Although proudly described in the credits as 'A Gainsborough Picture', it's entirely absent from the index of Pam Cook's 'Gainsborough Pictures' (1997), appearing only in the filmography (significantly described as a drama rather than a documentary).
Basically a silent film (depending for exposition upon titles, with its brief snatches of dialogue used more as sound effects as in the films of Jacques Tati in succeeding decades), it resembles the French rural dramas of the twenties.
Despite the title, it's Maggie Dirrane with her strong Irish face as the wife that's the fulcrum upon which this classic precursor of neo-realism actually rests.
Basically a silent film (depending for exposition upon titles, with its brief snatches of dialogue used more as sound effects as in the films of Jacques Tati in succeeding decades), it resembles the French rural dramas of the twenties.
Despite the title, it's Maggie Dirrane with her strong Irish face as the wife that's the fulcrum upon which this classic precursor of neo-realism actually rests.