DAILY DOSE OF DELIGHT #16 (From FUNNY GIRL) in MAD ABOUT MUSICALS: THE HISTORY OF THE HOLLYWOOD MUSICALS Posted June 30, 2018 1. I honestly think Streisand being theatrical and belty with the song would have diminished its beauty. "People," as stated previously, is an introspective, not an... extraspective? Streisand's words came from the heart, a deep dive into the contents of the soul that only music can achieve. She's not trying to do a Shakespearean monologue; she's singing about her outlook on life. Going all out vocally and movement-wise would have distracted the audience from the beauty of the song. It's great just the way it is. 2. This is more of a direction thing, but I noticed that when Streisand is starting out the number, she is far less serious with it (one kid falls down and seven mothers faint!). She also happens to be sharing the screen with Omar Sharif; she's just having a laugh with him. As the song shifts into a more flowing melody, and Fanny Brice is having an introspective moment, the focus is all on her - no Sharif, or even that much of the set. It's all Barbara as she delivers her musical soliloquy. Towards the end, when she sings of that "special someone," Sharif comes back into view, and the song turns into a bit of a love confession. 3. Besides the above direction choices, in the beginning we view Streisand over Sharif's shoulder. While he may be in the foreground, the viewpoint is set square on her. She also makes the wise choice of ascending a staircase, because film rules dictate that anyone who goes up stairs must be the center of attention (See: "Stairway to Paradise" from An American in Paris).