Carol Kane never really found her niche in the movies--only when she switched to sitcoms did her googly-eyed craziness really come off. But in 1975, before we'd gotten used to her comic bravado, she turned in a lovely, Oscar-nominated portrayal of an immigrant Russian Jew in New York that still stuns, even today. Quiet emotions permeate this careful, low-budget, somewhat slight film set on New York's East Side in 1896. Writer-director Joan Micklin Silver has a genuinely sly eye for detail that results in some amusing moments, but for the most part it's a human drama in a thoughtful key which builds momentum as it goes along. **1/2 from ****
28 Reviews
***Hester St." Pure Shmaltz
edwagreen18 January 2006
Warning: Spoilers
It was said that when Carol Kane was notified that she had been nominated for best actress, she had just returned home from the Unemployment Division.
"Hester Street" is the story of impoverished Jews at the end of the 19th century in New York City.
A low budget film, it recounts the story of a woman arriving from Europe with her young son to her husband, who has been in the U.S. for a while.
Her husband has become a real "American" while she will struggle to assimilate. Fact is, she just can't do that.
To make ends meet, a border lives in the house which was a very common practice then. (Kane winds up with him by the end of the film.)
Doris Roberts, in a brief appearance, is funny with her line that 2 women with their rear ends can't be in the same kitchen at one time.
As the couple, Carol Kane and the late Steven Keats are perfect examples of a Jewish couple, whose relationship was obviously arranged in Europe. They really have nothing in common other than their Jewish faith, and this becomes quite evident once the Kane character joins her husband in America.
By film's ending, the couple are divorcing by getting the Jewish "get." (divorce) By Jewish law, the husband can marry immediately but the wife will have to wait for 90 days before she can do this.
Kane's acting is excellent, especially with the effective use of Yiddish which she heard quite frequently in her Cleveland home.
The set decorations are excellent. You feel that you're in the typical Jewish home of that period.
"Hester Street" is the story of impoverished Jews at the end of the 19th century in New York City.
A low budget film, it recounts the story of a woman arriving from Europe with her young son to her husband, who has been in the U.S. for a while.
Her husband has become a real "American" while she will struggle to assimilate. Fact is, she just can't do that.
To make ends meet, a border lives in the house which was a very common practice then. (Kane winds up with him by the end of the film.)
Doris Roberts, in a brief appearance, is funny with her line that 2 women with their rear ends can't be in the same kitchen at one time.
As the couple, Carol Kane and the late Steven Keats are perfect examples of a Jewish couple, whose relationship was obviously arranged in Europe. They really have nothing in common other than their Jewish faith, and this becomes quite evident once the Kane character joins her husband in America.
By film's ending, the couple are divorcing by getting the Jewish "get." (divorce) By Jewish law, the husband can marry immediately but the wife will have to wait for 90 days before she can do this.
Kane's acting is excellent, especially with the effective use of Yiddish which she heard quite frequently in her Cleveland home.
The set decorations are excellent. You feel that you're in the typical Jewish home of that period.
Nice and quaint.
Hermit C-27 July 1999
With its black-and-white cinematography, soundtrack music, and Jewish characters, this film at times reminded me superficially of a Woody Allen movie. But writer/director Joan Micklin Silver made an original film here. If you like a movie that immerses you in a less-familiar culture you might give 'Hester Street' a try.
Steven Keats plays a Russian emigre who prides himself on the way he's molded himself into a real Yankee in the USA, though the world he lives in, New York's Lower East Side in the late 19th century, is almost exclusively populated by other Jewish immigrants. When his wife (Carol Kane) finally arrives in the New World, however, she has a lot of assimilating to do. This causes the tension which drives the movie along, though it maintains a fairly light atmosphere most of the time.
Keats and Kane do fine jobs in their roles; in fact, Kane was nominated for an Academy Award. Dorrie Kavanaugh and Doris Roberts are among the good supporting cast.
Steven Keats plays a Russian emigre who prides himself on the way he's molded himself into a real Yankee in the USA, though the world he lives in, New York's Lower East Side in the late 19th century, is almost exclusively populated by other Jewish immigrants. When his wife (Carol Kane) finally arrives in the New World, however, she has a lot of assimilating to do. This causes the tension which drives the movie along, though it maintains a fairly light atmosphere most of the time.
Keats and Kane do fine jobs in their roles; in fact, Kane was nominated for an Academy Award. Dorrie Kavanaugh and Doris Roberts are among the good supporting cast.
Carol Kane's Absolute Best
mercuryix28 June 2001
If you're a Carol Kane fan, and haven't seen this film, run out and rent it now (if you can find it). But don't expect the usual eccentric comic character Ms. Kane usually plays.
Filmed in black & white, this is a very atmospheric period piece about a traditional Jewish wife in turn-of-the-century America, whose husband is dissatisfied with her and wants a more modern woman. Carol Kane plays a quiet, thoughtful wife who somehow commands the screen just by sitting there and watching the selfish, thoughtless people rant and rave about her. She is a truer definition of a hero than any of the action heroes that have come out of Hollywood in the past 30 years; thoughtful, indefatiguable and irrepressible, despite the fact that she is firmly part of the traditional Jewish community where women subjugate themselves to men.
This is not an action piece; it's a character and period piece about surviving with dignity despite poverty, repression and injustice. This is the best performance by Carol Kane I have seen, not because she can't do better, but because she hasn't been given another role this thoughtful and dynamic. If she is given more roles like this in the future, she will again prove she is one of the best actresses in the country. A great film and a great performance.
Eight out of ten stars.
Filmed in black & white, this is a very atmospheric period piece about a traditional Jewish wife in turn-of-the-century America, whose husband is dissatisfied with her and wants a more modern woman. Carol Kane plays a quiet, thoughtful wife who somehow commands the screen just by sitting there and watching the selfish, thoughtless people rant and rave about her. She is a truer definition of a hero than any of the action heroes that have come out of Hollywood in the past 30 years; thoughtful, indefatiguable and irrepressible, despite the fact that she is firmly part of the traditional Jewish community where women subjugate themselves to men.
This is not an action piece; it's a character and period piece about surviving with dignity despite poverty, repression and injustice. This is the best performance by Carol Kane I have seen, not because she can't do better, but because she hasn't been given another role this thoughtful and dynamic. If she is given more roles like this in the future, she will again prove she is one of the best actresses in the country. A great film and a great performance.
Eight out of ten stars.
