The Canadian (1926)

Passed  |   |  Drama, Romance  |  27 November 1926 (USA)
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A couple undergo hardship homesteading in Alberta, where they are plagued by bad weather and financial woes.



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Cast overview:
Mona Palma ...
Wyndham Standing ...
Dale Fuller ...
Gertie Marsh
Charles Winninger ...
Pop Tyson
Billy Butts ...
Buck Golder


Twenty-year-old Nora Marsh has lived all her sheltered life in the confines of her family's home in London. But, suddenly, seemingly-secure walls come crushing down and Nora loses her parents and goes from rich to destitute. She travels to the only safe haven she knows about, the Canadian farm of her brother Ed. There she meets Frank Taylor, working for her brother as a farm-hand in an effort to overcome his own monetary loss the preceding winter. Nora quarrels with Ed's wife, "Gertie", and she asks Frank to take her away. And just as it appears the newly-weds are about to make a life of their own on his farm, tragedy strikes. Written by Les Adams <>

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TOM in a story of strong men in a country where only that type can stand up. (original ad) See more »


Drama | Romance






Release Date:

27 November 1926 (USA)  »

Also Known As:

Serás Minha Algum Dia  »

Filming Locations:


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Aspect Ratio:

1.33 : 1
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User Reviews

Nicely handled precursor of THE WIND.
22 October 2011 | by (Australia) – See all my reviews

This largely forgotten Maugham adaptation proves to be an emotionally scaled down first version of THE WIND, minus the evil seducer and the dust storm. It is surprisingly accomplished.

Impoverished Easterner Palma finds herself shunted to family in the wheat belt and her fancy ways don't go down well, particularly with her relative's wife Fuller, familiar from her Von Strohiem movies and giving the film's most telling performance. To avoid further humiliation, our heroine marries farmer Meighan. He doesn't get what he expected and finds himself held off at rifle point when he tries to assert his rights as husband.

The ending is quite sunny and the film is no competitor for the Seastrom masterpiece but it is still rewarding.

You can see that this one is the work of someone used to doing lightweights but director Beaudinehe manages the shift of tone. He was someone who spent his life turning out routine entertainments generally with more professionalism than his competitors and, as with the Roddy McDowell KIDNAPPED decades later, he could rise to an opportunity.

The film survives in a good black and white copy and got effective presentation at the Pordenone Silent Movie Week.

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