Cold Comfort Farm

Most movie versions of books are disappointing because a good book is always a far richer experience, but this one doesn't shame its source. In fact it's an amusing romp, largely because all the actors are letter perfect -- not easy with a broadly satiric story like this one. Flora Poste's romantic notions actually produce positive results with the loutish Starkadders, such as matching the etiolated Elfine with her true love and sending the smoldering Seth off to become an American film star, while Flora herself ends the movie linked to her own very suitable suitor. Dialogue and motion picture scenery cannot reproduce the exquisitely sly writing of Stella Gibbons, however, so if you liked this movie, by all means read the 1932 book. It's a classic parody of rustic melodrama.

The first time I saw CCF I walked out of the theater wondering whether or not I liked it. The more I thought about it and a couple rentals later and I love this movie. It's funny on so many different levels you've really got to dedicate a few viewings before passing final judgment.

This is one of the few movies I'd put in the same category as "Rozencrantz and Guildenstern are Dead" - movies that get funnier the more times you watch them.

Humorous film involving a spirited young woman by the name of Flora, who brings her stylish views of living, to the oppressed residents of a country farm. The humor at times is very dark and cutting, and oft times hilarious. They'll be plenty of good, quotable material from this well-crafted film, to go around. My favorite: "...Drain the well, there's a neighbor missing..." The script is very slick, and the performances are even better. If you enjoy offbeat humor mixed with a really sweet story, you'll like this movie.

"Child, child. If you come to this doomed 'ouse, what is there to save you?"- Judith Starkadder in COLD COMFORT FARM.

The "child" in question is the lone offspring of one Robert Poste (deceased) and, as we are soon to discover, Poste's progeny, Flora, is hardly one in need of saving. Orphaned in her budding womanhood, nettled by the golden orb of an unrealized literary career, Flora strikes out from the discerning (or snobbish) urban sophistication of London ( leaving behind her good friend Mary and Mary's invaluable manservant, Sneller) and heads for the bucolic splendor of the Sussex countryside to lodge with her relatives, the Starkadders, and find herself.

Robert Poste's child finds instead: a muck-begrimed tumbledown estate wherein resides a ready-for-Hollywood womanizer (Cousin Seth), an estate-coveting farmer (Cousin Reuben), a daffy romantic (Cousin Elfine), a too-loving mother (Cousin Judith), a 'vengeful god', proselytizing father (Cousin Amos), and an iron-willed matriarch (Greataunt Ada Doom). There's also a smattering of Lambsbreath (Adam) and a smidgen of Hawk-Monitor (Dick).

Inside the Starkadder fold Flora encounters a resistance to dish washing modernity (the twig versus the hand mop); the rumor of an unmentionable misdeed once perpetrated against her father; the oft-cited permanence of the Starkadders on their environs; and the matriarch's frequently mentioned trauma after having witnessed a particularly odious occurrence inside the outdoor log pile storage facility ("...something nasty in the woodshed"). Undaunted, Flora presents a cool brow and an almost impervious demeanor plus an extremely persuasive power to influence. Within COLD COMFORT FARM, where high fashion and applied scientific reasoning smash headlong into arrested sociological development and stunted personal/ familial growth, tear-inducing laughter is the order of the day.

As mentioned in the comments of others, Ms. Beckinsale, clad in her natty period togs and radiating a winsome, unflappable aura (while also projecting a strangely prepubescent vibe), hasn't had as good a role since Flora. Meanwhile, those master thespians, Freddie Jones, Ian McKellan, and the inimitable Eileen Atkins nearly go mad with delight as they burrow gleefully into their characters. Rufus Sewell's Seth smolders hilariously while Stephen Fry's Mybug, "soaked in nature's fecund blessing", blusters uproariously. This sort of comedy of manners and cultural collision required an intelligent, perceptive and witty director. John Schlesinger (DARLING, 1965) fit the bill gloriously.

I first saw Cold Comfort Farm way back in the early 70's on TV, but this latest version is so much funnier. Kate Beckinsale makes a wonderful bossy "take charge" Flora, and everyone else in the cast is just hilarious. Eileen Atkins' scenery chewing when her son, played by Rufus Sewell, was leaving home to become a Hollywood film star, just about had me in hysterics. The dread menacing atmosphere, the dark hints about something seen in the woodshed, and the general squalor of a once prosperous family gone to ruin are all conveyed in a humourous but not slapstick or farcical way. The Starkadders mooch about muttering threateningly until Flora eventually sets them all on the right path to recovering prosperity. Flora is the kind of upbeat heroine who would take a hot cup of cocoa to Dracula "because he is probably cold after all that time in the tomb." A very enjoyable film for those who like something different.