Life among poor Jewish immigrants in 1890's New York
psteier19 May 2001
Warning: Spoilers
Americanized Jake and the more Old World Bernstein are recent immigrants eking out a meager living. Then Jake's wife arrives unexpectedly from Europe with Jake's young son, and ends up in the middle of her husband's love affair and ends up falling in love with Bernstein.
A loving reconstruction of life at the time, though seemingly cleaned up and also somewhat restricted by a low budget. The acting is fine and the story is moving.
A loving reconstruction of life at the time, though seemingly cleaned up and also somewhat restricted by a low budget. The acting is fine and the story is moving.
A simple plot, no, but satisfying.
RARubin11 May 2006
It's pretty tough to build a realistic set of the Lower East Side, New York City, 1896. The Godfather films did the best they could. When directors shoot the distant past of our great grandfathers, they usually shoot in tempera hue antiquing the scenes, so we feel we are looking through a time machine. In the case of Joan Micklin Silver's, Hester Street, she shoots with black and white stock. All I'm saying, audiences won't believe it is the past without a newsreel or spooky tempera projection.
The documentary feel to Hester Street, the authentic clothing and dialect, the old Russian to English dialect fills the viewer, especially Jewish filmgoers with a weird sense of nostalgia since no one today, in 2006 is alive to tell the immigrant story. The poverty, crowded conditions, popular prejudices, and alienation were a fact of life. It is amusing that these immigrants assimilated, learning English, building jobs, and business within two generations; all hardship forgotten consciously, but I would assert, not unconsciously.
Carol Kane, Gitl, is a wonderful young country wife flabbergasted by the modern, secular ways of America. Her husband, actor, Steven Keats has left the greenhorn, religious Jew nonsense behind as he takes on a new girlfriend, a hottie for her day. His wife arrives with child unexpectedly thwarting his plans. Keats rejects her old world ways. Waiting in the wings is a boarder, a religious man that admires Gitl. A simple plot, no, but satisfying.
The documentary feel to Hester Street, the authentic clothing and dialect, the old Russian to English dialect fills the viewer, especially Jewish filmgoers with a weird sense of nostalgia since no one today, in 2006 is alive to tell the immigrant story. The poverty, crowded conditions, popular prejudices, and alienation were a fact of life. It is amusing that these immigrants assimilated, learning English, building jobs, and business within two generations; all hardship forgotten consciously, but I would assert, not unconsciously.
Carol Kane, Gitl, is a wonderful young country wife flabbergasted by the modern, secular ways of America. Her husband, actor, Steven Keats has left the greenhorn, religious Jew nonsense behind as he takes on a new girlfriend, a hottie for her day. His wife arrives with child unexpectedly thwarting his plans. Keats rejects her old world ways. Waiting in the wings is a boarder, a religious man that admires Gitl. A simple plot, no, but satisfying.
Agreeable Story of Immigrants In New York.
rmax3048237 June 2012
Warning: Spoilers
Well, in 1972 "The Godfather" was a sensation, so why not other stories about immigrants adapting to life in the New World? This one is about Jews on Hester Street which was, at the turn of the century, the heart of the community on the Lower East Side. The adaptation of immigrants is never smooth, and it's a bit bumpy in this story.
Steven Keats is Jake, who shares quarters with Bernstein. It's 1898 and Jake is a rake, going to dancing classes, flirting with the looser local girls, wearing a fashionable mustache, speaking English quickly and cockily. He's not making much money -- twelve dollars a week behind a sewing machine -- but he's happy.
But then his comfortable routine is busted up by the arrival from Russia of his wife, Carol Kane, and their young son. Kane speaks no English, wears traditional clothes, and an outlandish wig considered suitable for observant women in the old country.
I mentioned speaking English and I must admit I love the locutions that immigrants bring to American English. They can be utterly charming, whether or not they're amusing.
Scene: Keats has met his wife and child and is trying to maneuver them through the immigration obstacle at the station. The uniformed official behind the desk is skeptical when Keats claims they are his family. "For what purpose are you bringing this woman into the country?", asks the bureaucrat with a squint. (Dumb stare from Keats.) "For what purpose are you bringing this woman into the country?" Keats, angrily: "For the poipous dat she is my WIFE!" The marriage doesn't work out in the new environment.
Keats loves the gay life and Kane is quiet and seems antiquated. So Keats sends a lawyer to her to discuss divorce. How much does she want to grant him a divorce? "Fifty dollars," says the lawyer in a theatrical manner. "You'll be a rich woman. You can get another husband just like that." No? The lawyer shakes his head sadly. Okay. "You got a little one you need to take care of. I can go seventy-five dollars. No? What kind of business are we doing here, Lady? What do you want, a HUNDRED DOLLARS? Oy -- what am I saying! Okay, it's out. I said it. A hundred dollars."
I'm still laughing as I write this, but the whole movie isn't made up of such comic gems. I've seen it twice, the first time on its release, and was completely involved. The second time there were fewer surprises, although some scenes -- the ritual of the divorce, for instance -- were just as touching as the first time around. I believe, too, that the low budget may have drained the film of some energy.
The movie ends with Keats walking down the street with his new hotsy-totsy wife and wondering if they should peddle vegetables for a living. They have no money and their choices are not exactly limitless. A thought drifted into my mind. Sigmund Freud as Jewish immigrant living on Hester Street. Freud would have been 32 years old in 1898. I can almost hear the exchange between him and his wife. "Siggie, should we leave the soda water out on the sidewalk or keep it in the shop?" And Freud stops and rubs his chin before replying, "YES and NO."
Steven Keats is Jake, who shares quarters with Bernstein. It's 1898 and Jake is a rake, going to dancing classes, flirting with the looser local girls, wearing a fashionable mustache, speaking English quickly and cockily. He's not making much money -- twelve dollars a week behind a sewing machine -- but he's happy.
But then his comfortable routine is busted up by the arrival from Russia of his wife, Carol Kane, and their young son. Kane speaks no English, wears traditional clothes, and an outlandish wig considered suitable for observant women in the old country.
I mentioned speaking English and I must admit I love the locutions that immigrants bring to American English. They can be utterly charming, whether or not they're amusing.
Scene: Keats has met his wife and child and is trying to maneuver them through the immigration obstacle at the station. The uniformed official behind the desk is skeptical when Keats claims they are his family. "For what purpose are you bringing this woman into the country?", asks the bureaucrat with a squint. (Dumb stare from Keats.) "For what purpose are you bringing this woman into the country?" Keats, angrily: "For the poipous dat she is my WIFE!" The marriage doesn't work out in the new environment.
