Review of Meek's Cutoff (2011) by Danijel J — 30 Dec 2011

Meek's Cutoff is a patience requiring, ultimately rewarding western, not like many you've seen before in this genre. It tells a story about the necessity to believe in the power of decision making process, even if the choices are slim, almost non-existing. Its uncompromising accent on reality will sometimes inevitably work against the whole product, but don't let that stop you - this film is never less than gripping.

The time is 1845, when a shady guide Stephen Meek is leading three families of settlers across the Oregon Desert. The journey stretches considerably, making the traveler's water supplies reduced to a minimum. As they progress, the question weather Meek knows where he's going slowly increases. They capture an Indian on the way and, though he doesn't speak the same language, find in him even better possibility for salvation than in Meek. The problem is, they can't be sure of his intentions.

Reichardt imposes slow pacing here right from the start and holds her own consistently. The camera is mostly static, moving only when absolutely necessary. By keeping it steady, she helps us to understand the reality of the situation these people found themselves in. We have a chance to constantly gaze in their lives without being interrupted by potentially faster cutting. There are many characteristic wide shots, putting the travelers against the unmerciful nature of The Old West.

These are some truly rough condition shown here. The families have only three companions on the journey: The Lord, Meek and later the Indian. In Lord they believe in, but they have to confide their thrust in the hands or Meek or Indian. The problem is that those two aren't likely to do anything more for them than the abstract concept of faith. Meek is a charlatan, who, in the best case scenario, looks like attempting to convince himself that there is nothing to worry about. In regards to the Indian, they have to cope with the fear of the unknown. His portrait is very important for the picture. Deeply mysterious individual, he looks like someone who may have a solution, but in the same time like he could have some hidden motives.

The acting of Michele Williams and Will Patton may be the key here. They play the Tetherow's, the two voices of reason. Patton is an actor whose name probably won't ring a bell at first, until you see him. He has one of those faces able to convey nobility with ease. And Williams has that rare ability to elevate herself above any picture by just looking in the camera, the fact Reichardt knows how to use well.

Meek's Cutoff is a film filed with respect. Kelly Reichardt shows a great deal of it, but it's not, as you would imagine, aimed at one of American film's oldest genres. It's more a respect for the characters of western, the characters that have often been neglected by directors in the past pictures of the genre for the purposes of message or mere entertainment. With her approach here, Reichardt gives them a dignifying treatment, indirectly paying respect to the people of The Old West.