Dovid is flattered by the presence of a scholar among the poor unlearned peasants, and invites Levy Yitzchok to stay as a boarder and tutor his two sons in religious studies.

Levy secretly develops feelings for the youthful and vivacious Tsine, who is impressed with him and begins to spy on her brothers' lessons; she herself is restricted from attending, but manages to learn to write her own name.

The film closes with an ending title stating that from Palestine to Birobidzhan, the Jewish masses are no longer superstitious and subservient before Talmud scholars and that in the fusion of the learned Levy and strong-willed Tsine, "a new Jew is born."

The company chose to adapt "Green Fields", a play by Peretz Hirschbein which was very popular with Jewish audiences after its 1918 premiere in the Folksbiene.

They approached Hirschbein, who granted permission on one condition: Jacob ben-Ami Shimshirin, who was the most acclaimed actor to portray the lead role of Levi Yizchak, had to reprise it.

Principal photography was performed at Ridgefield, New Jersey in August, taking merely five days according to Ulmer, who told his fee was $300[2] and that his associates mortgaged their furniture to receive money from Household Finance.

Ulmer stated that all three major Yiddish newspapers in New York, Morgen Freiheit, Der Tog and The Jewish Daily Forward, offered sponsorship but he turned each down fearing he would antagonize the other two.

Yiddish press critics praised it voluminously: William Edlin of Der Tog wrote it "can be shown in theaters throughout the world, as are well-made movies from France, Czechoslovakia or Hungary."

[6] While exact sale records are unknown, Green Fields is probably the most commercially successful Yiddish film ever, rivaled only by Yiddle, and unquestionably the most popular American one.

Its immediate effect was to have Collective Film determine to make another picture in the language, and the trio produced three further: The Singing Blacksmith (1938), The Light Ahead (1939) and Americaner Shadchen (1940).

Along with Yiddle, The Dybbuk, Tevya and several others, it is one of the hallmarks of the brief golden age enjoyed by Yiddish cinema on the eve of World War II.