Keats loves the gay life and Kane is quiet and seems antiquated. So Keats sends a lawyer to her to discuss divorce. How much does she want to grant him a divorce? "Fifty dollars," says the lawyer in a theatrical manner. "You'll be a rich woman. You can get another husband just like that." No? The lawyer shakes his head sadly. Okay. "You got a little one you need to take care of. I can go seventy-five dollars. No? What kind of business are we doing here, Lady? What do you want, a HUNDRED DOLLARS? Oy -- what am I saying! Okay, it's out. I said it. A hundred dollars."
I'm still laughing as I write this, but the whole movie isn't made up of such comic gems. I've seen it twice, the first time on its release, and was completely involved. The second time there were fewer surprises, although some scenes -- the ritual of the divorce, for instance -- were just as touching as the first time around. I believe, too, that the low budget may have drained the film of some energy.
The movie ends with Keats walking down the street with his new hotsy-totsy wife and wondering if they should peddle vegetables for a living. They have no money and their choices are not exactly limitless. A thought drifted into my mind. Sigmund Freud as Jewish immigrant living on Hester Street. Freud would have been 32 years old in 1898. I can almost hear the exchange between him and his wife. "Siggie, should we leave the soda water out on the sidewalk or keep it in the shop?" And Freud stops and rubs his chin before replying, "YES and NO."
Once Upon a Time On Hester Street
Galina_movie_fan3 June 2007
Joan Micklin Silver's directorial debut is a lovely, funny, warm, and observant historical drama-comedy about Jewish immigrants who left the little shtetl in Russia in the end of the 19th century for the hopes of better life and success in America. The film tells the story of a young couple, Jake (Steven Keats) and Gitl (Carol Kane). The husband came to Lower East End of Manhattan five years before his family and has gladly accepted American way of life making transition from Yankel to a Yankee, losing his beard and side curls on a way to become a real American and falling in love with Mamie Fine, attractive and independent young woman, an immigrant herself. When his wife Gitl and their son Yossi (Joey) arrive from Russia and join him in the flat at Hester Street, Jake is torn between his desire "to live like educated people in an educated country" and his wife's quiet but firm holding on to the traditions of Old Country. More likely, their marriage was arranged by their families in Russia and they don't have much in common when they meet after having lived separately in two different worlds for five years. The film concentrates on Gitl, quiet, gentle, pious seemingly fragile and naive young woman with huge dark eyes who has to make very serious decisions about her new life and how to make sense of it.
Everything about this small independent movie is fine - its authentic look that was achieved by beautiful B/W cinematography, its soundtrack that uses the music by Herbert L. Clarke, a composer and famous cornet player; the dialogs in two languages, English and Yiddish, full of very unique humor that still shines. There are no villains in the story and no stereotypes. All characters have one thing in common - one day, they took a chance to start over, to leave their past behind, to movie to the absolutely new unknown world with the different language, customs, traditions, rhythm of life and to try to survive and succeed and not to lose their unique identity. Comic, moving, warm, lyrical, with the loving attention to the smallest details, with the love and understanding for its characters, "Hester street" is a perfect example of an independent art movie that was made on the shoe string budget, had difficulties to find distributors, but luckily did not get lost, found its way to the viewers, and brought Jewish ethnicity to the screen. One does not have to be an Art movie buff or an immigrant to enjoy "Hester Street". The simple story of a young traditional woman's transformation and coming to terms with her new life can be enjoyed by any viewer regardless their age, gender, or ethnic background.
Carol Cane is fantastic as Gitl and more than deserves her Academy Award nomination for the Best Leading Actress. Doris Roberts (Marie of "Everybody Loves Raymond") is equally good as Gitl's and Jake's neighbor, Mrs. Kavisnky who becomes Gitl's friend and adviser.
Everything about this small independent movie is fine - its authentic look that was achieved by beautiful B/W cinematography, its soundtrack that uses the music by Herbert L. Clarke, a composer and famous cornet player; the dialogs in two languages, English and Yiddish, full of very unique humor that still shines. There are no villains in the story and no stereotypes. All characters have one thing in common - one day, they took a chance to start over, to leave their past behind, to movie to the absolutely new unknown world with the different language, customs, traditions, rhythm of life and to try to survive and succeed and not to lose their unique identity. Comic, moving, warm, lyrical, with the loving attention to the smallest details, with the love and understanding for its characters, "Hester street" is a perfect example of an independent art movie that was made on the shoe string budget, had difficulties to find distributors, but luckily did not get lost, found its way to the viewers, and brought Jewish ethnicity to the screen. One does not have to be an Art movie buff or an immigrant to enjoy "Hester Street". The simple story of a young traditional woman's transformation and coming to terms with her new life can be enjoyed by any viewer regardless their age, gender, or ethnic background.
Carol Cane is fantastic as Gitl and more than deserves her Academy Award nomination for the Best Leading Actress. Doris Roberts (Marie of "Everybody Loves Raymond") is equally good as Gitl's and Jake's neighbor, Mrs. Kavisnky who becomes Gitl's friend and adviser.
See It For Carol Kane
LeaBlacks_Balls21 February 2010
I didn't expect this film to be very exciting, and it wasn't. But it was however a thoughtful, low-key story of a husband and wife dealing with their differences in regards to century old traditions.
Carol Kane plays Gitl, a turn-of-the-century Jewish immigrant arriving from Eastern Europe to live with her husband in America. When she arrives in New York City she is surprised at how traditions held dear back home are thought of as 'uncivilized' here.
For example: Her husband has shaved his beard, and the women no longer wear kerchiefs or wigs to cover their natural hair. This unnerves her and as the film progresses Gitl and her husband grow apart. Even after Gitl is given a 'makeover' by Mrs. Kavarsky (the great Doris Roberts) she knows that it's too late. Her husband is in love with another woman and wants a divorce.
The pace in this movie is very slow, and the black and white cinematography is all but stagnant. But any other artistic approach to this story wouldn't ring true. The world back then for a Jewish immigrant was very slow paced. There wasn't a lot of color in their lives. And for women, sitting around their tiny apartments was all most would do.
Carol Kane was nominated for an Academy Award for her role in this, but lost (deservedly) to Louise Fletcher for 'One Flew Over the Cuckoo's Nest.' Kane would go on to star in the 1979 cult horror film 'When A Stranger Calls' and then transition into comedy roles that relied on her infectious goofiness. It was really interesting to see Kane play such a low-key, subdued character here, so different from the roles she's more famous for in shows like 'Taxi' or films like 'The Princess Bride' and 'Scrooged.'
