THE FARMER (1977)

Title: THE FARMER

Year of Release: 1977

Director: David Berlatsky

Genre: Drama, Crime, Revenge

Synopsis: A man about to lose his family farm to bank foreclosure becomes involved in a crime incident to save his property.

Within a film history context: Movies particularly focusing on farmer protagonists have been in existence since the silent period. James Kirkwood's BEHIND THE SCENES (1914) followed the life of a farmer who marries a stage actress, charting the various emotional, and economic ups and downs the couple experience together. The British silent FOX FARM (1922), directed by, and starring Guy Newall, was about a farmer trying his best to placate his social climbing wife, and her reaction to his sudden bout with blindness. With F.W. Murnau's SUNRISE (1927) a farmer torn between his wife, and another woman undergoes many psychological hurdles in his journey, but finally returns to his wife. THE FARMER'S WIFE (1928), directed by Alfred Hitchcock, was about a widowed farmer whose daughter has just married, leaving him living on his own. Wishing to remarry, with his late wife's blessing, he has a difficult time finding an appropriate prospective bride, but is surprised as to the identity of the woman who wants to marry him. The 1930s had several interesting films dealing with farmer characters.

F.W. Murnau's CITY GIRL (1930) detailed how a farmer married a woman from the city, but her life on the farm with him is anything but simple, his father especially an obstacle in the marriage. THE WORLD CHANGES (1933), directed by Mervyn LeRoy, concentrated on a farmer who becomes financially successful, but whose life concurrently takes a nosedive. Lighter in tone was Victor Fleming's THE FARMER TAKES A WIFE (1935). A farmer working on the Erie Canal falls for a cook, but they finds themselves at odds due to his love of farming. THE GOOD EARTH (1937), directed by Sidney Franklin, was about the immense struggles of a married Chinese farmer couple, and how the arrival of a young woman tempts the husband, causing havoc in their lives. Entirely different in tone was Ken G. Hall's comical IT ISN'T DONE (1937). An Australian farmer inherits an estate in England, and is a fish out of water trying to adapt to upper class customs and mores. BLOCKADE (1938), directed by William Dieterle, was historical in scope, with a Spanish farmer fighting in the Spanish Civil War, and falling for a Russian woman. 

Into the 1940s, romance was the attraction in Garson Kanin's THEY KNEW WHAT THEY WANTED (1940). A farmer maintains mail correspondence with a young woman, but complications ensure when he sends an image of someone else as himself, the woman wanting to marry him. One of the most famous films about a farmer was SERGEANT YORK (1941), directed by Howard Hawks. Based on the real-life story of Alvin York, it followed his life from that of a farmer, to fighting in World War I, decorated soldier, and difficulties in his return to civilian life. More fantastical was William Dieterle's ALL THAT MONEY CAN BUY (1941). A farmer who has had nothing but bad karma in his life sells his soul to the devil, but matters are not as straightforward as he initially anticipated. DRAGON SEED (1944), directed by Jack Conway and Harold Bucquet, was about a Chinese farming family in World War II, and their resistance to Japanese invasion, a woman making her presence felt in drumming up opposition to the oppressor. In complete contrast, Roy Rowland's OUR VINES HAVE TENDER GRAPES (1945), followed the life of a Norwegian farmer in Wisconsin, and the coming of age of his intuitive, spirited young daughter. 

LADIES' MAN (1947), directed by William D. Russell, was of an entirely different persuasion. The humorous happenings of a farmer who suddenly becomes a millionaire, hunted down by a variety of money-hungry women was a comic showcase for Eddie Bracken in the lead. Elia Kazan's western THE SEA OF GRASS (1947) had a complicated farmer character, portrayed by Spencer Tracy, who causes not only his wife torment but also, others with whom he comes into contact. Comedy once again ruled the roost in THE EGG AND I (1947), directed by Chester Erskine. A young couple become chicken farmers, but there are more than a few bitter pills for the wife to swallow in coming to terms with her new life in this financially successful movie. The 1950s and beyond brought forth other variations on farmer characters.

Stanley Donen's musical SEVEN BRIDES FOR SEVEN BROTHERS (1954) featured a central farmer protagonist in search of a wife, and consequently finding significant others for his six brothers in the process. In a similar vein OKLAHOMA! (1955), directed by Fred Zinnemann, has a farmer in love with a young woman, and the narrative tracks their romance with music and comedy to spare. Moving into the 1970s was John Trent's HOMER (1970). A farmer and his musician son come to loggerheads over the former's nonconformist attitudes toward war and other matters, and the film documents their fraught relationship with accuracy. One of the most heartfelt depictions of a farmer can be found in SOUNDER (1972), directed by Martin Ritt. An African-American farming family is stunned when their father is sent to jail for stealing ham, the family's oldest son becoming their rock until the father is released from jail. 

