Kelly Reichardt’s latest film shares many of the same characteristics of her past works Old Joy (2006) and Wendy and Lucy (2008). Yet Meek’s Cutoff very definitely feels like a significant advancement on those pieces in a creative, storytelling sense, despite the qualifying long, still takes and minimal dialogue. It’s more ambitious in its objectives too, but in its period setting, an Old West that will draw comparisons with other films that never really materialise, Reichardt is offering a defiantly unique take on this era.
We’re in the year 1845, travelling along the Oregon Trail with three families of settlers being led by their hired guide, the enigmatic Stephen Meek (Bruce Greenwood). Though the men are initially shown to be the chief designers of their families’ fates, but when the going gets tough, it’s the females, especially Emily Tetherow (Michelle Williams), who show the true steel and leadership qualities.
At first, Greenwood seems to have been dropped into the mix from another film entirely; his odd, garrulous presence, regaling the children with exaggerated tales to pass the time, feels like an incongruity requiring a period of adjustment to contextualise him. But slowly his presence reveals a secondary purpose, to provide a note imperfect counterpoint to the families, able draw out the tension of each scenario as the stakes increase.
Doubts about the settlers’ uncertain course, and the threat of an Indian (Rod Rondeaux) who they capture and keep hostage, both feed a sense of paranoia about cohorts of the intelligible Indian pouncing in the dark of night. There’s also the constant worry about being led astray into a no man’s land where their dwindling stocks of food and water will leave them defenceless against the withering harshness of the natural world.
Williams gives a commanding flinty-edged performance that gradually takes centre stage. But she’s surrounded by others that are just as fine, especially Will Patton as Emily’s cool-headed, considered husband Soloman. The attention to detail in the original screenplay of Reichardt’s regular collaborator Jon Raymond is noteworthy; equally so the sense of authenticity the film asserts in its construction of small, enriching details that allow us to slowly make sense of its context.
It’s true that, on the surface at least, not a great deal happens in Meek’s Cutoff (2010); it gives the impression of being a laboured road movie wavering in its intent. This couldn’t be further from the truth however for it possesses many worthy yet difficult to define qualities these are the intangibles that inform any great work of art which is exactly what Meek’s Cutoff feels like by its end.
The quality of Reichardt’s craft has provided a rich bounty of small, understated moments that cohere into a compelling tale of progress forged against a harsh landscape and the imposition of inner demons. This is a beautifully wrought film that will linger, strangely and against reason, in the mind for hours afterwards.
I say:
A film that cements Reichardt as one of the defining voice of American independent cinema.
See it for:
The compelling, slowly evolving narrative brought to life with great skill by both director and a flawless cast.
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