This film is typical of the early Kinemacolor subjects in its painterly composition and assertion of the timeless qualities inherent in nature. The colour in this damaged print is of variable quality, but improves as the film progresses, and the final scene with two lovers has much the same magical quality as Lumière Autochrome colour photographs (which producer Charles Urban featured alongside his Kinemacolor films for some of the first demonstrations of the process).

Luke McKernan

Great masters of the brush and palettehave striven to commit to canvas the golden glory of the English harvest-tide, but in the nature of things it is impossible that any of them should have come so near actuality as has Kinemacolor, securing as it does the precise color values and endowing every sentient object with life and motion. What artist could undertake the immense toil of drawing and coloring every straw and ear of wheat within his purview in a harvest-field? Yet Kinemacolor does this seemingly impossible thing, and shows the corn, too. waving in the wind. The soft radiance of the sunlight, the color of the rich brown earth as the plough turns the stubble, the purples and greys of the distant landscape, are all recorded exactly as in real life. Kinemacolor takes the jaded townsman back to Nature and refreshing contact with Mother Earth.

Kinemacolor catalogue, 1912