Carol Kane plays Gitl, a turn-of-the-century Jewish immigrant arriving from Eastern Europe to live with her husband in America. When she arrives in New York City she is surprised at how traditions held dear back home are thought of as 'uncivilized' here.
For example: Her husband has shaved his beard, and the women no longer wear kerchiefs or wigs to cover their natural hair. This unnerves her and as the film progresses Gitl and her husband grow apart. Even after Gitl is given a 'makeover' by Mrs. Kavarsky (the great Doris Roberts) she knows that it's too late. Her husband is in love with another woman and wants a divorce.
The pace in this movie is very slow, and the black and white cinematography is all but stagnant. But any other artistic approach to this story wouldn't ring true. The world back then for a Jewish immigrant was very slow paced. There wasn't a lot of color in their lives. And for women, sitting around their tiny apartments was all most would do.
Carol Kane was nominated for an Academy Award for her role in this, but lost (deservedly) to Louise Fletcher for 'One Flew Over the Cuckoo's Nest.' Kane would go on to star in the 1979 cult horror film 'When A Stranger Calls' and then transition into comedy roles that relied on her infectious goofiness. It was really interesting to see Kane play such a low-key, subdued character here, so different from the roles she's more famous for in shows like 'Taxi' or films like 'The Princess Bride' and 'Scrooged.'
Delightful film that evokes a unique era in Jewish and American history
trilogyrich13 January 2008
I saw this movie when it premiered in 1975, and enjoyed it. Thanks to DVDs, we can watch and re-watch movies whenever we want. My wife has also become a fan of this film. The DVD's commentary by director Joan Micklin Silver and her producer husband, Raphael, is fascinating. If you are interested in the process of making movies, these commentaries are always a treasure trove of information and insight into the craft. Silver also directed Crossing Delancy, another classic, especially for anyone of the Jewish-American subculture, or familiar with it, though anyone who likes a love story will enjoy it as well.
To learn that the entire budget of Hester Street was $500,000 is astounding. This is a beautiful little movie that is driven by it's story and characters. Here is an unknown Carol Kane, who got the best actress nomination for this one, surrounded by great performances by veteran actors and first time non-actors alike. Doris Roberts does a fantastic job in a big role as the neighbor.
To learn that the entire budget of Hester Street was $500,000 is astounding. This is a beautiful little movie that is driven by it's story and characters. Here is an unknown Carol Kane, who got the best actress nomination for this one, surrounded by great performances by veteran actors and first time non-actors alike. Doris Roberts does a fantastic job in a big role as the neighbor.
Slow and a little sociological but Kane is moving
jimcheva25 April 2022
The pacing is a little slow and we get the point of the set-up early on. But it is a nice introduction to an important founding moment in New York City.. Above all the film slowly begins to come alive when Kane's character appears, beaten down and submissive, not only to her husband, to tradition. The slow emergence of her strength is the real point of the film and exnilirating in its way. The end is neatly and comically done. But the film isn't overall up to that. Otherwise, it's always lovely to see Doris Roberts.
Wonderful
r3-120 November 2005
Telling a tale of culture and love amongst Jewish immigrants in the late 1800's, this picture works perfectly well as what it is meant to be: A nice, little film. The story by Abraham Cahan is cut to the screen in such a way, that can only be described as "pictures of atmosphere". The reality of the story is given some importance in both setting, choice if actors and so on. Background music is almost only used, when storyline is at an halt f.ex. when the characters are to go from one place to another or when the focus are on the setting. The music used is, as well as everything else, highly influenced by popular music of that time in which the story is supposed to take place. and the result of all this is a lovely period piece and therefore I have chosen to give it 10/10, because even though it is not a masterpiece, it is everything it means to be, and should be recognized for this. And if you ask me, they make too few movies like.
A special viewing
alrodbel22 December 2005
Around 1975 I saw this movie with my mother and aunt, born in 1902 and 1903 respectively. They watched it as if it were a replay of a life that they had known, having come to this country just about the time of the characters on the screen.
My mother soon descended into the long goodbye of Alzheimers disease. So this is a memory I especially value. My Aunt, kenehora, is still with us.
They discussed it mater of factly, not so much as a work of art, but a documentary. I can think of no greater compliment to all who were involved in creating this very special film.
Al Rodbell
My mother soon descended into the long goodbye of Alzheimers disease. So this is a memory I especially value. My Aunt, kenehora, is still with us.
They discussed it mater of factly, not so much as a work of art, but a documentary. I can think of no greater compliment to all who were involved in creating this very special film.
Al Rodbell
Absolutely delightful and humorous look at immigrant life
tsmiljan19 May 2004
Warning: Spoilers
This is one of those "small" movies that hardly anyone has apparently seen, but deserves a much wider viewing.
Carol Kane, in one of her first roles, is perfect as the Jewish immigrant trying to make sense of life in the New World. Trying to hold on to her traditions, she must decide what accommodations to make to modern life in turn-of-the-century New York City. Her husband's philandering is handled with warmth and humor, and there are no villains in this movie.
. The scene between Carol Kane and the lawyer negotiating a divorce settlement is, I think, one of the funniest in all cinema, and the ending is bound to make you feel good about the possibility of justice in the world.
Carol Kane, in one of her first roles, is perfect as the Jewish immigrant trying to make sense of life in the New World. Trying to hold on to her traditions, she must decide what accommodations to make to modern life in turn-of-the-century New York City. Her husband's philandering is handled with warmth and humor, and there are no villains in this movie.
. The scene between Carol Kane and the lawyer negotiating a divorce settlement is, I think, one of the funniest in all cinema, and the ending is bound to make you feel good about the possibility of justice in the world.
Hester Street is a Gem
atlasmb2 September 2013
I think the best adjective for Hester Street is beautiful. The way immigrant life, with all of its complexities and nuances, is depicted is very poignant. It is not so long ago that many of our ancestors displayed bravery by leaving for a faraway land that they knew little of. Their struggle to escape persecution or poverty and to assimilate into a foreign culture is part of the American experience.
I love the way this film captures the duality of life in the Jewish section of New York. Despite the fact that only Jews live in this area, we see both the Americanized lifestyle and the orthodox lifestyle, existing side by side and evolving daily.
Carol Kane is wonderful in the part of Gitl, the wife who must adapt to a new world and put up with a husband who has abandoned all principles in his adoption of American ways.
Hester Street feels like a "small" film. Much of the action takes place in the cramped apartment of Gitl and her family (and the boarder). This is Gitl's new world, a reality that she might be content with, if her husband were loving. The street scenes remind us that Gitl's apartment is just a small part of a bustling neighborhood situated in a huge city in a corner of the new world.
