The Land Girls

Another very good example of an understated British flick being elevated by a strong cast into something worth notice. In a refreshing take on the WWII drama, the focus is on the ones who stayed behind in the war-torn south of England, like the farmers to feed the impoverished nation; the women to keep the factories running and, as in "The Land Girls", to work the land in place of the absent men.

Stephen Mackintosh, my favourite underrated Brit actor, gives the film's best performance as Joe, the farmer's son who wishes he was anywhere but home, but he's well supported by Catherine McCormack, Rachel Weisz and Anna Friel as the unfeasibly but mercifully smouldering girls of the Women's Land Army. Tom Georgeson brings gruff character as Mr Lawrence, the farmer, and check out an early Paul Bettany appearance.

Thousands of women found a new freedom in work during the War, but they were expected to return to their domestic, invisible lives once the men returned. "The Land Girls" is not cinema verité; and doesn't pretend to tackle the grimness my mother talks of in England in the 40s and 50s. But who cares? – when I want grim I'll watch a documentary; I'll settle back happily any day to watch fine actors in a quiet, 'little' film with gorgeous Dorset scenery (it really is that beautiful, visit if you can) and a tender story.

It will be too slow, too uneventful, for some. Perhaps they'd have preferred a blowsy Hollywood version, where Antonio Banderas plays the farmer's son and Renee Zellwegger the upper crust beauty (hooray for the ghost of a UK film industry). But I found it gentle and charming just as it was; and when the ingredients are so fine to begin with, that's good enough for me. If you like this sort of thing I recommend Powell & Pressburger's magical "Canterbury Tale".

Whenver I think of women on the home-front during WWII, I picture them in factories taking the place of the men who went to fight. I never really thought that someone had to keep the farms going to feed the people.

Over 30,000 women left the cities in England to form the Land Army and milk the cows and plow the fields while the boys were gone off to fight the Germans.

Having said that, this was basically a Lifetime movie with a couple of laughs. The funniest part was when Ag (Rachel Weisz) decided to lose her virginity.

It was good for a story about the effects of the war on peoples lives, especially their love lives, but there just wasn't a lot there.

Besides Weisz, there was Catherine McCormack (28 Weeks Later) and Anna Friel, who had a bigger WWII role in The War Bride. Of course, we also have to mention Lucy Akhurst, who was a zombie in Shaun of the Dead.

Recommended for Lifetime fans.

I found the movie to be a well-acted warm, personal story of three women and the English farming family that they work for as members of the Ladies' Land Army during World War II. However, at times it makes chronological leaps without much warning and it may take a few minutes to figure out exactly what has happened and what the new season is or how much time has elapsed.

It was a very interesting insight into a period of England and the life-circumstances of the country in early World War II. At times though, I had a difficult time distinguishing the subtle English accents and found myself backing up to attempt to re-hear what had been said. Sometimes I still couldn't make sense of the accent, and I'm not referring to the usual colloquial British terms that are at times foreign to Americans, although the movie is full of those as well, which adds a very quaint touch.

All in all, it was a sort of feel-good movie that possibly could have had a little more punch in the ending. I was left with the feeling that it was a nice experience emotionally and educationally, but which falls a bit short of some movies of the genre, more so probably because of the production.

Stella (Catherine McCormack), Prue (Anna Friel) and Ag (Rachel Weisz) play three "land girls", volunteers to carry on the agricultural work of the men. On the farm they find love, conflict, friendship and cows. The film is more of a relationship drama of those left behind than an account of the second world war.

That said it is an interesting piece - not only is it different to have a WW2 film from a British point-of-view but also from a woman's point of view. It is interesting to see how those left behind acted with their lives and their war efforts - how close to the truth this account is, anyone's guess, it's a bit unrealistic because so many girl's experiences are crammed into the story of these three. The story is good regardless with the tangled relationships creating the glut of the plot, however the many tangled love stories do get a bit much at times but the themes of love, loss and British spirit during wartime tend to make up for it.

The performance from the lead trio are mixed, Weisz is a bit stereotyped as an upper-class woman ("rotter", "jolly good" etc) but gets better as her character develops. Friel is good as Prue who starts as the roughest of the group but is touched by the events in her life. McCormack (Stella) is meant to be the core of the story with her interactions with the farmers, especially the son Joe (Steven Mackintosh), but she plays it a little over earnest for my liking. Mackintosh has the most complex role and carries it off very well with the best performance in the film.

The film's conclusion is a mix of neat, tidy endings and some more emotional moments that more realistically depict the damage that the conflict caused on the people left behind.

Overall the film is not amazing but is an interesting account of WW2 from a different point of view, some of the events are a little stereotyped and lack a realistic feel but generally the film carries the emotions that many will have experienced at the time.

Beautifully photographed in the English countryside, this odd film about three English women assigned to work on a farm during World War II provides the promise of heat but never delivers. None of the characters (perhaps the director should have focused on fewer characters to provide proper depth) nor the relationships between the characters are remotely believable. This film exhibits a dangerous trend in films today where the mentality of the 90's is transposed onto the 40's. Directors and screenwriters would be well advised to do more homework on the period in which their films take place. Further, good acting and excellent production values cannot overcome a mediocre script or lackluster direction.