Digital Trends talks with director Daniel Raim about how FiddlerontheRoof was made in the early 1970s.
In 1971, the film version of Fiddler on the Roof was released to widespread acclaim and box office success, becoming the top-grossing movie that year. In the 50 years since its premiere, the film is regularly screened yet not discussed as some of its cinematic brethren like The French Connection or A Clockwork Orange, both of which were released the same year as Fiddler.
About a quarter of that documentary explores Bob Boyle and Norman Jewison’s long process of researching and finding the locations in Eastern Europe, a fitting location in Eastern Europe to film Fiddler on the Roof. So my fascination with Fiddler started back in 2000 when I made that documentary and met Norman Jewison. I was curious to learn more about his process.
Yes. It was easy because I already had a relationship with him. We kept in touch after The Man on Lincoln’s Nose. What I learned in making this documentary is that everyone I interviewed about making that movie has a special place in their heart, including John Williams, for him and the film. For John to carve out his time to just talk about Fiddler on the Roof, I learned quickly just how special that movie was to him.
What I’m curious about is the artist, not just the work. The work itself is a pretext, a way to shine a light on these artists. And then there’s the other side of it, which is the documentary as a portrait of Norman. At the start of lockdown in 2020, I sat down and focused on editing all the great footage I had of him. It was a real challenge for me and my team to peel the onion and find out what was inside Norman.
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