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6.2/10
Archivist John
Senior Editor
A definitive 6.2/10 rating for a film that redefined the boundaries of cult cinema. Up on the Farm remains a cornerstone of transgressive art.
Is "Up on the Farm" worth watching today? Short answer: yes, but with significant caveats that primarily appeal to a niche audience. This largely forgotten silent short offers a fascinating glimpse into early cinematic comedy, making it a compelling watch for enthusiasts of the era, yet it might leave casual viewers feeling a touch underwhelmed by its simplicity.
This film is unequivocally for those with a keen interest in the history of cinema, particularly silent-era slapstick and the evolution of comedic concepts. It's a delightful, if brief, peek behind the curtain of early film ingenuity. However, it is decidedly NOT for viewers seeking intricate plots, character development, or modern comedic sensibilities; its charm lies in its historical context and singular, absurd premise.
"Up on the Farm" hinges entirely on its ludicrous, yet captivating, central concept: a farm on a skyscraper. This isn't just a quirky idea; it's a profound, albeit comedic, commentary on the human desire to bend reality to one's will, or perhaps, to one's inheritance clause. Broadway Smith, the archetypal city slicker, embodies the urbanite's disdain for traditional rural life, opting for a high-rise solution to a grounded problem. This immediate visual paradox is the film's greatest strength, promising a continuous stream of fish-out-of-water scenarios that play out literally in the sky.
The genius here lies in the sheer visual humor of it all. Imagine a cow contentedly chewing its cud with a bustling city panorama as its backdrop, or chickens clucking away, oblivious to the dizzying heights. The film capitalizes on this inherent incongruity, creating a world where the natural and the artificial collide with charmingly naive ambition. It's a concept so simple, yet so effective, it's surprising more films haven't explored it, even in an era obsessed with visual spectacle.
While the premise is undeniably strong, one might argue it's also a double-edged sword. The film never quite moves beyond the initial shock and awe of its setting. The gags, while amusing, tend to reiterate the same point: 'Look, a farm on a roof!' There's a missed opportunity to explore the broader implications or develop more intricate comedic situations stemming from this unique environment. It feels like a brilliant short story idea that could have been expanded into a novella, but instead remains a witty anecdote.
In the realm of silent comedy, performances are often a delicate balance of exaggerated physicality and nuanced facial expressions. Bud Jamison, a veteran of countless shorts, brings his characteristic bulk and genial clumsiness to the role of Broadway Smith. He’s not a nuanced character, nor does he need to be. Jamison’s strength lies in his ability to convey befuddlement and determination through broad gestures and expressive mugging. When he attempts to milk a cow in a suit and tie, his movements are precisely what one would expect from a man utterly out of his element, generating genuine, if predictable, laughs.
Lee Moran, often a foil or secondary character in these early productions, likely plays the more grounded, perhaps skeptical, observer to Smith’s grand experiment. While specific details of his role aren't provided, one can infer his performance would have complemented Jamison’s exuberance, perhaps with exasperated glances or attempts to inject some semblance of reality into the high-flying agriculture. The dynamic between a larger-than-life character and a more understated one was a staple of the era, seen in many two-reelers, including those with a similar focus on character interaction in settings like Our Alley.
However, the limited screen time inherent in a short film means character development is minimal. We don't delve into Smith's motivations beyond the inheritance, nor do we see any genuine transformation. The performances serve the gag, and they do so admirably, but they don't transcend it. It's a functional, rather than groundbreaking, display of silent comedic acting, perfectly suited for the film's ambitions but unlikely to be remembered for its depth.
The filmmaking in "Up on the Farm" is where the real ingenuity of the silent era shines through. How does one convincingly portray a farm on a 15-story building in the 1920s? This would have required a clever mix of studio sets, matte paintings, and perhaps even some early special effects. The director, working with the cinematographers, would have needed to carefully compose shots to emphasize both the height and the absurdity.
One can imagine wide shots that establish the precariousness of the rooftop farm, perhaps using forced perspective to make the cityscape below appear even more distant. Close-ups of animals reacting to the urban noise or the wind at such an elevation would add to the comedic effect. The film's visual language would have been crucial in selling the premise, making the impossible seem just plausible enough for a good laugh. Think of the inventive camera work in other early films that played with scale or location, like the grand vistas found in Toilers of the Sea, albeit applied to a comedic, urban context.
