User reviews

"Yentl" as a very impressive film. Watching it it is hard to believe that it was made by a first time feature film director.

People hate this film because Barbra is in it. She is wonderful. I get tired of hearing people say that "Barbra was too old" for the role. Well she doesn't play "Yentl" that was from the short story. She plays Yentl in her 30's. HEr father from the book is even aged by 20 years.

The story of this film is that the main character has a thirst for learning. After her father's death she disguises herself as a man so she continue her studies in a time where women's higher education was forbidden.

Yentl then falls in love with a man who unknown to him that his new best friend happens to be a woman.

My only problem with this film is that it is a little long but it is never boring. In my opinion if this film was directed by a man we would still be singing the films praises today.

"Yentl" is Barbra Streisand's adaption of an Issac Bashevis Singer short story. Set in Eastern Europe at the turn of the century, it tells the story of a woman who must disguise herself as a man in order to study scripture. Along the way she falls in love with a fellow student, Avigdor, who is engaged to be married. Due to a family secret he is prevented from doing so by the bride's father. In a desperate bid to keep him from leaving, Yentl, now known as Anshel, marries her instead.

The story has been modified for the film in that the role of Yentl is somewhat older and her internal dialogue is fleshed out in the form of songs. A sort of musical narrative solely from her perspective.

The opening song "Where Is It Written", the soulful "Papa, Can You Hear Me?", "The Way He Makes Me Feel" and the closing "A Piece of Sky" are some of the stand-out performances. This is Streisand's first directing effort and she was the first woman to win a Golden Globe for it. She pulls solid performances from everyone and tells her story with a fresh sense of style rarely seen in film today. There are moments when Streisand lingers a bit long to make sure you "feel" what she is trying to convey. Her subsequent directorial efforts, the 1991 "The Prince of Tides" and the 1996 "The Mirror Has Two Faces" are more fluid. Avigdor's concern over his affection for "Anshel" is not adequately explored, but the "girl marries girl" theme is approached with great humor and tact.

For music fans, check out the "Yentl Medley" from the 1994 "Barbra - The Concert" and the soundtrack album, which contains studio versions of "The Way He Makes Me Feel" and 'No Matter What Happens". Her 1991 box set "Just For the Record" includes "The Moon and I" which was written for this film but never used.

At the end, Streisand dedicates this film to her father, and all our fathers... I'm sure he would be very proud.

*Academy Award for Best Score* *Grammy nominations for TWO songs*

I discovered this film recently when it came out on DVD in France at a knock-down price. Picture quality is no more than average and seems to have a little over-dominance of sepia. I assume the film was originally destined for a Jewish audience as many of the references contained therein concern the Jewish religion of which I know nothing ! All that said, I was very very satisfied with this film, Barbra Steisand gave a magnificent performance, you could see that she put her heart into this, apart from being really cute, her voice and songs were magnificent. There's also quite a lot of humour and potentially embarrassing situations which is normal, given the fairly original plot line. I think that the end is a satisfying one indeed the only satisfying one possible. I know little about Jewish culture but do, as an "outsider" find it attractive. Indeed this may indeed be a prerequisite to fully appreciate this film.

Barbra Streisand has referred to herself as 'an actress who happens to be a singer'. I doubt I am alone in viewing her professional legacy in the reverse: as a great singer who happens to be an actress . . . director, producer, screenplay writer, musical score composer, humanitarian, and lately, concerned with using her production and direction talents to bring out important social issues (like ageism--"The Living Century" is about centurions--people a hundred years old or more).

"Yentl" marks the beginning of a woman blazing a new trail as a director, singer, composer, her hands in the screenplay, and production. She's spoken in a segment on "The Directors," about how various cultures have treated her as a result of her deliberate transcendence of Hollywood's gender-biased boundaries. One of her most interesting points reveals how well she was treated in England by the British filming crew. Since gender-bias against women is not even comparable to gender bias in the US, because England is so far advanced beyond gender discrimination because one is a woman, Streisand remarks how much easier it was for her to accomplish her goals on the set because the British film crew treated her without gender-bias, and with the respect she is certainly due.

