
Acting
Barbara Joan 'Barbra' Streisand (born April 24, 1942) is an American singer, actress and director. With a career spanning over six decades, she has achieved success in multiple fields of entertainment, and is among the few performers awarded an Emmy, Grammy, Oscar, and Tony (EGOT). With sales exceeding 150 million records worldwide, she is one of the best-selling recording artists of all time. According to the Recording Industry Association of America (RIAA), she is the second highest-certified female artist in the United States, with 68.5 million certified album units. Billboard ranked her as the greatest female artist on the Billboard 200 chart and the top Adult Contemporary female artist of all time. Her accolades include two Academy Awards, 10 Grammy Awards including the Grammy Lifetime Achievement Award and the Grammy Legend Award, five Emmy Awards, four Peabody Awards, the Presidential Medal of Freedom, and nine Golden Globes. She began her career by performing in nightclubs and Broadway theaters in the early 1960s. Following her guest appearances on various television shows, she signed to Columbia Records, insisting that she retain full artistic control, and accepting lower pay in exchange, an arrangement that continued throughout her career, and released her debut The Barbra Streisand Album (1963), which won the Grammy Award for Album of the Year. Throughout her recording career, she has topped the US Billboard 200 chart with 11 albums—a record for a woman—including People (1964), The Way We Were (1974), Guilty (1980), and The Broadway Album (1985). She also achieved five number-one singles on the US Billboard Hot 100—"The Way We Were", "Evergreen", "You Don't Bring Me Flowers", "No More Tears (Enough Is Enough)", and "Woman in Love". Following her established recording success in the 1960s, she ventured into film by the end of that decade. She starred in the critically acclaimed Funny Girl (1968), for which she won the Academy Award for Best Actress. Additional fame followed with films including the extravagant musical Hello, Dolly! (1969), the screwball comedy What's Up, Doc? (1972), and the romantic drama The Way We Were (1973). She won a second Academy Award for writing the love theme from A Star Is Born (1976), the first woman to be honored as a composer. With the release of Yentl (1983), she became the first woman to write, produce, direct, and star in a major studio film. The film won an Oscar for Best Score and a Golden Globe for Best Motion Picture Musical. She also received the Golden Globe Award for Best Director, becoming the first (and for 37 years, the only) woman to win that award. She later directed The Prince of Tides (1991) and The Mirror Has Two Faces (1996).

Hard-to-crack ex-CIA man Jack Byrnes and his wife Dina head for the warmer climes of Florida to meet the parents of their son-in-law-to-be, Greg Focker. Unlike their happily matched offspring, the future in-laws find themselves in a situation of opposites that definitely do not attract.

Opposites attract when, during their college days, Katie Morosky, a politically active Jew, meets Hubbell Gardiner, a feckless WASP. Years later, in the wake of World War II, they meet once again and, despite their obvious differences, attempt to make their love for each other work.

In a time when girls were forbidden to study religious scriptures, a Jewish girl masquerades as a boy to enter religious training and unexpectedly finds love along the way.

A troubled Southern man talks to his suicidal sister's psychiatrist about their family history and falls in love with her (and New York City) in the process.

A front-row seat to two historic, recocrd-breaking performances: Live in Concert 2006 and The Concert Live At The Arrowhead Pond 1994.

The accidental mix-up of four identical plaid overnight bags leads to a series of increasingly wild and wacky situations.

Henrietta Robbins borrows money from a loan shark to finance her husband's investment in the stock market. However, when their stock plummets, she scrambles to find a way to pay the money back.

Originally broadcast as an exclusive special on HBO, Barbra Streisand launched her September 6, 1986 concert One Voice, in part, as a protest against Reagan-era nuclear arms proliferation in the late Cold War; the event marked the diva's first official live performance since 1972.

On the occasion of the 40th birthday of the almighty filmmaker Steven Allan Spielberg, inquisitive reporter Clip Maxwell attempts to uncover the truth behind his undisputed rise to the throne of the Amblin Empire.

A high-class call girl accused of murder fights for the right to stand trial rather than be declared mentally incompetent.

In a time when girls were forbidden to study religious scriptures, a Jewish girl masquerades as a boy to enter religious training and unexpectedly finds love along the way.

In a time when girls were forbidden to study religious scriptures, a Jewish girl masquerades as a boy to enter religious training and unexpectedly finds love along the way.

In a time when girls were forbidden to study religious scriptures, a Jewish girl masquerades as a boy to enter religious training and unexpectedly finds love along the way.

A troubled Southern man talks to his suicidal sister's psychiatrist about their family history and falls in love with her (and New York City) in the process.

A troubled Southern man talks to his suicidal sister's psychiatrist about their family history and falls in love with her (and New York City) in the process.

Rose Morgan, who still lives with her mother, is a professor of Romantic Literature who desperately longs for passion in her life. Gregory Larkin, a mathematics professor, has been burned by passionate relationships and longs for a sexless union based on friendship and respect.

An inventor and his mom hit the road together so he can sell his latest invention.

Timeless: Live in Concert, recorded at her Las Vegas show on New Year's Eve 1999, takes as its subject the star herself. It opens with a dramatization of her first, amateur recording session, with young Lauren Frost playing a part described in the credits as "Young Girl," though Streisand later refers to her as "mini-me." Frost doesn't get too far before being joined by Streisand herself on a stirring version of "Something's Coming" from West Side Story. The rest of "Act One" traces Streisand's career from her club days to her movie performances. "Act Two" has less of a narrative structure, though it is equally autobiographical, with Streisand displaying and commenting on videos of herself performing with other stars and building up to the stroke of midnight with a combination of old, recent, and new specially written songs. At 57 that night, Streisand remains in good voice.

Timeless: Live in Concert, recorded at her Las Vegas show on New Year's Eve 1999, takes as its subject the star herself. It opens with a dramatization of her first, amateur recording session, with young Lauren Frost playing a part described in the credits as "Young Girl," though Streisand later refers to her as "mini-me." Frost doesn't get too far before being joined by Streisand herself on a stirring version of "Something's Coming" from West Side Story. The rest of "Act One" traces Streisand's career from her club days to her movie performances. "Act Two" has less of a narrative structure, though it is equally autobiographical, with Streisand displaying and commenting on videos of herself performing with other stars and building up to the stroke of midnight with a combination of old, recent, and new specially written songs. At 57 that night, Streisand remains in good voice.

Timeless: Live in Concert, recorded at her Las Vegas show on New Year's Eve 1999, takes as its subject the star herself. It opens with a dramatization of her first, amateur recording session, with young Lauren Frost playing a part described in the credits as "Young Girl," though Streisand later refers to her as "mini-me." Frost doesn't get too far before being joined by Streisand herself on a stirring version of "Something's Coming" from West Side Story. The rest of "Act One" traces Streisand's career from her club days to her movie performances. "Act Two" has less of a narrative structure, though it is equally autobiographical, with Streisand displaying and commenting on videos of herself performing with other stars and building up to the stroke of midnight with a combination of old, recent, and new specially written songs. At 57 that night, Streisand remains in good voice.









