The Main Event

Opened June 22, 1979

Main Event poster

“Main Event” Credits

  • Executive Producers: Howard Rosenman & Renee Missel
  • Produced by: Jon Peters & Barbra Streisand
  • Directed by: Howard Zieff
  • Screenplay by: Gail Parent and Andrew Smith
  • Edited by: Edward Warschilka
  • Production Designer: Charles Rosen
  • Music Score: Michael Melvoin
  • Music Supervised by: Gary Le Mel
  • Cinematography by Mario Tosi
  • Costume Designer: Ruth Myers
  • Technical Consultants: Hedgemon Lewis, Jose Torres
  • Body Design by: Gilda
  • Fight Sequences Edited by: Freeman Davies
  • Ms. Streisand's Costumer: Shirlee Strahm
  • Songs
  • "The Main Event" by: Paul Jabara, Bruce Roberts
  • "Fight" written by: Paul Jabara, Bob Esty
  • Performed by: Barbra Streisand
  • Song Produced by: Michael Melvoin
  • "Angry Eyes": Loggins & Messina
  • "The Body Shop": Michalski & Ooserveen
  • Cast:

  • Barbra Streisand .... Hillary Kramer
  • Ryan O'Neal .... Eddie 'Kid Natural' Scanlon
  • Paul Sand .... David
  • Whitman Mayo .... Percy
  • Patti D'Arbanville .... Donna
  • Chu Chu Malave .... Luis
  • Richard Lawson .... Hector Mantilla
  • Rene Dijon .... Nose/Moss
  • Earl Boen .... Nose/Kline
  • Gilda Marx .... Excercise Teacher
  • Roslyn Kind .... Aerobics class dancer

“The Main Event” at

Order the DVD or Streisand box set by clicking the thumbnails below ...

Main Event DVD Streisand DVD Box Set

The Main Event was conceived as a star vehicle that would reunite Streisand and her What's Up Doc? costar, Ryan O'Neal. Streisand summed it up in her DVD commentary by saying, "It was my third picture for First Artists— I had a three picture deal. It was a funny script and Ryan [O'Neal] and I wanted to work together again."

Streisand Mengers and ONeal

(Right: Streisand, agent Sue Mengers, and O'Neal)

True, Streisand owed a third picture to First Artists, and in 1978 her agent, Sue Mengers, and boyfriend Jon Peters searched for a suitable project to work on.

Screenwriter Andrew Smith remembered: “I was partnered with Gail Parent at the time. [Producers Howard Rosenman and Reneee Missel] had a deal to do a movie about a woman who owned a man ... and they were thinking about a hockey player or something like that. I'd done a little boxing, so I said, well, why not a fighter?”

Parent, according to Smith, pitched the movie idea to Streisand on the Malibu beach (where they both lived) as “a love story in twelve rounds.”

Ryan O'Neal recalled, “I was offered the part years ago, when they had Goldie Hawn in mind to play the manager. But I turned it down. Then they suggested Diana Ross, but I said, ‘That’s ridiculous—who ever heard of a white fighter and a black trainer? Let Diana fight, and I’ll be the trainer!’”

The script was also titled “Knockout” and “The Woman And The Boxer” before “The Main Event” was settled on.

Deadline Hollywood's Nikki Finke wrote about Sue Mengers and securing the film for Streisand (a great Hollywood story!):

“My favorite story is how Mengers plotted to get The Main Event repairing Streisand and O’Neal. The key to the entire deal was that the movie had to be a First Artists production at Warner Bros. But MGM still owned the film. The obstacle was convincing MGM studio head Dick Shepard to give up the film. Mengers knew that the producer Howard Rosenman’s one weakness was his temper. Mengers also knew Shepard was prickly. She realized Rosenman and Shepard could be an explosive combination if the pot were stirred just right. ‘Did you know that Dick Shepard called you an amateur? Or that his name is really Shepardinsky?’ Mengers confided to the son of one of the founding families of Israel. ‘So why don’t you use these facts and get this piece of material for us so we can make a movie at Warner Bros?’

“The next day, Rosenman, hot under the collar, showed up at a meeting with Shepard and demanded the material back. When Shepard balked, Rosenman began calling the studio head Mr. Shepardinsky. By that afternoon, Shepard had returned the movie. Two days later there was an announcement that Warner Bros was releasing Streisand’s next picture. Four days later, Dick Shepard was fired from MGM. ‘Sue engineered the whole thing,’ Rosenman told me. ‘She knew my weakness was my anger and she knew I would use the anger to push him to the point where he would want to be rid of me. That’s how brilliant she was.’”

The Main Event started filming in October 1978 around Los Angeles. Since the script wasn't finished as filming began, Streisand constantly worked on it with writers Gail Parent and Andrew Smith. "We used to have lunches and work on the script," Barbra confessed.

“We would literally be writing up until midnight the night before we were going to shoot the scene,” Smith stated, “and we'd show up on the set with new pages and then they'd shoot it.”Streisand looks through camera

(Above: Streisand takes a look through the camera eyepiece on set.)

The script drew its conflict from the battle of the sexes. Gail Parent explained that "in order to have a good male-female comedy, they have to be equal."

Streisand elaborated, "What is exciting is not for one person to be stronger than the other, not for the man to be stronger than the woman, and not for the woman to be stronger than the man, but for two people to have met their match. And yet, they are equally as stubborn, as obstinate, as passionate, as crazy as the other."