"Yentl" royally upset the AFI in the US because Streisand entered into no woman's land when she had a hand in nearly every aspect of the motion picture. "Yentl" has some of the most memorable, touching, humanely familiar music and lyrics, yet it received no Academy Award. The direction was brilliant--no Academy Award. The screenplay was one that was serious, hilarious, religious, spiritual, and even addressed the issues of gender-bias head on--no Academy Award. Streisand's and Amy Irving's acting was stupendous--no Academy Award.

Streisand paved the way and took the non-recognition by the Film Academy without stopping. This musical motional picture pales many that are classics. The story is an extra interesting one, the likes of which have not been reproduced with anything close to as much skill and class.

I'll give this classic about six Academy Awards, including several that go to Streisand alone.

You may love her or hate but the truth should be admitted - Streisand is an extremely talented artist. "Yentl' is her baby of directing, producing, co-writing and starring as a girl who wants to study and become a rabbi and who has to disguise herself as a boy to be accepted in a college. Streisand had fought the studio for 15 years to get it made, and she put her heart into this. Barbra is a gifted director, and the film is beautifully shot. I liked her acting - I thought she was convincing and touching when her character started to fall in love with a fellow student (very appealing Mandy Patinkin, "Hello, my name is Inigo Montoya. You killed my father: prepare to die" of "The Princess Bride") and had to hide her feelings. I also like her singing and I think that the songs belong to the film and can not be taken out of the context.

7.5/10

Despite an ostensibly somber tone and an autumnal look that gives the film a burnished coffee-table feel, Barbra Streisand's directorial debut "Yentl", about a turn-of-the-century Jewish girl disguising herself as a boy to study the Talmud (religious writings for men only), has a lot of heart, a romantic soul and a ticklish sense of humor. Streisand's strengths as an actress are never more apparent, and as a director she's thoughtful and careful, though perhaps too anxious to display her sentiment (leading to a woebegone conclusion which peaks and ebbs before the fade-out). Streisand is the only actor who sings, and the songs--though mostly ornate and melodramatic--are cleverly interwoven into the narrative. The final number (something about rebelling against "a piece of sky") is simply too much, but Barbra is in strong, assured voice throughout and she gets wonderful acting support from Mandy Patinkin (in arguably his finest performance, which should have netted an Oscar nomination) and Amy Irving (who did receive an Oscar nod). An enjoyable film with a surprisingly light-hearted quality which catches one off-guard. *** from ****

Streisand's directorial debut is easily her most passionate and personal film to date. It was hailed by Steven Spielberg as the "best directorial debut since Citizen Kane," and I am in complete agreement. Streisand worked for more than 15 years on bringing this film to the big screen, and it was well worth the effort. YENTL is an absolute triumph Every single aspect of the film works flawlessly: the story is clever, the dialogue is extremely well-written, the cinematography is beautiful, and the performances are first-rate.

Many critics and fans found Streisand's performances in A STAR IS BORN and THE MAIN EVENT to be labored and overly-mannered. However, there is little doubt that she once again emerges as a true actress in Yentl. As a matter of fact, Streisand's pitch-perfect portrayal of Yentl/Anshel is quite possibly the best performance of her legendary career - I simply cannot think of any way her performance could be bettered. Broadway tenor Mandy Patinkin is terrific as the object of Yentl's affections; it is a role which should have made him a huge screen star. The character of Haddass could have easily turned into a thankless role, however Amy Irving brings a layered depth to the part that many other young actresses could have glossed over.

