The 1975 film Hester Street was based on a short 1896 novel by the great Yiddish writer and editor Abraham Cahan. Its title character, a Jewish immigrant who takes the name Jake out of his desire to assimilate, grows increasingly estranged from his wife Gitl in the old country, even as he struggles to raise the money to bring her to America. Michael Weingrad writes:
The brilliance and pathos of Yekl lies to a great extent in its complex and honest depiction of acculturation. Cahan denies neither the gain nor the loss entailed in his protagonist’s still incipient Americanization. Most strikingly, Cahan makes the great marker of this cultural and psychic passage, not Jake’s or Gitl’s arrival at Ellis Island but, rather, their divorce. The divorce ends the novelette, signaling the liberation from old world ties and obligations.
Weingrad then comments on the very different thrust of the film, the work of the director Joan Micklin Silver:
Cahan was writing for an American readership that could be expected to find immigrant Jews off-puttingly, even frighteningly alien. In Yekl, he steers the American reader from an outsider’s aversion to an understanding of, and sympathy for, the characters, doing so by using different registers of language and alterations of tone and perspective. Micklin Silver enables her audience to bridge a similar sympathetic gulf—though, in her case, the gulf is not between Gentile America and immigrant New York, but rather between the 1970s American present and an obscure or sentimentalized past of ethnic and immigrant roots.
More about: Abraham Cahan, American Jewish History, Film, Lower East Side