I love the way this film captures the duality of life in the Jewish section of New York. Despite the fact that only Jews live in this area, we see both the Americanized lifestyle and the orthodox lifestyle, existing side by side and evolving daily.
Carol Kane is wonderful in the part of Gitl, the wife who must adapt to a new world and put up with a husband who has abandoned all principles in his adoption of American ways.
Hester Street feels like a "small" film. Much of the action takes place in the cramped apartment of Gitl and her family (and the boarder). This is Gitl's new world, a reality that she might be content with, if her husband were loving. The street scenes remind us that Gitl's apartment is just a small part of a bustling neighborhood situated in a huge city in a corner of the new world.
it is a humdinger of a greenhorn's debut enterprise where sex is irrelevant.
lasttimeisaw21 May 2016
Joan Micklin Silver is an unheralded, enterprising US indie filmmaking, a pathfinder for women daring to break the glass-ceiling in the probably most sexist post in the film industry. Her debut feature, produced by her late husband Raphael D. Silver, is based on Abraham Cahan's 1896 novella, an exclusively Jewish tale about immigrants who come to Lower East Side of NYC, and their acclimatisation of a new life in the land of hope, where the collisions of culture, religion and moral codes escalate attendantly.
Jake (Keats), whose yiddish name is Yankle, is a young Ashkenazi Jew from Russia, assimilates himself to the American lifestyle quite smoothly, staying in a tiny room on the titular street in Manhattan and earning his living as a seamster, he hooks up with a single dancer Mamie (Kavanaugh), who is also a Jewish immigrant, in a dancing ball during the opening sequences, where the vintage tactility honed up amazingly by Black-and-White graininess and yesteryear finesse, instantly charms and attracts viewers as a comedy skit from the silent era.
Jake is rakish, all spruced up, he is determined to erase his ethnic traces and aims to be a real Yankee, proudly. Through his impertinent jokes about a greenhorn, Silver seems to inform us, he is not a character we should show a certain amount of appreciation. Steven Keats comes into his own to characterise a stomach-churning impression defies any sympathy.
Jake's carefree bachelor days are over once his wife Gitl (Kane, who was Oscar-nominated for her brilliant calibre in seething intensity trapped inside a serene mound, and it is one of the most inspiring nominations accredited to the often publicity-steered Academy) arrives with their son Yossele (Freedman), whose name is changed to Joey under his insistence. In order to provide a place for the family reunion, Jake borrows Mamie's savings with an unwittingly false promise, and takes his co-worker, a bookish bachelor Mr. Bernstein (Howard) as a room to split the expense.
Gitl is a beautiful, unassuming and sensible girl, in everyone's eyes, she is the perfect wife should be cherished by her husband, especially to the neighbour Mrs. Kavarsky (the late Doris Roberts, thrust by her spitfire probity), her stalwart protector. But not for Jake, Gitl represents everything he is eager to jettison, their conjugal bond is flimsy with Mamie hovers around under the pretext of collecting her money. It always takes two to tango, at this step, if Mamie still wants Jake, and is willing to help him get out of the marriage, what else can we say? They truly deserve each other.
On the other hand, Gitl and Mr. Bernstein finds some kindred spirits under the aegis of Silver's tender characterisation confined in their cramped apartment. The third act can be captioned as "a divorce: Jewish style", improbably farcical thanks to the committed recreation of the scenario. Don't expect Gitl to relent under the influence of sentimentality or for the old time's sake, she might be a shrinking violet but never stupid, Jake is good-for-nothing, but at least, he has the knack to provide a handsome alimony for jilting his family.
HESTER STREET superbly overreaches its ethnographic demography and it is not merely a film for Jews only as it has been merchandised since its self-sustained distribution, in the eyes of a local Chinese who has never been to America or familiar with Jewish culture, the film enchants, seduces and competently relishes in a woman's self-reliant awakening in a foreign land, moreover, it teaches an edifying lesson about how important to preserve one's own distinctive traits without becoming homogeneous. Surely, it is a humdinger of a greenhorn's debut enterprise.
Jake (Keats), whose yiddish name is Yankle, is a young Ashkenazi Jew from Russia, assimilates himself to the American lifestyle quite smoothly, staying in a tiny room on the titular street in Manhattan and earning his living as a seamster, he hooks up with a single dancer Mamie (Kavanaugh), who is also a Jewish immigrant, in a dancing ball during the opening sequences, where the vintage tactility honed up amazingly by Black-and-White graininess and yesteryear finesse, instantly charms and attracts viewers as a comedy skit from the silent era.
Jake is rakish, all spruced up, he is determined to erase his ethnic traces and aims to be a real Yankee, proudly. Through his impertinent jokes about a greenhorn, Silver seems to inform us, he is not a character we should show a certain amount of appreciation. Steven Keats comes into his own to characterise a stomach-churning impression defies any sympathy.
Jake's carefree bachelor days are over once his wife Gitl (Kane, who was Oscar-nominated for her brilliant calibre in seething intensity trapped inside a serene mound, and it is one of the most inspiring nominations accredited to the often publicity-steered Academy) arrives with their son Yossele (Freedman), whose name is changed to Joey under his insistence. In order to provide a place for the family reunion, Jake borrows Mamie's savings with an unwittingly false promise, and takes his co-worker, a bookish bachelor Mr. Bernstein (Howard) as a room to split the expense.
Gitl is a beautiful, unassuming and sensible girl, in everyone's eyes, she is the perfect wife should be cherished by her husband, especially to the neighbour Mrs. Kavarsky (the late Doris Roberts, thrust by her spitfire probity), her stalwart protector. But not for Jake, Gitl represents everything he is eager to jettison, their conjugal bond is flimsy with Mamie hovers around under the pretext of collecting her money. It always takes two to tango, at this step, if Mamie still wants Jake, and is willing to help him get out of the marriage, what else can we say? They truly deserve each other.
On the other hand, Gitl and Mr. Bernstein finds some kindred spirits under the aegis of Silver's tender characterisation confined in their cramped apartment. The third act can be captioned as "a divorce: Jewish style", improbably farcical thanks to the committed recreation of the scenario. Don't expect Gitl to relent under the influence of sentimentality or for the old time's sake, she might be a shrinking violet but never stupid, Jake is good-for-nothing, but at least, he has the knack to provide a handsome alimony for jilting his family.
HESTER STREET superbly overreaches its ethnographic demography and it is not merely a film for Jews only as it has been merchandised since its self-sustained distribution, in the eyes of a local Chinese who has never been to America or familiar with Jewish culture, the film enchants, seduces and competently relishes in a woman's self-reliant awakening in a foreign land, moreover, it teaches an edifying lesson about how important to preserve one's own distinctive traits without becoming homogeneous. Surely, it is a humdinger of a greenhorn's debut enterprise.
Joan Micklin Silver, RIP
lee_eisenberg8 January 2021
Joan Micklin Silver died last week, so I decided to watch her directorial debut. "Hester Street" is based on Abraham Cahan's "Yekl", about Jewish immigrants in 1890s New York. The studios were convinced that audiences wouldn't be interested in a movie featuring a lot of Yiddish. Well, the movie is a fine piece of work. Both a look at the traditions and the hardships that the immigrants faced upon arriving in the US, it's very much a movie that tests your attention span; the polar opposite of a Michael Bay movie.
Steven Keats plays the lead role. His character has lived in New York for a few years until he can make enough money to bring his wife over. In that time, he's made efforts to assimilate into US society. His wife doesn't feel so comfortable doing so. The only other recognizable cast members are Carol Kane (known for plenty of roles, most recently as the landlady on "Unbreakable Kimmy Schmidt"), Doris Roberts (of "Everybody Loves Raymond") and Lin Shaye (the sunburned neighbor in "There's Something About Mary" and the retiring flight attendant in "Snakes on a Plane").
All in all, it's an outstanding film. Anyone interested in the history of the Jews in the United States would do well to watch it.
Steven Keats plays the lead role. His character has lived in New York for a few years until he can make enough money to bring his wife over. In that time, he's made efforts to assimilate into US society. His wife doesn't feel so comfortable doing so. The only other recognizable cast members are Carol Kane (known for plenty of roles, most recently as the landlady on "Unbreakable Kimmy Schmidt"), Doris Roberts (of "Everybody Loves Raymond") and Lin Shaye (the sunburned neighbor in "There's Something About Mary" and the retiring flight attendant in "Snakes on a Plane").
All in all, it's an outstanding film. Anyone interested in the history of the Jews in the United States would do well to watch it.
Two Goals
tedg24 June 2007
Its not true that there as many ways of seeing a movie as there are people. The art depends on there being only a few ways.
But still, you have choices. If what you want is a dramatic exercise you may like this, because that's its intent.
But it relies on storytelling gimmicks that you have to decide how to take.
The story is about Jewish Immigrants in New York in the 1890s, and one husband and wife. I chose to see it as an adventure into a world I do not know. It rewarded somewhat, perhaps less so than "The Jazz Singer" which was made near that era by people who lived in it. Here, all the clothes, faces, teeth are clean. There's no defecation and disease, no Jewish mafia and petty crime Jew-on-Jew. No bad people of any kind in fact. Somehow, squalor, crime and deprivation have been erased from history. Everyone on the street is happy.
Still, it was a voyage for me. But the film announces otherwise. It depends on memory of that very same stuff that I valued because I don't have them. In fact, this film seems to have been made by Jews for Jews, and mostly shown in Jewish venues rather than general release. Its a celebration of strength and adaptation, of the new layered on a preserved old, of the supposed special nature of these self-proclaimed special people.
So its a bit schitzo: part theme park and part nostalgic history lesson for those in the history. Too bad, because Carl Kane was engaging.
Ted's Evaluation -- 2 of 3: Has some interesting elements.
But still, you have choices. If what you want is a dramatic exercise you may like this, because that's its intent.
But it relies on storytelling gimmicks that you have to decide how to take.
The story is about Jewish Immigrants in New York in the 1890s, and one husband and wife. I chose to see it as an adventure into a world I do not know. It rewarded somewhat, perhaps less so than "The Jazz Singer" which was made near that era by people who lived in it. Here, all the clothes, faces, teeth are clean. There's no defecation and disease, no Jewish mafia and petty crime Jew-on-Jew. No bad people of any kind in fact. Somehow, squalor, crime and deprivation have been erased from history. Everyone on the street is happy.
Still, it was a voyage for me. But the film announces otherwise. It depends on memory of that very same stuff that I valued because I don't have them. In fact, this film seems to have been made by Jews for Jews, and mostly shown in Jewish venues rather than general release. Its a celebration of strength and adaptation, of the new layered on a preserved old, of the supposed special nature of these self-proclaimed special people.
So its a bit schitzo: part theme park and part nostalgic history lesson for those in the history. Too bad, because Carl Kane was engaging.
Ted's Evaluation -- 2 of 3: Has some interesting elements.
A Wonderful Sleeper
bobbassillo13 August 2004
Saw it on local PBS station many years ago not expecting much.
A wonderful and charming movie.
Acting, Sets, costumes, plot, and ironic ending make this a great movie that anyone can enjoy without being deluged with sex, violence, strong language.
Carol Kane and Steven Keats were marvelous.
I just about fell off my sofa laughing at the end.
A true gem!
A wonderful and charming movie.
Acting, Sets, costumes, plot, and ironic ending make this a great movie that anyone can enjoy without being deluged with sex, violence, strong language.
Carol Kane and Steven Keats were marvelous.
I just about fell off my sofa laughing at the end.
A true gem!
A Masterpiece
Tony Rome20 July 2010
This film gets a 10 out of 10. The film was made for $375,000 and made over 7 million dollars. Steven Keats, Carol Kane, and Doris Roberts are excellent. The cinematography is excellent, and the direction is superb. Carol Kane's performance of Gitl is outstanding, a well deserved Oscar nomination. The film has its comedic moments, many of them delivered by the very funny Doris Roberts. A great harmless PG film, atmospheric, and intelligent. This is definitely a cinematic achievement. This film was recently screened in East Hampton, NY at The East Hampton library. There was a great turnout, and everyone enjoyed the film. Many thanks to Mr. Steven Spataro for selecting this film.
You can't pee up my back and make me think it's rain.
Sylviastel6 May 2019
Carol Kane and Doris Roberts were stellar in their performances. Kane played Gitl, a young Russian Yiddish Jewish wife who immigrates to America with her son, Yossel, who is later renamed Joey. She discovered the changes in her husband, Yankel who becomes Jake. They are ultra orthodox Jews who have left the shetls in Russia and Poland for America. Doris Roberts played the neighbor and friend who helped Gitl in a dysfunctional marriage. The cast is first-rate and the film starts with Yiddish and turns to English over time. The film director, Joan Micklin Silver, did an excellent job in directing this film. Carol Kane was honored with Academy Award nomination for Best Actress. Doris Roberts was also terrific in her role as Mrs. Kavarsky. There are notable performances by the supporting cast members. This film should be studied for a variety of reasons. A great film overall.