Streisand in character for MAIN EVENT

Director Howard Zieff shot most of the film in Los Angeles. "I like shooting at real locations instead of studio sets," said Zieff. "Our first day's shooting took place outside the famed Main Street Gym in downtown Los Angeles," he recalled. "There's nothing like setting up the cameras at the actual site, especially when you realize that such boxers as Joe Louis worked out there."

Peters and Streisand

(Photo above) Jon Peters and Barbra on the set of “The Main Event.”

Next stop was another female-oriented gym. Gilda's Gym was an exercise salon in Beverly Hills. "Streisand is a regular at the gym during off-screen hours," Howard Zieff shared, "and here she is, before the cameras, performing sexy 'body tucks' as Paul Sand, who plays her ex-husband, struggles to tell her that she's been swindled of all her assets."

Below: Streisand talks to gym owner Gilda Marx.

Streisand speaks with exercise guru, Gilda, on set.

The Knockout Driving Academy, shaped like a boxing glove, was an interesting set to build. "We were supposed to shoot the scene in Long Beach," said Zieff. "But instead we constructed the driving school on a residential Los Angeles street—in the shape of a two-story high boxing glove!"

O'Neal and Streisand film a scene in cars

(Above: Director Zieff works with O'Neal and Streisand on the set in Long Beach, Calif. Below: Two of the “Kid Natural” costumes from the film which were auctioned by Barbra.)

two of the 'Kid Natural' costumes for the film

Other locations utilized by the film crew were a hot dog stand on the corner of La Cienega and Beverly Boulevards, and the mountains near Big Bear Lake (for the wintry training scenes).

ONeal and Streisand on location at Big Bear

"The major fight sequences were shot at the legendary Olympic Auditorium in Los Angeles," said Zieff. "It was a very real situation —with cheering and booing fight fans—perfect for the climactic encounters between Streisand and O'Neal, both inside and outside the ring."

Kaleidoscope Films crew

(Above) Barbra posed with the documentary crew from Kaleidoscope Films, who put together the featurette, "Getting In Shape For the Main Event".

Ryan O'Neal trained for the role of the boxer in The Main Event. "I had to box 150 rounds just to prepare for this movie."

Mario Tosi photographed The Main Event and had the job of making Streisand look her best in the film. During early tests and the first week of shooting, Tosi said Streisand “was trying to tell me where to put the lights and suggesting that we do things a certain way.” Tosi went on to tell authors Schaefer and Salvato (in their book Masters of Light: Conversations With Contemporary Cinematographers) that he was eventually able to “sneak in a few more elements of cinematography that I felt were necessary such as filters or a certain way of lighting. Gradually I was able to photograph her in different key [lighting]; she later told me she had never been photographed that way before.”

Tosi explained how Streisand originally wanted “these big, enormous, old fashioned scoop lights sitting on top of the lens. So we started with that but slowly I started bringing in my white cards and bouncing the light at an angle. She got used to it and, in fact, enjoyed it.”

Below: Tosi and Streisand pose on set.

Tosi and Streisand pose on set

“With a lady especially,” Tosi stated, “you cannot use hard lights. The quality of the bounce light enhances beauty.” Tosi also confessed that he employed diffusion nets on the camera lens when he photographed women. “I started using nets a little bit on Barbra Streisand on The Main Event.”

Ryan O'Neal told writer Guy Flatley, “Barbra was not overbearing during the shooting of the film, and she never slanted things her way. Sure, she oversees all the details of a production, but so does Stanley Kubrick. I worked harder with Barbra than with Kubrick on Barry Lyndon. She works 15 and 16 hours a day, checking to make sure we all do our jobs, but she does it in a feminine way. Yet that ruffles some men. I feel that people have been unfair to Barbra. She’s a delicately made creature, a great lady, and I would never have done The Main Event without her.”

Below: Streisand, Zieff, and O'Neal on location

Streisand, Zief, and O'Neal

Warner Brothers released The Main Event DVD in 2003. The featurette (Getting In Shape For the Main Event) was included on the DVD as a bonus feature. The featurette has lots of bloopers and behind-the-scenes shots, as well as a few cut scenes. caps from featurette

Roslyn Kind and Barbra

There was an early demo version of the “Main Event/Fight” song used in the original featurette. It sounds like the this version of the song was replaced with the single version that we all know and love for the DVD release.

Barbra's commentary on the DVD is scene-specific, meaning that when you select this option the DVD plays an edited version of scenes from the film with Barbra's audio commentary. It's short, but interesting. Barbra identifies her sister, Roslyn Kind, in the exercise class; she talks about getting ideas for the ending from the crew; also, a funny tidbit about a Donna Karan shirt she wore.

Scavullo Photos

Francesco Scavullo photographed the promotional shots for The Main Event. Streisand and O'Neal posed in various ways for the photographer.

(Below) Streisand and O'Neal kibitz in the dressing room for the Scavullo session.

Streisand and ONeal pose for Scavullo

Streisand also posed solo in her film costumes.

Scavullo promo shots

International Posters

Below: A German poster for the film. Very unique! Barbra's cartoon bubble translates to: “What, you don't want to?”

German poster

Below: A very graphic Czech Republic poster.

Czech poster

Below: A French lobby card. The Main Event translated as Tendre Combat!

French lobby card

Next Main Event page >>


[ top of page ]

Navigate to other Streisand films using the jump menu below: