Summary
Dawn smothers a sun-scorched farmstead where Fay Holderness—lanky, elastic, a prairie gamine in a crumpled sun-bonnet—lugs foaming pails as though they were the globe itself. One slosh too many sends her sprawling through a moonshiner’s camouflaged hatch; suddenly the bucolic hush curdles into a slapstick fugue of corked bottles, revenuers on rattling Model-Ts, and a bootlegger who wears his bowler like a declaration of war. Over the next whirlwind reels she ricochets from cow-pat to cabaret, disguising herself as everything from a temperance orator to a tipsy flapper, while Oliver Hardy’s pre-Laurel girth looms like a thundercloud of impending pratfalls. The milk route becomes an illicit river of gin, the barn a speakeasy cathedral, and every udder a comic oracle spurting white geysers that double as moral commentary. By the time the final chase collapses into a hay-bale avalanche, the film has wrung pastoral America through a cider press of anarchy, leaving only foam, laughter, and the lingering tang of sour mash.
Synopsis
A rare example of a short with the Silent female comic, who was compared to Chaplin, here as a rural milkmaid who gets mixed up with various problems including a bootlegger.
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