Beautifully Crafted Film About Assimilation, Love, and Pain
ScottAmundsen14 February 2012
Warning: Spoilers
Director Joan Micklin Silver's first full-length feature film, HESTER STREET is an utterly beguiling and absorbing tale of a Russian Jewish family and the trials and tribulations that they face upon emigrating to America.
We start with Jake (Americanized version of Yankel), the husband and father (Steven Keats), who like so many, came ahead of his wife and son to get himself established. Jake is a determined assimilationist; he tries without success to throw off his accent, shaves off his beard, and goes about with his head uncovered, all of which would have been shocking for a Jew in the Old Country, but in the United States, the people have the freedom to pick and choose.
I don't remember how long Jake has been in the USA before his family finally get there, but it's long enough for him to form a passionate attachment to Mamie (Dorrie Kavanaugh), a broad on the make who manipulates him shamelessly because she can. He also has a boarder: Mr Bernstein (Mel Howard), who unlike Jake, is distrustful of shedding the old ways and harbors a secret desire to be a Torah scholar.
Jake's wife Gitl (Carol Kane in a stunning performance) and son Yossele (Paul Freedman) finally arrive in New York, and to put it mildly, Jake is somewhat less than thrilled at the reunion with his wife. When she introduces him to his son using his Yiddish name, Jake reacts violently and informs her that in America his son's name is Joey. Gitl, overwhelmed and confused, says nothing.
The rest of the film charts both Gitl's attempts to assimilate and the gradual disintegration of her marriage. In their first scene together in their apartment, he angrily informs her that no one wears wigs in America. She tries to compromise by switching to a kerchief, but he bellows at her that that is no good either. Gitl realizes, much to her horror, that he expects her to go about "with my own hair;" something a married woman would never do.
Gitl is not without allies. Bernstein rather obviously falls in love with her early on, and she is helped with her assimilation process by Mrs Kavarsky (the great Doris Roberts), a jolly sort who dresses as she pleases and goes about with her head uncovered and is not the least bit afraid of Jake; in fact she goes after him on a couple of occasions, the most poignant of these being the moment when Gitl shyly shows herself to him with her own hair neatly styled, and he reacts as if she were a streetwalker. Mrs Kavarsky gives him the rough edge of her tongue in an extended rant that he does not dare to stand up to; at bottom, Jake is a bully and a coward, wanting nothing more than to rid himself of his wife, whom he no longer loves, so that he can take up with Mamie.
Meantime, Gitl, shy though she may be, is no fool; she picks up enough English to get by, and is aware of Bernstein's admiration of her fairly early on. She remains polite to him, even kind, encouraging him to study Torah if that is what he wants, but maintaining the distance between them as a married woman should.
Until one day when Jake finally pushes Gitl over the edge and she decides to divorce him. Even the inequity of the divorce ritual is well-documented here; Gitl may not marry for ninety-one days from the divorce, whereas Jake could marry that same day if he had a mind to.
The ending is funny, sad, happy, and ironic all at once, as Gitl and Bernstein walk off together in one direction and Jake and Mamie in another. Gitl and Bernstein are radiant; Mamie is smugly triumphant, but Jake is already beginning to realize that he may have made a terrible mistake. But he has been such an out-and-out bastard to his wife that one can't help laughing at the irony of the trap he is in, a trap of his own making.
The acting is exquisite; there is not a single false note in this film, which is especially impressive since the actors had to work in both English and Yiddish. The entire cast is wonderful, but Carol Kane in particular shines here. Kane's best feature has always been her deep, expressive eyes, and she communicates volumes with them, as Gitl moves from being a submissive, Old Country wife subject to the whim of her husband to a woman of self-confidence who finds love with a man who also respects her.
This is a beautiful little film; every moment rings absolutely true. A stunning debut for Silver.
We start with Jake (Americanized version of Yankel), the husband and father (Steven Keats), who like so many, came ahead of his wife and son to get himself established. Jake is a determined assimilationist; he tries without success to throw off his accent, shaves off his beard, and goes about with his head uncovered, all of which would have been shocking for a Jew in the Old Country, but in the United States, the people have the freedom to pick and choose.
I don't remember how long Jake has been in the USA before his family finally get there, but it's long enough for him to form a passionate attachment to Mamie (Dorrie Kavanaugh), a broad on the make who manipulates him shamelessly because she can. He also has a boarder: Mr Bernstein (Mel Howard), who unlike Jake, is distrustful of shedding the old ways and harbors a secret desire to be a Torah scholar.
Jake's wife Gitl (Carol Kane in a stunning performance) and son Yossele (Paul Freedman) finally arrive in New York, and to put it mildly, Jake is somewhat less than thrilled at the reunion with his wife. When she introduces him to his son using his Yiddish name, Jake reacts violently and informs her that in America his son's name is Joey. Gitl, overwhelmed and confused, says nothing.
The rest of the film charts both Gitl's attempts to assimilate and the gradual disintegration of her marriage. In their first scene together in their apartment, he angrily informs her that no one wears wigs in America. She tries to compromise by switching to a kerchief, but he bellows at her that that is no good either. Gitl realizes, much to her horror, that he expects her to go about "with my own hair;" something a married woman would never do.
Gitl is not without allies. Bernstein rather obviously falls in love with her early on, and she is helped with her assimilation process by Mrs Kavarsky (the great Doris Roberts), a jolly sort who dresses as she pleases and goes about with her head uncovered and is not the least bit afraid of Jake; in fact she goes after him on a couple of occasions, the most poignant of these being the moment when Gitl shyly shows herself to him with her own hair neatly styled, and he reacts as if she were a streetwalker. Mrs Kavarsky gives him the rough edge of her tongue in an extended rant that he does not dare to stand up to; at bottom, Jake is a bully and a coward, wanting nothing more than to rid himself of his wife, whom he no longer loves, so that he can take up with Mamie.
Meantime, Gitl, shy though she may be, is no fool; she picks up enough English to get by, and is aware of Bernstein's admiration of her fairly early on. She remains polite to him, even kind, encouraging him to study Torah if that is what he wants, but maintaining the distance between them as a married woman should.
Until one day when Jake finally pushes Gitl over the edge and she decides to divorce him. Even the inequity of the divorce ritual is well-documented here; Gitl may not marry for ninety-one days from the divorce, whereas Jake could marry that same day if he had a mind to.