Jan Troell's ZANDY'S BRIDE (1974) had a brutish farmer who treated his mail-order wife as chattel, until they come to mutual understanding about their lives. Equally strong was MR. MAJESTYK (1974), directed by Richard Fleischer. A melon farmer in financial dire straits unwillingly becomes involved with underworld figures in this Charles Bronson star vehicle. Clint Eastwood's THE OUTLAW JOSEY WALES (1976) was set during the American Civil War. A farmer, whose family was murdered by Union soldiers becomes an outlaw, hotly pursued by Union militants in this western. THE FARMER was reminiscent of the films about farmers which were dramatic in nature, but possessed many of its own distinguishing traits.

In comparing THE FARMER to earlier movies from the genre, despite its leaning toward action and violence, does detail the ups and downs of operating a farm, and some of the hardships encountered. These were shown in great detail particularly in THE GOOD EARTH, and less so, but still present in DRAGON SEED, THE EGG AND I, HOMER, SOUNDER, and MR. MAJESTYK. The difficulties of farm life in THE FARMER are depicted in several scenes without being the overriding focus of the picture, also being the case in MR. MAJESTYK. A farm in foreclosure is the main motivation in THE FARMER for its lead character to consider, and eventually become involved in criminal activity, for the sake of saving his property from going to the bank. This is the predominant thread which is the impetus for its main character, Kyle, in what he does for the majority of the film.

A focus on violence is something which THE FARMER shares with MR. MAJESTYK, in that the lead is thrown into chaos as a result of involvement with underworld figures, but THE FARMER is most extreme in its forcefulness in this arena. The savagery displayed by Kyle in THE FARMER is linked to his status as a war hero, receiving the Silver Star for bravery, and therefore taking down those who have caused his friends Gumshoe and Johnny, and girlfriend Betty, angst and death. There is the subtle message that war can take place not only on the battlefields but also, in small rural towns, and that it is all about the survival of the fittest. THE FARMER, therefore, is largely lacking in sentimentality, and views of cozy rural life present in THE FARMER TAKES A WIFE, OUR VINES HAVE TENDER GRAPES, OKLAHOMA!, and THE EGG AND I. While it is a harder-edged take on films with bucolic backgrounds, there is also a sense of Kyle ending the avalanche of crime, making way for peace, and a happy ending for himself, and Betty. A thrilling addition to movies about farmers, THE FARMER is one of the strongest films in the genre.

Overview: David Berlatsky was an editor, with many credits in both cinema, and television. His sole movie as director was THE FARMER, and as this is the case, the review will concentrate upon his contribution to the film. With THE FARMER, David Berlatsky has fashioned an entertaining, brooding motion picture. It is a movie which has an assured pace, and scenes which unravel in a satisfying manner. The movie offers the viewer sufficient information about the characters, and story, without being bloated. As this is a film which explores themes of brutality, loyalty, and revenge, Mr Berlatsky has not shied away from depicting extreme violence, but this is something to be expected of a film which deals with these topics in such a vigorous manner. While the movie as such is quite savage, it is justified by the context of the diegetic world the characters inhabit. THE FARMER, though, is clearly a film of contrasts. On the one hand, it is no holds barred visually in terms of its treatment of violence, on the other hand, it is subtle in examining concepts such as loyalty, and defending one's honour, and life. While this is pleasing to witness in a film of THE FARMER's strength, it does, in retrospect, expose flaws that could have made the movie even better.

THE FARMER presents certain situations, such as Kyle's relationship with Johnny, likewise with Kyle and Betty's union, in muted tones, that consequently leave many questions unanswered. The movie adequately depicts these relationships, and it is understandable to the viewer as to what is going on, and why events occur. The absence of scenes that could have fleshed these out more, though, is slightly disheartening. How Johnny bonded with Kyle, and convinced him to carry out his wishes, is not particularly evident. Likewise, Betty is a hard-boiled dame in the beginning, but at the end is with Kyle on the farm, seemingly blissful. These ellipses are a little jarring, but, all in all, this points to one quality of THE FARMER that cannot be disputed. Being a 1970s film, it does contain those features which were present in many New Hollywood movies, such as ambiguity of character motivations, and leaving things to the imagination of viewers to decipher. There are, though, other features of the movie which also deserve analysis.

Despite containing much violent content, THE FARMER, as such, does not whitewash this, being, violence for the sake of violence. It does not revel, or linger in death and mayhem to a great degree, and actually contains one scene where a death is artfully done, with sound effects, but no carnage. Overall, there is a build-up to these horrific events which shows thought has gone into these, and consequently the movie, as a whole. Criminality is not glamorized, and the people who have committed heinous crimes are wholeheartedly punished for their transgressions. They are figures who are fully villainous, with no redeeming features. The rapist, for example, is a man of absolutely no scruples or sympathy, which is how this perpetrator should be presented. To the movie's credit, the victim fighting back, and not succeeding, is one of the most affecting parts of THE FARMER, lacking exploitation. The positioning of Betty in the movie is also one which has many facets.

