Merolliv I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

Forumrxes Yo, there's no way for me to review this film without saying, take your *insert ethnicity + "ass" here* to see this film,like now. You have to see it in order to know what you're really messing with.

SanEat A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

Matylda Swan It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

lasttimeisaw 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.

LeaBlacks_Balls 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.'

edwagreen 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.

bobbassillo 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!