For some reason, The Farm completely ditches what had been a very good sense of humor for the last minute or two. It runs twelve minutes. Losing the humor’s kind of rough, especially since there’s nothing to replace it, just the end of the short. It’s like Farm starts winding down too soon, never really getting around to the point.
The short’s this lovely color look at life on the farm. But the first half is the animals’ lives on the farm, not really the people. They get to the people, but they’re nowhere near as interesting as adorable sheep and piglets and cows and whatever. Director Jennings has a wonderful sense of timing. He knows exactly how long to hold the shot, which he’s also composed rather well. Jennings’s profile shots of the animals are awesome. They’re expository but never pragmatic. They’re patient. Jennings gives the audience time to digest what they see, even if the narration always moves too fast to catch the actual day’s lesson of “What’s Life Like on a British Farm.” And, oh, let’s be proud of our farmers as they feed us—there’s no sense of the farmer in the rugged American individualist sense, which is interesting—and also lets not think about the war. Don’t mention the war.
The weirdest thing about the war comment, which is a real thing in The Farm, look at this tranquility; it’s all forgotten now, let's hear no more about the war—the weirdest thing about it is how the comment comes in the first part, the cute animals we’re going to kill and eat part. The second part, the wheat harvest, is six months later. And there’s no mention of the war in it, even though presumably some time has passed. So the war comment is just this narration flourish. It’s very weird.
The Farm’s pretty—the color is gorgeous—and short enough it’s never boring; so a fairly interesting look into 1938 British farming. The direction’s better in the first half than the second half, in terms of composition. Jennings does better with the piglets playing than the afternoon tea break, even though it’s a trip to see the women come out with a picnic—every work day, according to the film—and serve their men tea and crackers. You’d think the narration would be funny about it—given how the jokes in the first half are Groucho Marx-y—but no. Not funny. Still a good short, beautifully photographed, just… not as funny as it clearly could’ve been.
Directed by Humphrey Jennings; produced by Adrian Klein; released by Dufay-Chromex Limited.