Barbra advances through each song like an eagle soaring skyward. Each rendition is unique and stands alone as a dramatic performance of emotion. Listening to Barbra render these time-honored movie classics, one need not be familiar with the films to appreciate the essence of each story. That is the unique gift Barbra brings to the dozen selections on "The Movie Album."

The album's first and last tracks are "Smile" (from Charlie Chaplin's 1936 classic, "Modern Times") and "You're Gonna Hear From Me" (from 1965's "Inside Daisy Clover").  Each serves as a dramatic bookend for what lies in between. As an homage to her own movie career, subtle (and not-so-subtle) melodies from Barbra's film "Funny Girl" are heard in the codas of both arrangements.

"Smile" is the album's overture. The sentiment with which Barbra sings "Smile" is riveting and without a doubt the most poignant track on the album. Barbra takes the listener along on an emotional journey. Bittersweet strings envelop the vocal's optimistic sadness in creating an old fashioned movie house tear jerker.

"You're Gonna Hear From Me" is the album's final song and exit-music. It begins quietly and seductively but quickly establishes a thrilling crescendo familiar in many of Barbra's previous vocal performances. Fittingly, Barbra chose this exciting number with which to end the album. It harkens back to her days as the quintessential Funny Girl of musical performance. By the end of the song, Barbra is belting the final stanzas in true Streisand form. It's shades of "I'm The Greatest Star" and "Don't Rain on My Parade" all over again. "You're Gonna Hear From Me" will be the next song Barbra can add to her scrapbook of signature anthem performances.

The balance of the album is just as exciting. Barbra is putting it together, again, with Stephen Sondheim in  "Goodbye For Now" (from the 1981 film "Reds"). She masterfully weaves a musical tapestry out of Sondheim's iambic lyrics.

Only Barbra would dare challenge another brilliant artist's well known standard. In "The Second Time Around" (from 1960's "High Time"), Barbra gives a revered Sinatra classic her own interpretation and delivers a successful reinvention in the process.

"Emily," "Wild Is The Wind," "More In Love With You" and "How Do You Keep The Music Playing" are each haunting melodies crafted by Barbra out of pure vocal satin.

"But Beautiful" (from the 1947 Hope-Crosby film, "Road To Rio") is Barbra's honorific ode to the styling of Billie Holiday. As a cadre of sweet trumpets underscore the vocals, Barbra delivers unbridled passion to a spot-on musical arrangement.

When Barbra sings "Calling You" as a mystical folk song, she conjures up musical pictures. Her rendition is a not only impressively soulful, but the drama in her performance is vivid. We're hearing a tale told to music, and we understand.

The triumvirate of "Moon River," "I'm In The Mood For Love," together with "Smile" is Barbra's skillful hat-trick. These are classics that have been around for years. But it is Barbra's newest interpretation of these venerable chestnuts that differentiates them from all the rest. Listening to Barbra's "Moon River," one visualizes Audrey Hepburn and a romanticized New York. Never has the theme from "Breakfast at Tiffany's" been more musically enticing than with Barbra's impassioned delivery. It's a full course feast for the ears.