It is implied that Betty becoming involved with Kyle was her process of 'purification' away from her former loose life, and that only an earnest country man such as Kyle, on the side of justice, could 'redeem' her. Her rape at the hands of Weasel thus was her final connection with the underworld; her punishment cruel, but 'cleansing' her. Aside from this, there is also the low-key motif in THE FARMER of fighting for one's life against all the odds, especially when the chips are down, and all seems lost. Kyle is called upon to do something which appears to him at the outset to be morally wrong, but his viewpoint alters when those in his life have either been killed, or affected. The related theme of loyalty also comes to the fore in a most surprising manner. This links both the start, and the end of the film in a cohesive way, and shows that what one does in life, even seeming insignificant at the time, can carry weight at the most opportune moment. Human nature is something that cannot always be predicted, and should never be underestimated. These are the moments where THE FARMER is at its height. A riveting work on crime and punishment, THE FARMER deserves definite critical reappraisal for the handling of its themes.

Acting: THE FARMER has a unique cast of thespians who elevate the film considerably with their contributions. In the lead part of farmer Kyle Martin, Gary Conway is an intriguing mixture of compassion, dignity, but also, utter relentlessness. A performer with a personable aura of poise and thought, he is excellent. Angel Tompkins, as Betty, Kyle's love, does well as the initially hardened woman who finds another side to life with the farmer. As the only female cast member in a predominant male ensemble, Miss Tompkins stands out. As the strapping Johnny, bookmaker, and Betty's first lover, Michael Dante lends a touch of agreeable toughness to the movie, and makes one feel for his plight with his understated acting. With his slicked-back coif and air of menace, Timothy Scott is thoroughly effective as Weasel. Even though Weasel commits some reprehensible acts, Mr Scott is able to gain a  surprising measure of sympathy from the viewer in his last moments in the movie. George Memmoli, as crime boss Passini, is another excellent interpretation. A fiery man who does what he says, never wavering in his villainy, Mr Memmoli makes Passini another fascinating figure in the film. There are four other actors whose roles are also noteworthy in the movie.

THE FARMER is unique in that it has four actors in smaller parts who nevertheless make their presence felt in the picture. Stratton Leopold, as Laundry Sam, one of Passini's henchmen, utters hardly any dialogue in the film, but whose appearance as the nefarious heavy carries weight in the two sequences in which he is present. Corrigan, Johnny's beefy, dutiful bodyguard is brought to life by Sonny Shroyer. His body language, and the use of his eyes make Corrigan another striking character in THE FARMER. As Kyle's partner on the farm, Ken Renard is touching as Gumshoe, a man whose devotion to Kyle and the farm readily apparent. The final contribution of note was by Johnny Popwell as Matt Conners, the man Kyle saves on the train. Mr Popwell's passion is evident in the final scenes, utilizing his voice and face to express a plethora of emotions, rounding out the fine acting in THE FARMER.

Soundtrack: The musical theme is one of the most memorable features of THE FARMER. 'American Dreamer', beautifully performed by Gene Clark, is a haunting tune that perfectly encompasses the sense of tragedy that the movie exudes. It is played at certain intervals through the film, and an instrumental version in some scenes. Incidental music by Hugh Montenegro is suitable to THE FARMER, making tender scenes softer, and, on the other hand, heightening the sequences of death and mayhem.

Mise-en-scene: What appears in front of the screen for viewers has received excellent attention to detail in THE FARMER. As the movie is set in the 1940s, costume design by Vicki Sanchez deftly reflects this, with the majority of characters dressed in suits appropriate to the era, and the personalities of the players. The farmer himself cuts an imposing figure with his leather jacket, hat and sunglasses, giving him an aura of assurance that lends itself to his cool, calm and collected nature. Both interior and exterior locations, such as the laundry cleaning company, Kyle's farm and surroundings, to name a few, are all effective, and well selected. Cinematography by Irv Goodnoff is of a high standard, particularly emphasizing the sleepy, beautiful rural landscapes the farmer inhabits, contrasting these with the well-lit scenes of terror scattered throughout the picture. 

Notable Acting Performances: Gary Conway, Angel Tompkins, Michael Dante, Timothy Scott, George Memmoli, Stratton Leopold, Sonny Shroyer, Ken Renard, Johnny Popwell. 

Suitability for young viewers: No. Infrequent coarse language, male nudity, female nudity, adult themes, high-level violence.

Overall Grade: B

Link: IMDB Page

Trailer