America's history. An essential part of the movie--the Hollywood blacklist and the McCarthy witch- hunt years--comes across as a botch, due to some excessive cutting before the film was released. But except for that hole in the heart of the story, director Sydney Pollack (Out of Africa) has crafted a strong and moving drama about two interesting characters. Redford (always good with Pollack) is at the height of his powers, and Streisand is persuasive. --Tom Keogh

Sensitive and moving tale of the romance of two individuals whose political and religious ideologies are exact opposites. Streisand plays a Jewish stu

This great handy case is perfect for holding credit cards, business cards, gym membership cards, cash, cigarettes -- all those small items that are easy to lose track of. IT'S NOT JUST FOR SMOKERS. It's made of durable stainless steel, and it measures 4" x 2.75" x 1/2". It has a strong latch and a spring-opening mechanism. The cigarette or card-holding bar is held in place with a spring.The image is kept vivid by a UV-resistant, scratch-proof glossy polymer.The polished steel lid is a perfect compact mirror. The case comes bubble-wrapped with a blank gift card. Gift-wrapping and a personalized gift-card free upon request!

This is a Museum Quality Fine Art Print

This is a Museum Quality Fine Art Print