Decades before Zero Mostel and Topol made Tevye the Dairyman a beloved character on stage and screen (in 1971) in the musical Fiddler on the Roof, Yiddish actor-director Maurice Schwartz put his stamp on the character (typically spelled Tevye but styled as Tevya on the film’s credits).
Schwartz was a major figure in the Yiddish theater. Born in what is now Ukraine, he immigrated to America as a boy after a harrowing experience of getting lost from his mother in London. He became an actor on the American Yiddish stage as a teenager, working his way through various companies before joining the Second Avenue Theater. In 1918, he founded the Yiddish Art Theatre (Yidish Kunst Teater) of Union Square with the goal of adding quality drama to the Yiddish stage as an alternative to the escapist melodramas and operettas popular among Jewish working-class communities. Schwartz produced, directed and starred in most of his productions, gaining international renown. In 1926, the Yiddish Art Theatre moved to a new building on Second Avenue, which was the heart of the Yiddish theatre district.
The stage star’s experience in cinema was not extensive. He appeared in silent films during the 1920s and cowrote and starred in the Yiddish film Uncle Moses in 1926. As director, cowriter and star of Tevya (1939), Schwartz experienced the high point of his cinematic endeavors.
Schwartz cowrote the screenplay based on his successful 1919 stage version at the Yiddish Art Theatre. Like Fiddler on the Roof, Tevya derived from eight short stories by Sholem Aleichem, particularly “Khave” and “Lekh-Lekho.” The stories are set up as monologues of family life told to Aleichem by the fictional Tevye, a Jewish dairyman (milkman) living in a village in Imperial Russia.
Tevya is much darker than Fiddler on the Roof. Tevya’s misfortune begins when his daughter, Khave, falls in love and marries a Russian Orthodox intellectual, converting from Judaism to her husband’s religion. Her decision causes ruptures in her family and trouble in the village. Schwartz starred as Tevya, while his real-life niece, Miriam Riselle, played Khave. Leon Liebgold, who played the son in The Dibbuk (1939), costarred as Fedye, Khave’s husband.
Tevya was shot during the summer of 1939 on a potato farm near Jericho, Long Island. Its budget of $70,000 was considerably higher than the average Yiddish film. These films were produced by independents completely outside the Hollywood studio system, and they did not have the luxury of high budgets, state-of-the-art studios or skilled crew members. Tevya was produced by Harry Ziskin, the co-owner of the largest kosher restaurant in Manhattan.
Schwartz’s lack of experience in filmmaking is evident in the flat lighting and talky interior scenes. And yet, the emotion and sentiment of specific scenes, such as Tevya teaching a young boy how to chant the daily prayers or the dairyman’s heartfelt good-bye to his horse, compensate for the unpolished style.
While the film evoked nostalgia for the traditions and sense of community in the villages of the old days, it also paralleled the contemporary situation of Jews in Europe with the rapid rise of antisemitism. During production, Hitler invaded Poland, and Tevya’s cast and crew who had family in their home country realized they could no longer get them out.