The Movie Album

1	Smile From Modern Times 4:16
2	Moon River From Breakfast at Tiffany's 3:41
3	I'm in the Mood for Love From Every Night At Eight 4:00
4	Wild Is the Wind From Wild Is the Wind 4:11
5	Emily from The Americanization of Emily 3:46
6	More in Love With You From "The Four Horsemen of the Apocalypse" 4:43
7	How Do You Keep the Music Playing? From Best Friends 5:09
8	But Beautiful From Road to Rio 5:35
9	Calling You from Bagdad Café 4:58
10	The Second Time Around From High Time 4:33
11	Goodbye for Now from Reds 2:47
12	You're Gonna Hear from Me from Inside Daisy Clover 4:06

Barnes & Noble

In searching for prime material for an album devoted to songs originally featured in Hollywood films, Barbra Streisand didn’t have to look far. The Movie Album touches on uncontestable gems that stretch back to the 1930s (“I’m In the Mood for Love,” “Smile"), the 1950s and '60s ("Wild is the Wind," “Emily,” “Moon River”), and beyond (“How Do You Keep the Music Playing,” “Calling You” from Baghdad Café ).There’s even a recently composed song -- "More in Love With You"-- that brings together the theme music of the 1962 film, The Four Horsemen of the Apocalypse, with original lyrics by Streisand favorites Alan and Marilyn Bergman. Streisand -- who, with her incomparable vocal talents, can make even a lackluster song shine -- simply goes to town with this embarrassment of riches, skillfully focusing attention on both the quality of the songs and her own still-lustrous pipes. This jewel of an album deserves pride of place alongside Streisand’s Broadway tributes --themselves highpoints in her still vital career. [The Bonus DVD version features alternate Streisand performances of "I'm In the Mood For Love" and "Wild Is the Wind.] William Pearl

All Music Guide

The idea of Barbra Streisand making an album of movie songs is a no-brainer; as annotators Jay Landers and Richard Jay-Alexander point out, she has already recorded over 50 songs written for motion pictures on her 59 previous albums. In fact, the only real challenge may be a marketing one for Columbia Records, since potential customers simply may assume this is a compilation of some of her previous performances. It is not. Rather, it is a newly recorded collection of songs chosen and arranged in Streisand's inimitable style. In keeping with the movie theme, she has thought big, using a 75-piece orchestra of the kind usually only found on a studio back-lot for a soundtrack. But all that firepower is used for support, not for its own sake. The key word here is "lush," not lavish. Streisand's immediately identifiable voice floats over the music, never challenged by it, so she is able to achieve her usual close-up, detailed performance, alternately intimate and expansive. At 61, she retains remarkable purity and range in her voice, though she is less interested in demanding effects. This is a smooth, conversational vocal album. Streisand's song collection is characteristic of her. As usual, she isn't much interested in the Great American Songbook of the interwar period. Only two songs, 1935's "I'm in the Mood for Love" and 1936's "Smile," date from before her birth, with most songs coming from the '50s and '60s. And, as usual, the songs as written sometimes don't satisfy her, so she has prevailed on the composers to change them. Johnny Mandel willingly wrote a new verse to her specifications for "Emily," and Bob Telson did the same for the obscure "Calling You" from Bagdad Café. Streisand's age is reflected in her choices, too. She frequently goes for lyrics about mature love such as "How Do You Keep the Music Playing?" and "The Second Time Around," and she sounds more convincing singing them, giving the words more emphasis than she does, for instance, when she just tosses off the line "You're life itself!" in "Wild Is the Wind." As she herself notes, "You're Gonna Hear from Me," which closes the album, is reminiscent of the assertive songs she sang in her youth, such as "Don't Rain on My Parade," and that makes it all the more notable that she sings it in such a mellow way, as a fond memory rather than an upstart declaration. It makes a fitting closer. If The Movie Album is not the sort of revelation that Streisand's 1985 masterpiece, The Broadway Album, was, it nevertheless gives the listener some superior new takes on standards the singer has not addressed previously and uncovers a gem or two that had been overlooked till now. William Ruhlmann