Barbara Streisand’s <i>Yentl</i>

The 1983 film is finally being released on DVD.


A peddler pulls a cart full of books into the ramshackle main square of an Eastern European shtetl. “Storybooks for women,” goes his mantra-like call for customers, “sacred books for men.” The careful divide–scholarship for men, frivolity for their wives and daughters–is never to be breached. The time and place is “Eastern Europe, 1904″–no specifics, please! And Yentl, the lone daughter of the scholarly Reb Mendel, is chafing at the limits of her constricted mental universe.

Imprisoned behind the bars of the synagogue’s balcony, forbidden to enter the men’s study hall, Yentl is a bird whose wings have been clipped before she has even had the chance to take flight.

A Unique Blend of Musical, Comedy, & Drama

Based on Isaac Bashevis Singer‘s classic short story, the Barbra Streisand-directed, much-loved, and much-lampooned 1983 film has only now received its much-belated DVD release, in 2009. Alternating madly between screwball comedy, full-throated MGM-brand musical, and drama, Yentl never entirely settles on a genre, or a tone. It seems content to leave things that way.
Barbra Steisand in Yentl
The irrepressible Yentl (Streisand) dreams of devoting herself to the study of the Talmud, but finds herself barred by her sex. “They’re talking about life, the mysteries of the universe,” she complains, “and I’m learning how to tell herring from a carp!”

So Yentl learns Torah by following along with her father’s lessons to the town’s boys,–where she mutters (and occasionally shouts) the answers to the questions proffered–and in late-night study sessions with her father, conducted with the windows closed and the shades drawn. When her father sleeps, Yentl takes out his tallit and wraps herself in it, the light from the lamp behind her revealing an unmistakably feminine silhouette under the ritual garment.

Hiding Her True Identity

After her father’s unexpected death, Yentl flees to another town, cloaked in the soft black cap, glasses, and tzitzit (fringes) that mark the unmarried religious scholar, in order to be granted the masculine privilege of learning Torah, and escape the feminine burden of crushingly boring domestic work.

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Saul Austerlitz is a writer and film critic in New York.

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