A Life on the Farm
A farmer’s home videos make for an offbeat documentary down on the farm in Somerset…
Apparently the old saying "there's nowt so queer as folk" originated either in Yorkshire or in Lancashire but it certainly comes to mind when watching this very unusual documentary about a farmer who spent most of his life in Somerset. The man in question was Charles Carson who lived from 1927 to 2008 and was a neighbour of the late John Harding, the grandfather of Oscar Harding who makes his film debut as the director of A Life on the Farm.
Harding’s engagingly offbeat piece is presented in four titled sections although the first of them, ‘The Story’ is really a prologue setting up what will follow. Harding himself appears on camera describing how when he was a child his father started to show him a video made by Carson which he then cut off as being unsuitable - but not before it had made a deep impression on young Oscar. Later the Carson tape, one made by him on Coombe End Farm in Huish Champflower, disappeared but subsequently turned up again and, when Oscar saw it complete, it became the inspiration to tell Carson’s story and to feature in it what he taped (indeed Part 2 of A Life on the Farm is labelled ‘The Video’ and Part III ‘The Man’).
The Carson video, which bears the same title as this documentary, finds the farmer addressing the viewer and it could hardly be more individual. Extracts from this work are blended with interview footage with those who knew Charles Carson and with those who in more recent times have taken an interest in what he shot and which, courtesy of the internet, has developed a following, not least in America. The appeal of his work stems from several factors. On a straightforward level the material has historical value as a portrait of farm life in an earlier time, but other aspects are even more striking. There is, for example, the inclusion of surreal touches when Carson incorporates skeleton figures including images of them riding on cows and, whether or not you consider the two related, there's also Carson's fascination with death which comes out in various ways.
Late on the film suggests that Carson had an affirmative attitude both to life and to death and his video includes detailed shots of a cow giving birth followed by him holding up its placenta to the camera. But it is his portrayal of death that really stands out. Early on we see him in the process of burying a favourite cat talking to it the while and, when it comes to his mother who died at the age of 95, shots of her in hospital and enfeebled are followed by images of her corpse which he had taken out into the garden to be photographed with him, this footage then being presented with a soundtrack featuring the song ‘No One Like Grandma’. There are times here when one thinks of Norman Bates and his mother although the local clergyman, Rev. Chris Marshall, views it all benevolently while acknowledging Carson’s eccentricity. Charles had a brother, Frank, who predeceased him and who could be violent, possibly due to mental issues. Charles himself again displays oddity when choosing to sing ‘All Things Bright and Beautiful’ on camera but substituting for God a reference to the Carsons. His wife, Helen, who died aged only 57 in 1995, was filmed by him less than one might expect although looking back he goes out of his way to praise her. There is, however, a sense of the film being rather vague when it comes to the married life of Charles and his possible illness although it does acknowledge that he eventually became senile and something of a recluse.
Harding is at pains to pay tribute to Carson’s creativity and there are suggestions, not wholly persuasive, that his embracing of the full life-cycle made him ahead of his time in facing up to death. However, we also get a clear picture of Carson imposing three-hour videos on neighbours who were expected to watch them complete and to be questioned about them afterwards. All told, Carson emerges as a very strange individual, one who can be seen in more ways than one. Certainly his story makes for an intriguingly unusual film much of it well handled including a final shot which tracks back from his gravestone and then goes up into the sky. Nevertheless, while there are some pleasing surprises in ‘Part 4: His Legacy’, Harding does allow this last segment to outstay its welcome when earlier images recur. Possibly this is on account of wanting to reach 75 minutes as an acceptable feature length. In the event it takes the edge off the film somewhat, but for a first feature this is a good job including its apt music score. It's certainly worth a look.
MANSEL STIMPSON
Featuring Oscar Harding, Thomas Lynch, Derrick Beckles, Karen Kilgariff, Rev. Chris Marshall, Peter Shaw, Valerie Shaw, Davy Rothbart, Koo Stark, Joe Pickett, Wilfred Evans, Nick Prueher, Robert Hull, Ciaran Mullholland, Jeremy White, Jake Day-Williams, John Ridgley, Charlie Norman, Denise Broom.
Dir Oscar Harding, Pro Oscar Harding, Edward Lomas and Dominik Platen, Ph Edward Lomas, Ed Hannah Christensen, Music Sam Paul Toms, Animation Zachary Donald McCune.
Sonderbar Pictures-Bulldog Film Distribution.
75 mins. UK. 2022. US Rel: 13 April 2023. UK Rel: 8 September 2023. Cert. 12A.