The ending is funny, sad, happy, and ironic all at once, as Gitl and Bernstein walk off together in one direction and Jake and Mamie in another. Gitl and Bernstein are radiant; Mamie is smugly triumphant, but Jake is already beginning to realize that he may have made a terrible mistake. But he has been such an out-and-out bastard to his wife that one can't help laughing at the irony of the trap he is in, a trap of his own making.
The acting is exquisite; there is not a single false note in this film, which is especially impressive since the actors had to work in both English and Yiddish. The entire cast is wonderful, but Carol Kane in particular shines here. Kane's best feature has always been her deep, expressive eyes, and she communicates volumes with them, as Gitl moves from being a submissive, Old Country wife subject to the whim of her husband to a woman of self-confidence who finds love with a man who also respects her.
This is a beautiful little film; every moment rings absolutely true. A stunning debut for Silver.
American experience
hitchcockkelly30 January 2023
"Hester Street" isn't wide in scope, but it's an authentic close look at the most American tale of all: immigrants in America. It drew me in completely. The black, white and sepia colors, the authentic Yiddish, the costumes, the accents, pulled me into this simple, but intensely human story. Carol Kane is wonderful as the emotionally abandoned Gitl. If we didn't feel her pain, the story would've sunk into tawdry melodrama. The production detail is fantastic, and Doris Roberts shines in the dramatic role of her career. Don't miss her insightful and intelligent discussion of acting (and living) in the extras. "Hester Street" is a must see for anyone interested in the immigrant experience.
I was convinced that this was an old movie.
cjorgensen-312 February 2012
Warning: Spoilers
I caught this on TCM one night. I thought it was an old movie. I was convinced by the sets and costumes, that this was a least filmed in the 30's, but supposed be taking place at the turn of the century. I am not an expert, but I love history-of-fashion books, and I was convinced by the hairstyles and fashions that this was made by people who clearly remembered this time. Only at the end, when the credits rolled, did I realize it was made 100 years after the story supposedly took place.
Other reviews have elaborated on the basic plot, so I will skip that. I saw it as a drama: comparing those who embrace assimilation into America (Jake and his friends) and those who cling to the "old ways" because it is familiar and comfortable. The story takes place in the Jewish part of town, so there are both kinds of Jews in the area. Jake dresses like an American, and proclaims that he is a Yankee now. He even renames his son "Joey", because the son's real name is too old-fashioned and old-country. His wife, Gitl, is very uncomfortable with American ways: they way they dress, and particularly, to be seen – a married woman - in public with her own hair, like a gentile. Her husband is embarrassed by Gitl puts pressure on her to be like American women: to dress up, look pretty and wear hear hair out (like his mistress), but when she tries to be an American woman, it really isn't what he wants. He wants the mistress.
In the mean time, Jake and Gitl have a boarder: Mr. Bernstein. He also clings to the old ways, hiding from everyone in his religious books. Jake teaches Joey baseball, Mr. Bernstein teaches Joey Hebrew. Mr. Bernstein is shy, just like Gitl, and you can see, they would make a much better couple. When Jake and Gitl are officially separated, Gitl tricks Mr. Bernstein into proposing. That was my favorite part.
At the very, very end, when Gitl and Mr. Bernstein are in the market together, with her son, someone asks his name. She says, "Joey". She has taken a small step towards assimilation, a small step towards leaving the old country and becoming an American.
I wondered how the director found such a sweet, quiet, shy, naïve, innocent, timid, reserved young girl to actually be on camera and play Gitl. I was convinced that her real personality was exactly what I saw on the screen. When I saw she was played by Carol Kane, I could not believe this was the same loud, zany woman who was the Ghost of Christmas Present on Scrooged.
Other reviews have elaborated on the basic plot, so I will skip that. I saw it as a drama: comparing those who embrace assimilation into America (Jake and his friends) and those who cling to the "old ways" because it is familiar and comfortable. The story takes place in the Jewish part of town, so there are both kinds of Jews in the area. Jake dresses like an American, and proclaims that he is a Yankee now. He even renames his son "Joey", because the son's real name is too old-fashioned and old-country. His wife, Gitl, is very uncomfortable with American ways: they way they dress, and particularly, to be seen – a married woman - in public with her own hair, like a gentile. Her husband is embarrassed by Gitl puts pressure on her to be like American women: to dress up, look pretty and wear hear hair out (like his mistress), but when she tries to be an American woman, it really isn't what he wants. He wants the mistress.
In the mean time, Jake and Gitl have a boarder: Mr. Bernstein. He also clings to the old ways, hiding from everyone in his religious books. Jake teaches Joey baseball, Mr. Bernstein teaches Joey Hebrew. Mr. Bernstein is shy, just like Gitl, and you can see, they would make a much better couple. When Jake and Gitl are officially separated, Gitl tricks Mr. Bernstein into proposing. That was my favorite part.
At the very, very end, when Gitl and Mr. Bernstein are in the market together, with her son, someone asks his name. She says, "Joey". She has taken a small step towards assimilation, a small step towards leaving the old country and becoming an American.
I wondered how the director found such a sweet, quiet, shy, naïve, innocent, timid, reserved young girl to actually be on camera and play Gitl. I was convinced that her real personality was exactly what I saw on the screen. When I saw she was played by Carol Kane, I could not believe this was the same loud, zany woman who was the Ghost of Christmas Present on Scrooged.
"The water in America is very tasty . . . "
oscaralbert3 September 2014
Warning: Spoilers
. . . observes recent Russian immigrant Gitl Podkovnik (Carol Kane) in 1896, when there was no need for 12-ounce bottled water here because the U.S. had not yet been "fracked," and all our earthquakes were "natural." I've watched hundreds of films released by the Edison Manufacturing Company in the 1890s and 1900s, which feature a wide cross-section of the same sort of Jewish characters that HESTER STREET tries to recreate from a distance of seven decades. While HESTER STREET writer\director Joan Micklin Silver produces a somewhat-romanticized feature aimed at the tiny "Jewish ROOTS" niche market, Thomas Alva Edison's very hands-on productions brought depictions of this era of the American Jewish Experience home to the U.S. gentile masses AS IT WAS HAPPENING IN REAL TIME! It's one of History's great tragedies that Mr. Edison passed away just as his anti-Semite Michigan camping buddies Henry Ford and Charles Lindbergh were chumming around with and influencing Germany's increasingly prominent Adolf Hitler. Had Tom been there to balance out Hank and Chuck's rabidly misanthropic viewpoints, it would have been less likely if not impossible to have The Holocaust.
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