Not since "Cyrano de Bergerac" has a nose been so central to a film's conception. José Ferrer's was fake, of course, in the 1950 classic, while Barbra Streisand's was all natural in "Funny Girl" 18 years later. However, both noses operate the same way for the two characters: as their totem, their calling card, the object of their self-doubt and the source of greatest vanity. Both Cyrano and Fanny Brice make their outsized proboscises the nexus of their self-identity.
Funny Girl (1968)
Funny Girl (1968)
Funny Girl (1968)
Not since "Cyrano de Bergerac" has a nose been so central to a film's conception. José Ferrer's was fake, of course, in the 1950 classic, while Barbra Streisand's was all natural in "Funny Girl" 18 years later. However, both noses operate the same way for the two characters: as their totem, their calling card, the object of their self-doubt and the source of greatest vanity. Both Cyrano and Fanny Brice make their outsized proboscises the nexus of their self-identity.