Yet, while technically impressive for its time, the cinematography likely remains relatively straightforward, serving the gag rather than artistic expression. The focus would have been on clarity and impact of the central joke, not on complex visual metaphors. It's a testament to practical filmmaking, demonstrating how much could be achieved with limited technology but abundant creativity. It works. But it’s flawed in its simplicity, perhaps missing opportunities for more dynamic camera movements or innovative editing that could have heightened the comedic tension.
Silent shorts, by their very nature, are often exercises in brevity and rapid-fire gags. "Up on the Farm" undoubtedly adheres to this principle. The pacing would have been brisk, moving quickly from the initial setup of the inheritance clause to the immediate implementation of Smith's bizarre plan. There's little time for lingering shots or slow narrative buildup; the film's energy is derived from the quick succession of comedic moments.
The tone is lighthearted and innocent, characteristic of much silent comedy. There's no dark undertone, no biting satire, just pure, unadulterated situational humor. The film aims for smiles and chuckles, not uproarious belly laughs, relying on the visual incongruity to carry the weight of the comedy. This makes it an easy, digestible watch, perfectly suited for an audience seeking simple escapism.
However, this rapid pacing can also be its undoing for modern audiences. Without the benefit of sound or intricate dialogue, the film must rely solely on visual punchlines. If the central gag doesn't land with a contemporary viewer, the film can feel repetitive or even dull. It lacks the complex emotional arcs or intricate comedic timing that more sophisticated silent features, or even longer shorts, might offer. The experience is akin to a quick, amusing sketch rather than a fully developed narrative, perhaps sharing a similar fleeting quality to the early performance reels like A Few Moments with Eddie Cantor, Star of 'Kid Boots'.
I'd argue that "Up on the Farm" is less a fully realized narrative and more a proof-of-concept for a single, brilliant visual gag. Its charm lies in its audacious simplicity and its historical significance as an example of early cinematic inventiveness. It’s a snapshot of a time when filmmakers were still discovering the language of the moving image, and often, the most straightforward ideas yielded the most delightful results. There's an undeniable, almost childlike wonder in seeing a cow on a roof, and for that alone, the film holds a unique place.
However, its flaws are equally apparent. The film never truly capitalizes on the rich comedic potential of its premise. What about the logistical nightmares? The neighbors' complaints? The sheer improbability of it all? These avenues, which modern comedies would mine for gold, are largely left unexplored. It’s content to present the absurdity and move on, which, while efficient, feels like a missed opportunity for deeper, more sustained laughter. Frankly, if you're not already predisposed to silent-era antics, this film might feel like a quaint curio rather than a laugh-out-loud experience. It’s not going to convert anyone to silent film fandom, but it will certainly entertain those already on board.
An unconventional observation: "Up on the Farm" could be seen as an accidental precursor to the modern urban farming movement. While played for laughs, the idea of cultivating food in an unconventional, high-density urban space has become a very real, very serious endeavor today. The film, in its own comedic way, inadvertently touched upon a concept that would gain significant traction decades later, transforming a joke into a nascent vision of sustainable city living. This subtext, however unintentional, adds an unexpected layer of interest to what might otherwise be dismissed as a mere novelty.
"Up on the Farm" is a charming, if slight, piece of silent film history. Its central premise is a stroke of comedic genius, a visual pun brought to life with the ingenuity characteristic of its era. While it doesn't delve deep into character or complex plotting, it offers a delightful snapshot of early filmmaking's ability to create wonder and laughter from the most absurd of ideas. For those with an appreciation for the historical context and the simple joys of a well-executed visual gag, it's an enjoyable, albeit brief, diversion. It won't redefine your understanding of comedy, but it will certainly make you smile at the sheer audacity of its premise. It's a testament to the enduring power of a truly original idea, even when its execution is more functional than profound. Seek it out if you're a silent film enthusiast; otherwise, approach with tempered expectations for a historical curiosity.
IMDb —
1921
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