The Producer: Cow Kind

Sussex dairy farmer Steve Hook, who led his cows to economic freedom, is the subject of a moooving new film, writes Judith Woods

Hollywood's latest starlet is gazing enigmatically into the camera lens with her huge melting brown eyes, framed with lashes long enough to catch snowflakes. She radiates an air of serenity amid the flashbulbs and satellite dishes and is the very epitome of poise - until an enor-mous rough pink tongue emerges from the side of her mouth and flicks into her nostril.

"This is Ration, she's our Red Carpet Cow," says her owner, East Sussex dairy farmer Steve Hook, as he massages her neck. "A handful of cow nuts and you can do anything you like with her."

That pretty much makes her every director's dream, but she didn't accompany him to last month's Sundance Film Festival in the US, where her screen debut - The Moo Man - was chosen to compete in the prestigious World Cinema category, nor to last week's Berlin Film Festival.

The Moo Man is ostensibly a documentary about Longleys Farm, where Steve and his father, Phil, have turned around their loss-making dairy business by marketing and selling their own raw, unpasteurised, organic milk.

But this fascinating film is much more than a classic David-and-Goliath clash of values. It is a moving portrait of the ancient relationship between a farmer and his animals, set against a backdrop of changing seasons, changing fortunes, birth, death and, of course, milk. Gallons and gallons of the white stuff.

Hook, 47, and his wife Claire have four sons aged 12 to 20. Not so long ago, the future of their inheritance looked bleak. "We converted to organic milk in 2000 because back then there was a 10p premium on every litre," says Hook. "As we use traditional methods on the farm already, it was a natural step. But then milk prices - organic and standard - fell away and we were being paid below the cost of production, which was completely untenable."

For five years Hook struggled to stay afloat. Then he took the risky decision to cut himself adrift and sell his milk, cream and butter direct to the public. Moreover, his USP would be that the milk was raw and unpasteurised, something that's not available through large retailers as, for legal reasons, it can only be sold by the farm that produces it.

"Raw milk is an entirely different product from the homogenised stuff you buy," says Hook. "It's full of health-giving properties that make it more valuable, and people are willing to pay more."

An ordinary pint of milk costs from 25p to 45p. A pint of Hook's finest fetches anything from £1 to £2. Much of it is sold online from www.hookandson.co.uk and dispatched, by courier, in insulated boxes across the UK.

In February 2010, Hook was sending out 700 pints of Hook & Son a week. By 2013, that figure has risen to 3500 pints, enabling him to employ six full-time and eight part-time staff, and reinvest in the farm.

Unpasteurised milk is creamier and has a more distinctive, "milky" taste than the pasteurised version. "Raw milk lowers 'bad' cholesterol and can be drunk by people who are lactose-intolerant because it contains active enzymes," says Hook. "There is also evidence it effectively treats asthma, hay fever and eczema."

It was this health dimension that drew local documentary makers Andy Heathcote and Heike Bachelier to the farm. They had been ordering the milk from their delivery man and were so astonished when it successfully treated their eczema that they were keen to know more.

"Something else we found funny and intriguing were the little anecdotes and pictures of cows featured on the milk bottles and on the website," says German-born Bachelier. "I had never thought about the process by which milk gets from the animal to me and I initially thought it was odd to claim cows had their own personalities and idiosyncrasies."

She was rapidly disabused of the notion that all cows are identical, not least by the film's leading lady, Ida, 12, who steals the show. The average life span of a dairy cow is six years, but Hook's cows live to 10 years, a testament to high welfare standards and the fact they aren't stressed by overmilking.

Ida comes across as bold, opinionated and happiest when centre-stage. There is footage of Hook taking her to the beach to drum up publicity, only to discover she likes it so much she refuses to leave.

And so what began as a fly-on-the-milking-parlour-partition look at Hook's business became a rather more reflective, even spiritual, examination of the dynamic between man and beast.

There's Clever Kate, able to find a hole in any fence. Jill is prone to get antsy and kick out; Rowena is prized for her superior butterfat milk; and Kitty is loved no less for her friendly nature.

"I love my animals," says Hook simply. "I rear them from calves, I watch them thrive and grow. I milk them, watch over them and I respect them.

"Cows have a great dignity about them. They're noble and graceful and very expressive. They will shake their heads if they're fed up with you or push their foreheads into you, nudging you to do more of what you're doing."

To her credit, Ration - nobody can recall why she's called that - is still obligingly showing off her best side out front. She is heavily pregnant, but back in a pen behind the barn, a lone cow stands over a lifeless calf, endlessly licking its cold body. The calf died in utero and was "born" earlier in the day - hauled out of its mother with a rope by Hook. He has left her the body so she can come to terms with the loss. She licks and licks, trying to stir her offspring, refusing to eat or to drink. No one could doubt that she is grieving. Meanwhile, the cycle of nature continues around her; the ritual of milking begins.

At Sundance, Hook had lunch with Robert Redford. When a reporter asked what would happen if a fan threw her knickers at him, he replied: "My wife would tell me to throw them back. And my other girls - the cows - would get upset, too."

 - © The Daily Telegraph