YENTL is also showcase for the wonderful music of Michael Legrand (with outstanding lyrics by Marilyn and Alan Bergman), and the film uses these songs to brilliant effect. There are no production numbers, nor singing out in the street. Except for the finale, Streisand only sings when she is completely alone or silently as a voice-over. The songs take the place of spoken soliloquies and represent Yentl's private thoughts. This device has a great Shakespearean feel to it and (along with Streisand's ever passionate singing) help cement the film into the realm of fantasy. Though YENTL was infamously snubbed by the Academy Awards, justice was served when Streisand was awarded with the Golden Globes for Best Picture and Best Director, the first female to ever win the latter honor.

Appropriately for a musical, the film's song score is first-rate. Composer Michael Legrand is an unrecognized genius, and his score is both complex and inviting. Alan and Marilyn Bergman have penned the lyrics to many of Streisand's best-loved recordings (the #1 hits "The Way We Were and "You Don't Bring Me Flowers," just to name a few), but they really outdo themselves here. Their words and Legrand's music complement each other perfectly, and their collaboration is largely the reason the film's score is as consistent and as cohesive as it is.

However, the main factor to YENTL'S artistic success is the phenomenal vocal performance of Barbra Streisand. The songs for this film were recorded twenty years after her official studio debut, and she has never sounded better than she does here. Whether the tone of the song is anguished ("Where Is It Written," "Tomorrow Night"), euphoric ("This Is One of Those Moments"), or incredibly sensual ("The Way He Makes Me Feel"), Streisand's hushed restraint and dramatic range are nothing short of incredible. Her phrasing is put to excellent use in "Will Someone Ever Look At Me That Way" and the three renditions of "No Wonder" (each with different lyrics and a different meaning), while both "No Matter What Happens" and "A Piece Of Sky" are terrific showcases for Streisand's astonishing vocal prowess.

YENTL also marks the first appearance of "Papa, Can You Hear Me," which instantly became one of Streisand's signature songs due largely to her intensely soulful performance. YENTL is a motion picture that is very close to the heart of many Streisand fans. It is a project that Streisand believed in with all her soul, and both the film and its soundtrack remain near the top of the list of the best things any popular artist has ever done.

I really love the setting, costumes, and detail of this film. The story and acting is superb. The themes and meaning are transcenent. It truly deserves the Oscars and Golden Globes!

However. It is HIGH melodrama. I had to walk out of the room during parts because people are emoting at 100% the entire film. It's second hand embarrassment CONSTANTLY. Cringe scenes happen throughout the film.

Reading the few awfully and derogatorily negative reviews for this film here on the IMDb, it still befuddles me about the total oppression and negativity that people throw out of their mouths without expressing themselves in a more precise and intelligent manner, mainly on a film that presents such important issues and social commentaries. Even though the film is set in the past, all it says is still very noteworthy and easy to relate to in the past few decades and definitely in the decades to come.

YENTL is a film to be shared and enjoyed regardless of ethnicity, religion or background. Its universality speaks and raises voices to different generations and social groups.

Motivational, moving and exquisitely shot with rich period flavor and mood (AND THIS IS WITHOUT HAVING SEEN THE DVD YET, SINCE IT IS NOT AVAILABLE, AND MS. STREISAND HERSELF NOTED THAT THE COLOR TINT ON THE VHS TAPE IS INCORRECT, SOMETHING SHE HAD CORRECTED FOR THE UPCOMING DVD), this is the type of story about conquering your fears and stop at nothing to achieve your dreams that is fatally missing from films in our present time.

If there is an aspect to this movie that is the most formidable, it's the music and songs in it that's what is most successful about it, since they carry the story as it progresses through its tale of passion, love, struggle and perseverance.

Ignorance has kept the film from being enjoyed and appreciated by several groups and individuals. Hopefully someday they will find the courage and wit to understand such incredible gem.

