Laquelle des trois?

After his wife dies, and their daughter marries, lonely widowed farmer Jameson Thomas (as Samuel Sweetland) decides to look for holy matrimony with another woman. With the help of devoted housekeeper Lillian Hall-Davis (as Minta Dench) and handyman Gordon Harker (as Churdles Ash), Mr. Thomas proposes to three matronly prospects: independent widow Louie Pounds (as Louisa Windeatt), frigid spinster Maud Gill (as Thirza Tapper), and pillowy postmistress Olga Slade (as Mary Hearn). None of the women prove to be satisfactory, but Thomas' ideal mate is closer than he thinks…

If "The Farmer's Wife" were filmed a few years earlier, in Hollywood, with Wallace Reid and Norma Shearer, we might have had four decades of romantic Alfred Hitchcock comedies… well, maybe not. Anyway, it's a good silent moving picture. The opening sequence, which shows the sad passing of the farmer's wife, is very effective; it's a good change from the original play, considering the silent film medium. But, this film is too long, with the daughter's marriage immediately and unnecessarily dragging the story down; moreover, the ending is drawn out. Mr. Hitchcock's food filming fetish is evident throughout - nobody touches Ms. Gill's gelatin!

****** The Farmer's Wife (3/2/28) Alfred Hitchcock ~ Jameson Thomas, Lillian Hall-Davis, Gordon Harker, Maud Gill

I have both versions, long and short, of "The Farmer's Wife", and they are identical except for the speed at which they were recorded onto tape/DVD. I strongly recommend against the 129-minute version, as it is slower than real-life speed and drags the humor from the film. The shorter version is much funnier and more like Hitchcock, whose films weren't known for their dragginess.

Jameson Thomas, who plays Samuel Sweetland, was at the time of filming a huge star in England. In 1930 he and his wife left England for Hollywood, where he played a few leads in "B" pictures and then settled into a continuous second lead/character groove. He's the doctor at the end of "The Invisible Man" who tells Henry Travers of Claude Rains' demise: "I'm afraid the end will be rather terrible." He also played Mr. Semple, the twitchy false heir, in "Mr. Deeds Goes to Town."

Slight but enjoyable early Alfred Hitchcock movie about a widower (Jameson Thomas) who sets out to find a new wife with help from his loyal housekeeper (Lillian Hall-Davis). It's a charming and touching story. Not quite what you would expect from the eventual Master of Suspense. It's a good-looking film, as well. Thomas and Davis are both likable. Gordon Harker is fun as the farmer's handyman, Churdles Ash. Love that name. It's nothing to get worked up over but a pleasant enough film that's worth a look to more than just Hitchcock completists.

I saw this years ago, enjoyed but forgot about it. On retrospect it seems a very long drawn out 96 minute comedy film with a flimsy plot, even so I wonder what a 129 minute version would be like.

Jameson Thomas plays thicko widower farmer who can't see beyond the end of his nose when it comes to looking to honour a woman by marrying him. It's obvious from the first reel what the story will be and the eventual conclusion, but for all that it's still well worth watching. Some of the outdoor shots are delightful, portraying the English countryside impressionistically, the indoor usually portray people in the throes of pigging themselves within slapstick routines. The farmers' handyman Gordon Harker was even stranger than his master, with make up absolutely caked on his face for some reason.

Altogether, a nice little film, totally inconsequential but with some nice touches from Hitch and fluid camera movements, all helping maintain interest.

The first half is rather slow, but keep going - it's definitely worth it. The humour in Hitchcock's films is generally based around great character actors (e.g. Jessie Royce Landis in To Catch a Thief and North by NorthWest), and here not one of the actors disappoints. Lillian Hall Davis has a better part in the Ring (also 1928 - Gordon Harker is again very amusing in it too), but is lovely in this film. Sound would have added nothing. My 8-year old daughter was apprehensive about watching a silent film, but once things started to get going in the second half, was hooked.

Hitchcock referred to it in later years as one of his "photographed plays", but the action occurs in several locations, so is nowhere near as constrained as many of his films (plays or not). In fact, even though the location shots are few and far between, they really give this film a non-studio feel.

All of Hitchcock's films are notable for their visual storytelling (look at the initial scene-setting in Rear Window that speaks volumes without a single word being uttered), and it is interesting to see the origins of this, and the great influence of German Expressionism.