"NOTHING'S IMPOSSIBLE"

"Yentl" is based on the story "Yentl the Yeshiva Boy" by the late Isaac Bashevis Singer, the last great Yiddish author. Yentl is the bright, intelligent daughter of Reb (Rabbi) Mendl, a widower, played by the great Nehemiah Persoff. She looks after her father's household and almost by osmosis learns the Torah (Pentateuch) and the Talmud by listening to the lessons of the young men who come to study with her father. She also wants to become a Jewish scholar, but in the rigidly patriarchal society of Eastern European Jewry, only boys are allowed to study. After her father's death, she decides to disguise herself as a boy to get into a yeshiva (school). Now going by the name Anschel, she succeeds in getting into a yeshiva, and becomes close friends, and eventually falls in love, with fellow student Avigdor (Mandy Patinkin; Avigdor is Hebrew for "father protects"), who is in an arranged betrothal to a beautiful young woman named Hadass (Amy Irving). But when Hadass's family learns Avigdor's brother committed suicide, the wedding is called off. Yentl/Anschel is then selected to marry Hadass. Avigdor supports this, because he sees this as a way to remain close to his friend Anschel (Yentl) and Hadass. Yentl/Anschel goes through with the marriage, and manages by clever subterfuge to live with Hadass but never consummate the marriage or reveal "himself" to be a woman. Eventually, Yentl/Anschel and Avigdor go away for a few days, and Yentl/Anschel reveals her secret to him. But rather than accepting her as a woman and returning her love, Avigdor rejects her. Avigdor returns to Hadass, and the movie ends with Yentl on a ship to (we suppose) America to make a new start, where presumably she will change her name to Fanny Brice and become a big star in vaudeville, then years later, as an old woman, be reduced to visiting Max Bialystock's office for some lovin'.

Visually, "Yentl" looks perfect. The village, the landscape, the people, their language and dress, are a convincing reconstruction of the lost world of the shtetl and its denizens. The actors look perfect, too, although there are problems: It's a stretch to believe that Barbra Streisand could pass herself off as a boy for an extended period, but if the Hilary Swank character in "Boys Don't Cry" could do it, I guess we can suspend disbelief for the duration of "Yentl." Streisand puts in a capable performance, as do Mandy Patinkin and the actors in the other major roles. You have to figure that Hadass was pretty dumb to be hoodwinked the way she was, but I guess that's supposed to be part of the "charm" of the story.

However, "Yentl" suffers from a major problem: The music. What cabbagehead decided that Michel Legrand would be the right composer for this movie?!? His score was completely inappropriate, and Streisand's constant singing under the action drove me crazy. Barbra, shut up once in a while and let the action speak for itself! It was like "Fiddler on the Roof" collides with "The Umbrellas of Cherbourg," and that's the kind of road accident I'd rather not see. I suppose that in order to get the project made, Streisand had to agree to sing in the film. Would making "Yentl" into a typical musical, à la "Fiddler," have ruined it? Probably a whole lot less than it was ruined by Legrand's music. After all, "Fiddler," which came out 12 years before "Yentl," had a number of dark moments as well as some light and humorous scenes, and the songs worked. But the score of "Fiddler on the Roof" deliberately used musical motifs and themes derived from and inspired by the rich musical tradition of Eastern European Jewry. They should have stuck with that very serviceable approach. The clash of the music and the rest of the film is a fatal flaw from which "Yentl" does not recover.

Just watched the movie on our local PBS-TV here in Bflo., N.Y. tonight. (Fri., Feb. 17, 2006.) Have seen it several times before, the 1st when it was released in 1983, the year my own father died.

With Streisand dedicating the film to her dad, who she never knew, that, the music & story deeply reached me at the time & still does. Coupled with this, I was assigned by Billboard Magazine to interview composer Michele LeGrand here when he was appearing with the Bflo. Philharmoic Orchestra. I'd always admired his dream-like work, like "Windmills of My Mind" & "What are You Doing the Rest of Your Life?" I learned he was working on a film with Barbra & it turned out to be "Yentl." I was thrilled when I later saw the movie & heard the score. Streisand should have been recognized for her directing abilities with an Oscar nomination. OUTRAGEOUS! But then, her film can still touch us & that is worth more than ANY Oscar! Thanks Barb ...

for basic idea of equal rights out of any feminism. for the flavor of "80 years and for slices of shtetl life, for Jew space in Russian Empire as place of interior freedom, for music and for the delicate story. for last image of a way to happiness. for fabulous role of young Yentl/Anschel and for fragile performance of Amy Irving. it is difficult to define it.because it is a profound humanist pledge for normality. not accusation against a community. not stone against rules.but a open window.that is all. central piece - courage. central message - nothing is impossible. axis - force to be yourself. after 20 years, it is more important today.because in time of globalization, time of positive discrimination, Yentl is a wise advise. and good model to build personal trip in life.

Decent though wildly self-indulgent rendition of Isaac B. Singer's story set in 1900s Eastern Europe about a Jew girl, Barbra Streisand, who disguises as a boy in order to study the Talmud . Along the way she becomes enmeshed into a twisted and romantic triangular romance between Mandy Patinkin and Amy Irving.

A luxurious musical movie full of sensitive scenes, emotion and a peculiar love story. The plot is simple and plain with a silly, dubious and improbable premise, as Streisand gets dressed as a boy, while her mates not to be aware. A hyper-controled proyect carried out by Barbra Streisand who produces, writes, plays and directs. A hypnotic Barbra Streisand gives a nice acting as the Jewish woman who masquerades herself as a young man, she is really the show thanks to the wonderful songs she sings, such as : A piece of sky, No matter what happens ,This is one of those moments, Tomorrow night, Where is it written, No wonder, The way he makes me feel, Papa can you hear me , Will someone ever look at me that way?. Co-protagonist Mandy Patinkin provides a nice interpretation as the scholar Jew, while Amy Irving, at the time Spielberg's wife, is pretty good. Remaining cast are awesome as Nehemiah Persoff, Steven Hill and Allan Corduner.

Lush and brilliant cinematography by David Watkins shot on location. Emotive though repetitive soundtrack, including enjoyable leitmotif, that won a deserved Academy Award. The motion picture was well made by Barbra Streisand, though overlong, overwrought and some lumbering. She also played and directed The prince of tides and The mirror has two faces. And she performed a lot of hits through a prestigious career such as Funny girl, Hello Dolly, The owl and the pussicat, What's up doc?, Up the sandbox, On a clear day you can see forever, The way we were, For Pete's sake, Funny lady, A star is born, The main event, At night long, Nuts, among others. Rating 7. Notable. Enjoyable and better than average movie. The flick will appeal to Barbra Streisand fans. Worthwhile watching.

Barbra Streisand, (The Mirror Has Two Faces), directed, produced, co-wrote, acted and sung in this turn of the century movie. I have the video tape and the soundtrack. I like it very much indeed. This movie raises very important issues about the emancipation of women and makes women reflect on where they are now. I am glad I was not born back then. Women were viewed as housewives/homemakers only and could only read romance novels, and magazines with pictures. Women could not read anything with depth and substance. Not to say that as we approach the second millennium A.D. many women are so far from away from that. I have met many women that have not evolved much from that era, but we have a little more of a choice now. I am glad I did not have to dress like a boy to go to college. I did wear pants, though but I guess those days they were called "bell bottoms."

Yentl is a woman who is close to her father who teaches her about religion and teaches her the scriptures. They have a wonderful relationship. Very similar to how I felt about my father. I had real encouragement to develop myself from my parents. I love the music written by many time Oscar winner: Michael Legrand (Summer'42) with lyrics by Oscar winners Alan and Marilyn Bergman. Streisand made a great choice in picking those people because they are wonderful. I have the record! Speaking of things from the past!

Avigdor, Mandy Patinkin (Chicago Hope, The Princess Bride) could not marry Hadass, Amy Irving (The Competition), nominated for the Best Supporting Actress Oscar, because his brother suffered from some type of depression and committed suicide. No education, no mental health! Not knowing for sure that Yentl was a girl, but yet suspecting that there was something wrong in there he asks Yentl/Anshel to marry Hadass. That is when things got complicated and you must see the film if you have not yet seen it. My favorite scenes: All the boys swimming naked and Anshel not knowing what to do. The ship scene where she sings: Papa, can you hear me? This is a very moving scene. Yentel finally embraced freedom. My favorite quote: Yentel: "Why do I have to hide my studies from my neighbor when I don't hide from God". Father: "Because God will understand but the neighbors won't." I recommend it!

Yentl is a young Jewish woman who shall be married, but she is too curious, she wants to know more and she wants to learn all about the Talmud, which is forbidden to women by this time. So she dresses herself like a young man and goes to the yeshiva, always frightened to be discovered, and there she meets Avigdor, a brilliant student, who is meant to be her mentor, and she fells in love with him. He is in love with a beautiful Jewish girl (Amy Irving) but he cannot marry her, because his brother died of suicide. So he asks Angel (Barbra Streisand) to marry her, and she does....

It's a real Barbra Streisand masterpiece, I think no one could have done this picture more sensual and beautiful like she did. A story, that never should be forgotten, of a woman that fights against the male world, wants to be more than the role that was meant to be hers. Brilliant songs, perfectly written by Michael Legrand, brilliant directed and also the sets are chosen very well, the picture of a Jewish world like it was in former times is set originally. Also Mandy Patinkin and Amy Irving are brilliant actors who can show their different faces in this movie. Thios movie is a MUST for everybody.

Now I watched this movie because I heard it was "so bad it's good" - and I love movies like that. Now definitely Streisand has no idea how to act, and the score is overblown, and the whole movie is quite stupid, and the plot has holes you can drive a truck through... but I just couldn't hate it. Please let me explain: I hate soppy romances as much as the next guy (especially soppy romances that pretend to be intellectual, but are not, like Yentl), however Mandy Patinkin's brilliant performance as Avigdor kept me interested. He had so little to work with due to a poor script and a ridiculously contrived plot, but he manages to bring such sincerity and strength into his role that it saved the movie from being complete sop.

Yentl did not deserve its Oscars or nominations; Irving looked good but displayed no range of emotion; the songs were pitiful and repetitive with the sole exception of "Father please forgive me" (which would have really worked if not for Legrand's terrible score). Having said that, Streisand (who can't direct) CAN sing, and if you tune out of the lyrics there is some pleasure to gained from this (at least on a first viewing).

Intellectually, the movie says nothing positive about women, and it implies that women who want to pursue education will get so sidetracked by their emotions that they'll get nowhere. Two cheers for feminism, I guess. Nonetheless, the production, set design and costuming are very good, and although Streisand can't act her way out of a paper bag, Patinkin adds a notable dimension of depth and interest to this silly, but well meaning, movie.

An excellent film, it has a wonderful complexity in the characters' personalities and relationships that maintain a level of enjoyable tension and curiosity throughout the film for the viewer. Excellent performances given by Mandy Patinkin, Amy Irving and Barbra Streisand. Great songs throughout. Not a brainless ha-ha movie. It is a thinking person's film, in the same vein (in my opinion) as Fiddler On The Roof. Well directed by Streisand. And I'm a Republican! I have been waiting it seems for ages to buy the DVD (pirated copies sold on eBay a few years ago for $45+), but it seems legitimate copies are now available with special features to enjoy.

This won the oscar for best music. Miss barbra is yentl, a jewish woman who wants so badly to read and learn the lessons in the holy books. Women are not supposed to be educated in this way! So she dresses like a very young man so she can run off and find the religious learning to which the men are entitled. Much info in the trivia section regarding the original author's thoughts on the film. So many songs! The plot is kind of fun but silly. Were people really that gullible back then? Co-stars mandy patinkin and amy irving as avigdor and hadass. Keep an eye out for nehemiah persoff; he plays papa... persoff was in just about every tv series ever made. The secret comes out an hour and fifty two minutes into the story. Directed by streisand herself. Based on the book by isaac singer. It's pretty good. It wasn't a hit when it was released, but has become a bigger film all these years later.

Beautifully photographed, tenderly written, lushly scored, "Yentl" is Streisand's pet project come to fruition, a masterwork of drama with music.

Storybooks are for women, sacred books are for men in 1904 Eastern Europe. Yentl wants to study Talmud. Upon the passing of her father, she cuts her hair and poses as a boy in order to enter a Yeshiva. Inherent problems arise when she meets her study partner (Mandy Patinkin) who she is secretly attracted to, and his intended (Amy Irving). Gender complications incur, similar to "Tootsie" and "Victor/Victoria." Producer, director, co-writer, star Streisand is most generous to her co-stars, despite her being in nearly every scene. All the performers get to shine. Unfortunately, singer Patinkin does not get to sing. The Michel Legrand and Alan and Marilyn Bergman compositions are heard only as Yentl's internal observations. Characters do not burst into vocals as in traditional Hollywood musicals.

Feminists will love every aspect of Yentl, the film musical Barbra Streisand co-wrote, co-produced, directed, and starred in. In other words, it's her baby. I'm not a feminist, but even I appreciate the enormous amount of work that went into this very well-crafted musical.

It's the story of a Polish Jewish girl who, after her father's death, dresses as a boy and enrolls in a boys' school. Obviously, swimming and bathing at the local watering hole is a problem for her. As is romance-she meets the engaged couple Mandy Patinkin and Amy Irving, but when she falls for Mandy and Amy falls for her, things get complicated. I like to think of it as a Jewish version of Mulan. She has tremendous respect for her father and taking up the mantel (learning, not fighting) in his place.

If any of you are wondering why Barbra sang all the songs, refer to her memoir. In My Name Is Barbra, she explains everything about the pre-production of Yentl. She couldn't get studio backing without turning the story into a musical (which was ridiculous, since she'd already proved she could draw audiences into a non-musical film), and she decided to give the heroine a reason for singing: her inner voice sang the thoughts she couldn't speak out loud. Naturally, the other characters couldn't join in on the fun. With lovely songs by Michel Legrand and the Bergmans, and Barbra's passionate and complex delivery, this is a film to truly appreciate.

The Nobel prize winner, Isaac Bashevis Singer written of ''Yentl the Yeshiva Boy,'' that Streisand adapted into a film: "I did not find artistic merit neither in the adaptation, nor in the directing. ....Miss Streisand lacked guidance. She got much, perhaps too much advice and information from various rabbis, but rabbis cannot replace a director. The Talmudic quotations and allusions did not help.

Let's imagine a scriptwriter who decides that Mme. Bovary should end up taking a cruise along the Riviera or that Anna Karenina should marry an American millionaire instead of committing suicide, and Dostoyevski's Raskolnikov should become a Wall Street broker instead of going to Siberia. This is what Miss Streisand did by making Yentl, whose greatest passion was the Torah, go on a ship to America, singing at the top of her lungs. Why would she decide to go to America? Weren't there enough yeshivas in Poland or in Lithuania where she could continue to study? Was going to America Miss Streisand's idea of a happy ending for Yentl? What would Yentl have done in America? Worked in a sweatshop 12 hours a day where there is no time for learning? Would she try to marry a salesman in New York, move to the Bronx or to Brooklyn and rent an apartment with an ice box and a dumbwaiter? This kitsch ending summarizes all the faults of the adaptation. It was done without any kinship to Yentl's character, her ideals, her sacrifice, her great passion for spiritual achievement. As it is, the whole splashy production has nothing but a commercial value.